#I avoided spoilers about his dialogues prior to playing it myself now

[chillingintheunderdark]

Just leaving this one here - spawn Astarion's dialogue after a long rest.

[stranger-who-writes-fiction]

Back at it again with my self-indulgent comic posts. This time! It’s Supergirl: Woman of Tomorrow #3, perhaps the most tonally-distinct entry yet, with shades of The Twilight Zone. 

Spoilers!

So, as mentioned, this issue is the most deliberate in terms of both its pacing and its tone, IMO.

What is that tone, you ask?

To quote Alex Danvers, from “Midvale”: Hello, darkness.

THE STORY:

Kara and Ruthye are still looking for Krem Clues in the alien town of Maypole.

(Which is actually just Small Town, USA, complete with vintage 50s aesthetics.)

But the locals are clearly hiding something! So Kara and Ruthye continue to investigate, and they eventually discover what it was that the residents of Maypole were so keen to keep hidden. 

Genocide, basically. 

As I said, this issue struck me as very Twilight Zone; a genre story involving the build-up to a dark twist, all set against the backdrop of an idyllic small town. (Think, like, “The Monsters are Due on Maple Street” but instead of focusing on the Red Scare, it’s classism and racism.)

The wealthier blue aliens kicked all of the purple aliens out of town, and when space pirates showed up to pillage and plunder, the blue aliens made a deal with them: the lives of the purple aliens in exchange for their safety.  

Which is where the episodic story connects to the larger mission; it was Krem who suggested the trade, and then joined up with the Brigands (space pirates) when he was freed by the blue aliens.

The issue ends with no tidy resolution to the terrible things Kara and Ruthye discovered, but they do have a lead on where to find Krem, now, as well as Barbond’s Brigands.

KARA-CTERIZATION:

Ironically, it’s here, in the darkest chapter yet, that we get the closest to what might be considered ‘classic’ Kara. 

Which I think comes down to that aforementioned deliberate pace--this issue is a little slower, a little quieter. It gives the characters some room to breathe.

That’s not to say Crusty Kara is gone. Oh no. She is still very much Crusty. XD 

But anyways. A list! Of Kara moments I loved!

I mentioned a few of these in a prior post when the preview pages came out: I like the moment where Kara blows down the guy’s house of cards, and I like that the action is echoed later in the issue when she grabs the mayor’s desk and tosses it aside. A nice visual representation of the escalation of Kara being, like. Done with these creeps. (Creeps is an understatement but you get the idea.)

Another one from the preview pages: Kara explains to Ruthye that her super hearing won’t necessarily help her detect a lie, especially if she’s dealing with an alien species she’s not familiar with.

It not only reveals her level of competence and understanding of her super powers, it also shows that, you know. She’s a thinker. She’s smart. 

Amazing! Showing, rather than telling us, that Kara is smart! Without mentioning the science guild at all wow hey wow.

(Sorry, pointed criticism of the SG show fandom.)

Anyways.

I dig the PJs! 

And Kara catching the bullet! Not only are the poses and character acting great, it’s also a neat bit of panel composition:

We start with Ruthye’s POV, and then move to the wide shot of the room. The panel where Kara actually catches the bullet is down and to the side of the wide shot panel--we move our eyes the way her body/arm would have to move to intercept the bullet. Physicality in static, 2D images!

Also, like. It’s a very tense moment, life-or-death, but. Ruthye’s wide-eyed surprise at the bullet in Kara’s hand? Kind of adorable. 

I was pretty much prepared for the page of Kara shielding Ruthye from the gunfire to be the highlight--it was one of the first pages King shared and I was like, ‘yeah, YEAH.’ But, shockingly? The TRUE highlight of the issue?

Where do I BEGIN?!?!

EVERYTHING. About this moment. Is lovely.

From Kara holding Ruthye above the bench to explaining the concept of a piggyback ride, to telling her:

“I’m going to hold my hands here, and these hands can turn coal into diamonds, so they’re not going to let go. I’m going to keep you safe.”

HNNNNNNNNNNNG.

Ruthye’s narration--about how Kara had avoided flying as she was concerned it would freak Ruthye out--just adds a whole additional layer of YES, GOOD, YES, and her line on that splash page is great: “You see, all that time, she was worried about me.”

HNNNNNNNNNNNG. AGAIN.

To say nothing of the STELLAR ARTWORK.

And SPEAKING of that stellar artwork, Evely and Lopes continue to knock it out of the park. Each issue is distinct and beautifully crafted, a true joy to look at.

Before I jump into more of the art, a few final notes of character stuff in general.

Ruthye is the one most affected by the experience in Maypole, as she can’t comprehend how a society of people that look so nice and gentle and peaceful could have been party to such a horrible act.

One of the big criticisms of the book thus far is that Supergirl is not the main character, and I guess I can agree with that observation. Typically, in Western media, the main character is the one who goes through the most change in the story. 

And, yeah. That’s Ruthye.

As I was reading the end, where Ruthye sits on the curb and Kara hugs her, I was imagining how the scene would’ve played, had King stuck with the original idea for the series: Kara as the one learning to be tough/experiencing all of this for the first time, and while I think that could certainly work...

I continue to appreciate that King literally flipped the script; that Kara, especially in this issue, is like, ‘I’ve seen this, I know this,’ as opposed to being the one going through a loss of innocence.

*Marge Simpson voice* I just think it’s neat!

Because Kara’s been a teen in DC comics for so long--ever since she was reintroduced to the main DCU continuity, actually--so this is all brand new territory, here. Having an older Kara who’s SEEN SOME STUFF.

(Alsoooooo, since Bendis made the destruction of Krypton not just inaction and climate disaster, but rather, genocide, and the subtext of a Kryptonian diaspora text, the waitress’ derogatory comment regarding the the destruction of Kryton, as well as Kara picking up the bad vibes the entire time, suggests not just a broad commentary on discrimination in all its forms, but specifically allegorical anti-Semitism. The purple aliens being forced out of their homes and into substandard living conditions, then the blue aliens--their neighbors and once-fellow residents--essentially allowing the space pirates to kill them, making them literal scapegoats, Kara discovering the remains of the purple aliens, and Ruthye’s horror at the ‘banality of evil’...yes. A case could be made, I think.) 

(Which would probably require a post unto itself and a lot more in-depth discussion, nuance, and cited sources.)

(Should mention that King has brought up that both he and Orlando--the other Supergirl writer he talked to--are Jewish, and for him personally, that shaped his views on Kara’s origin story.)

I guess my point is that this issue is perhaps not as out-of-left-field as some might think, and just because there isn’t as obvious an arc for Kara, doesn’t mean there isn’t some sharp character work at play. 

(I could be WAY OFF, of course, and I’m not suggesting it’s a clear 1:1 comparison. I’d actually really love to hear King talk about this issue in particular.)

Anyways.

Here’s the final page, which I think works, because as I mentioned before, there is no easy answer/quick wrap-up to the story of Maypole:

THE ART:

I mean. How many times can I just shout ‘ART! AAAARRRRRRRRRRRTTTT!’ before it gets old?

I dunno, but I guess we’re gonna FIND OUT.

There are some panels in this issue that I just. Like ‘em! From a purely artistic standpoint! Because they’re so good!

Like, I just really love the way Kara is drawn in that top panel. Her troubled, confused expression, the colors of the fading light, the HAIR. 

Evely draws the best hair. I know I’ve said this before. I don’t care. I will continue to say it, because it continues to be true.

The issue I find myself running up against when I make these posts is that I really don’t want to post whole pages, as that’s generally frowned upon (re: pirating etc.) but with something like this, you just can’t appreciate it in panel-by-panel snippets.

(Guided View on digital reading platforms is a BANE and a POX I say!)

Anyways.

LOVE the implied movement of the cape settling as Kara speeds in and stops. 

And, obviously, Kara flicking the bullet away is just. A+. 

And the EYES, man. LOPES’ COLORS ON THE EYES???!?! BEAUTIFUL.

Also, should note the lettering! The more rounded letters for the ‘WOOSH’ of Kara’s speed (and, earlier, the super breath) work nicely, and contrast with the angular, violent BLAMS of the gunshots. 

And, I gotta say, the editor is doing a really great job of not cluttering up the artwork with all the caption boxes. Which is no small task.

(I assume the editor is placing them, as editors usually handle word balloon/caption box placement, but I suppose it could be Evely? Sometimes the artist handles it. Either way, whoever’s taking care of all the text, EXCELLENT WORK! BRAVO!)

Okay I think that’s everything.

Ah, nope, wait.

MISC.

Just a funny observation, more than anything else: Superman: Red and Blue dropped this week, and King had a story in there, “The Special” (which was very good, btw.) Both Lois and the waitress swear a lot so I’m beginning to think that this is just how King writes dialogue for any adult character who isn’t Clark. XD

This is absolutely a personal preference but when Kara was like, “And my name IS Supergirl,” I was like nooooo. I know King is trying to simplify all of the conflicting origin stories and lore but I LIKE KARA DANVERS, SIR. XD

It’s almost assuredly a cash-grab/an attempt for DC to get all the money it can out of a book they don’t have much confidence in, but I like the cardstock covers! Very classy, much Strange Adventures.

(OH my gosh, can you imagine that issue 1 cover with spot gloss???? Basically the only way you could possibly improve on it.) 

Okay NOW I’m done. For real. XD NEXT TIME: Kara and Ruthye go after Krem and the Brigands!

[dancingdimitri]

Well, it’s officially been a year. On March 23, 2020, I unboxed the secondhand Switch we had obtained by some incredible stroke of luck, solely for the purpose of playing Fire Emblem Three Houses, and started my first ever playthrough--Blue Lions route, of course--which I affectionately dubbed “Dimitripocalypse.” I chose this name because immediately prior to actually playing the game, I was aware of several facts:

- I was somehow already in love with Dimitri. - The Blue Lions story was both 1) centered on Dimitri, and 2) tragic. - I do not handle tragedies well.

(spoilers following, obviously. And lots of introspection.)

I knew about Three Houses since its release, but waited until many months later to actually play it for a few reasons: we (“we” meaning myself and my twin, Aki) didn’t yet possess a Switch; getting our hands on a system, plus the game, was an investment of several hundred dollars; there were no Switch games other than Three Houses we had significant interest in playing at the time, and besides, we were already plenty occupied with Fire Emblem Fates and the multitude of older games keeping us entertained on our outdated handheld systems. Our original plan was to buy a Switch for our birthday in May of the year following the release of Three Houses. Once the news of an impending lockdown started to spread, though, it became apparent that if we were going to get a Switch any time in the foreseeable future, that time was now. Our in-person shopping was mostly fruitless--no Switch, but we got our copy of the game while we were out (we like our physical copies)--but by some miracle we managed to find a previously used system for sale online: in retrospect, probably one of the last ones to be sold for a very long time after that.

By restraining myself from actively seeking out fanmade content, I managed to avoid significant spoilers for Three Houses. Inevitably, though, as months passed after the game’s release, I absorbed tidbits of knowledge that happened to roll by on my social media feed. I probably learned about the general concept and organization of the game (for example, obviously, the fact that there were three houses; more specifically, that it was a tragic story, and there was a timeskip somewhere in the middle), and the names of a few characters, but my recollections of my initial phases of information osmosis are fuzzy at best by now. My earliest memory of having a cohesive thought about anything in the game was sometime around September of 2019, when I happened upon Dimitri’s post-timeskip portrait. Immediately upon setting eyes on it, my heart went: He’s the one.

I still haven’t figured out what my heart does or how it works in such tight coordination with my eyeballs, but I have this tendency to abruptly fixate on one character in a given series, thereby selecting my single, immutable favorite character for that series. Yet, even as I subconsciously judge these characters based purely on appearance, when you also factor in aspects like personality and backstory, which I inevitably learn later, I somehow manage to also have a very consistent and predictable “type.” This was exactly what happened with Dimitri. Granted, it took me until February 2020 to form a significant emotional attachment to him, to the point where I was thinking about him constantly, but I never doubted from the beginning that it was Dimitri who would be the source of my “brainrot.”

I always wonder how things might have been different if I didn’t know about Dimitri beforehand: would I still have picked the Blue Lions house, solely because blue is my favorite color? Would Dimitri still have drawn me in through his many characteristic charms? Or would I have picked a different route, a different favorite character? How many things would be the same as they are today? But then I remember one of my favorite passages from what has been my favorite manga since my adolescence: [There’s] no point in thinking about the things I could have done, because there’s no guarantee that any choice is the right one. Alas, the timeline that exists right now is the only one that I know for certain, so it’s the only one I can discuss at length.

Sometime in the months that passed between finding that portrait and the beginning of lockdown, my knowledge of Three Houses had grown more cohesive, as vague as it still was. I knew that Dimitri was a tragic character who, due to some sort of traumatic events earlier in the story, became significantly more emotionally troubled after the timeskip. Looking back, I think this ended up being just the right amount of knowledge to have about the game before I started playing, because at any given point I had the faintest idea of where the story might be going, but no clue whatsoever about how it got there, and, perhaps most importantly, I still did not know how it ended. Nevertheless, another notable reason I hesitated for so long to play Three Houses was because I knew I was faint of heart and not adept at coping emotionally with even fictional tragedy; knowing what I did about Dimitri, I assumed playing Three Houses would leave me in a significantly worse emotional state than I had before playing the game. (I already struggled with generalized anxiety, a stressful family life, and recurring nightmares.)

Fortunately, I was very wrong. Even so, with no way of knowing this at the time, I figured that a lockdown would be the perfect time to start my playthrough. I was temporarily furloughed from my day job for the foreseeable future and obviously had no plans to go anywhere or do anything, so if I was going to get emotionally wrecked and needed significant time to recover, I might as well do so while I was stuck at home anyway.

(Side note: we could have gotten a Switch Lite with much less hassle if we wanted to, but we opted against it because we wanted to utilize the large television we had in our living room at the time. This ended up being an excellent decision. Second side note: it took me a few days to figure out there was a button on the system itself for taking screenshots, but I’m too sentimental to delete my lower-quality phone pictures.)

On the first evening after dinner I played for only about 45 minutes, enough to select my house. I ended up restricting myself to playing only in the mornings after that, because I lost practically all of my sleep to speculating. I primarily remember wondering about the deeper aspects of Dimitri’s character--what kind of person was he, really? I wrote an unnecessarily detailed paragraph about all of my guesses, based solely on his dialogue up to that (very early) point in the game, synthesized with things I knew about myself. I supposed, with the reservation that these were just wild guesses, that he might be very much like me. Every last one of my guesses turned out correct.

I experienced the story roughly one chapter at a time in two- to three-hour sittings, to allow myself ample time for emotional processing. I figured I might need it, and again, I was right.

As they say, the rest is history. Writing out all of the impressions I recall from Dimitripocalypse would make this post more needlessly long than it already is, and you can gather most of those from my regular posts, anyway. For the sake of as much brevity as I can muster, I’ll skip to the most important conclusion: I’m so glad I played this game.

Again, things could have easily turned out much differently. I very nearly stopped playing the game entirely after Dimitri’s sudden outburst at Remire Village gave me a panic attack so awful that I struggled to manipulate the controllers because my hands were trembling so badly. (I would have quit then and there, but I didn’t realize what was happening until after the fact.) But, after having Aki look up the ending to the route to confirm that it was indeed happy (for Dimitri, anyway--an important distinction), I persisted, also keeping in mind another favorite quote: something about the importance of continuously making an effort to understanding someone you love, even though not understanding them is “the greatest fear.” In retrospect, with how Dimitri’s character arc continued to develop, putting in the effort to reach that understanding at that specific point in the game saved my butt and made the vast majority of what happened later much, MUCH less of an emotional slap in the face. And with how the story progressed, I needed as much free cognitive space for emotional processing as I could get. The post-timeskip reunion with Dimitri led to my first good, cathartic crying session that I could remember in probably seven years. If I remember correctly, think it lasted a total of an hour and a half.

Even with that in mind, or maybe because of it, Dimitri’s renewal halfway through the second part was the single most cathartic moment I can recall ever experiencing. With how hopelessly attached I already was to Dimitri even before knowing the grisly details of his upbringing, the development of his story felt quite literally like something chipping away at my soul. Dimitri’s second peripeteia, then, wherein he realizes his past mistakes and decides to change for the better, evoked the sensation of my soul gently being reassembled, each broken shard softly being set perfectly back into place. I’m still not entirely why a fictional story felt so much more therapeutic than any therapy I had ever gotten up until that point. Somehow, though, just by experiencing that moment, I no longer carried with me a background-noise level of emotional anguish that had, at some point, become my default state.

With all of that said, I’m not entirely sure how to start wrapping this up.

It’s been a year since I took my first fateful step into the world of Fire Emblem Three Houses. There was no way of knowing where the steps after that would take me, even if I did predict a few aspects of the story. I’m certainly happy I was wrong thinking that I would end the game in a worse place than I started. Now I’m standing here looking back, one year later, amazed at how all of these experiences culminated into the present I know today.

I was always entertained by how, when you select which house to lead at the very beginning of the game, Rhea responds with “Your heart has made its choice.” My reply is always: “Yes... yes, it certainly has.” Maybe in some alternate timeline, it is true that this path was a choice I consciously made for myself. But in my current reality, that is not the case. Somehow, my heart makes its own choices independent of the thoughts in my head, and this particular choice is just one river joining the flow of time that continues to sweep me along.

My recurring nightmares never stopped entirely, but they significantly declined in frequency and severity. Moreover, for once, I even recalled a few good dreams I had: those, for me, are rare. I can count on one hand the number of such dreams in which Dimitri unquestionably appeared. One in particular sticks out in my memory to this day. I think of it whenever I have to negotiate with my estranged mother and I resort to perhaps unnecessarily diplomatic, emotionally distant and yet affable language; when I converse with someone about  how it is crucial to discern when to change what is unacceptable and when to simply accept it anyway, even if--especially if--when the thing in question is something about yourself; when I keep in mind that, as much as I’d like to care for others until all of their needs and wants are met, because it brings me joy to see them happy as much as it pains me to see them hurt, there are times when I have to care for myself first, or else I will have none of myself to give.

Oddly, or perhaps, just as it should be, this dream did start out more like a nightmare. I recall feeling very anxious. But the difference this time was that Dimitri was there. Though I seldom experience such vivid sensations in dreams that I still remember them after I wake up, this time, the physical contact our bodies made as we embraced felt real.

“Dimitri,” I murmured, though I didn’t know why, “I’m so scared.”

His response, in perfect tune with the sound of his voice in the game:

“It’s all right. I’m here. Even when I’m not by your side, I’ll always be with you.”

[teamhawkeye]

unfiltered and massively spoiler filled thoughts on RE8 below the cut [MAJOR SPOILERS AHEAD]:

The Good

The first half of the game

The initial village segment and the castle portion and even “the house in the mist” sections were all pretty taut and well put together. i loved exploring the castle - was more than a little disappointed that you get locked out after Alcina’s boss fight, i didn’t explore it fully D: - and the unexpected terror of Donna’s section really pulled me out of the sense of comfort i had started to fall into, right as i was saying to myself “this hasn’t been scary at all”

The return of some series high notes

Revisiting things in previous Resident Evil games is not always a bad thing. I really enjoyed the return of weapon customization and treasures, those were aspects i enjoyed in RE4 and RE5. The return of the Merchant, in the form of the Duke, was welcome as well. The Duke is a G - he’s a good guy and i respected him most

Graphics, scenery, etc.

It’s a pretty game to look at, there’s no getting around that. I liked the set pieces, especially the Castle portion

Ammo crafting

Now this was something i greatly enjoyed. There are often times you get too much ammo for the gun you use least or you run out of ammo in harder difficulty levels. Being able to collect scrap material and make your own ammo was a very nice addition that i greatly appreciated

The Bad

(some of these are going to be personal opinions about the storytelling and narrative choices, so be prepared for that)

Pacing and direction

RE7 was a return to the series’ “roots”: so back to the footnotes of RE1 and RE2. If that was the case with 7, then RE8 did a speed run of RE3, Code Veronica, RE4, RE5, and RE6 all at once.

I know i said earlier revisiting hallmarks from previous games isn’t a bad thing, and it’s not - but while RE7 did it masterfully with sticking to mainly RE1 and RE2 and pulling in just a few old hallmarks, RE8 went absolutely buck wild in trying to cram in as many past enemy types and encounters as possible. A callback to one standout enemy is one thing, ala the Stalker type that is Mr. X, Nemesis, and Ustanak that Lady Dimitrescu also serves as...but then also the giant water monster from RE4, the Executioner of RE5, the “chainsaw” enemies (here, drills instead) of RE4, RE5, and RE6. hell, even the Lycans after a time started to feel very Las Plagas-esque in their ability to use weapons and track and coordinate. And you can’t tell me you didn’t see very similar designs/similarities between Miranda’s boss battle that you did with Alexia’s in Code Veronica...

The pacing started off solid with the initial few segments, but quickly seemed to lose its footing once it oscillated violently between wildly different styles of play and storytelling and didn’t regain its stride the rest of the game. One moment, it’s classic RE. The next, it’s P.T. + Outlast. The next, back to “a mash up of action and horror, leaning more on action” styles of RE4 + RE5. Then the finale straight up started to feel like an entirely different game before you reached that final boss fight - it felt like i was jerked in one direction one minute, and a completely different one the next

There is a lot of exposition and explaining that doesn’t happen until legit the last 45 or so minutes. Not new for the series to withhold information until the back half of the game, but there was legit almost no build up to the very sudden plot bombs that got dropped successively in the last throes of the story. Previous games rewarded you with fragments at a fairly even pace - i felt like all of RE8′s story gets dropped on you in a single monologue and a handful of notes just before the endgame

I’m not even gonna go that deep into how hard it was to keep up with all the different infection methods the mold managed to have - it was just A Lot and i’ve played a lot of Resident Evil in the past, so i know just how many different ways a single pathogen can have on humans and animals...and it still felt excessive

I honestly felt like the third segment with Moreau wasn’t even necessary. they really played up these “four lords” to not have them do a whole lot of anything. and i know there’s always been mini bosses before you actually reach the final Big Bad, but seriously, Moreau’s segment can be blitzed through in a span of 20 minutes or so first playthrough. the castle segment with Dimitrescu was solid, the house segment with Donna was nightmare fuel, lmfao, but still engaging and challenging. by the time you get to the third and sprint right through, you’re left wondering what the point of it even was. you can tell that was the least cared about narrative arc in the whole story

A giant point of note is that a huge chunk of RE8′s story could have been avoided or altered had Chris just actually fucking spoken to Ethan at the start about what the fuck was going on. And for him not to is completely unlike Chris past RE5 and RE6, that made no narrative sense whatsoever. Just another opportunity to pile on some more trauma and guilt onto Chris’ shoulders by making him “responsible” for Ethan being pushed to far and dying as a result

“Ethan actually ‘died’ when first meeting Jack Baker and was completely taken over by mold, it’s a big secret to everyone but Mia. also, he’s gone too far, there’s no saving him, he had to die”

You’re going to tell me that Ethan still being infected or impacted by the mold from RE7 is some big secret??? did the BSAA not run tests on him and Mia to make sure they were back to normal levels??? how do they not know?!? the government was able to figure out that Sherry’s exposure to the G Virus altered her permanently and study her healing capabilities, how the fuck was that not the same with Ethan???

Also, how is it that the mold’s impact on him is so much higher? he was at the Baker estate for like, 2 days max and while, yes, he did sustain some serious damage, he never fell prey to Eveline’s control and showed absolutely no signs of infection outside of being able to heal/use his hand after it was chopped off. and depending on how you played RE7, the only major injury he sustains aside from probable bruising or broken bones is that hand being cut off as mentioned before

You’re also going to tell me of the number of Resident Evil characters who have been infected with viruses and parasites and what have you and have been cured or had the negative effects negated, Ethan was the only one “too far gone” to be saved??? Jill got infected with T Virus, Claire has been infected by two separate viruses, Leon has survived a parasite infection, both Zoe and Mia were exposed to mold for years and seem to be okay...why is it that Ethan was the only one who couldn’t be saved? because he “died”? how in the world did he get infected so fast - he’d been there an hour, max! - that he was able to be revived in the first place and it wasn’t even noticeable that he had changed at all???

“the BSAA can’t be trusted anymore, they’re involved in shady shit, like deploying bioweapons into battle”

we already went through this a bit back in Revelations 1 with the blackmailed director and double agents. but to full on go “well, the entire organization is now dirty” after it was legit founded by Chris, Jill, and Barry to combat bioterrorism really sits wrong with me. all i can think is that they are running out of villains at this point and now are poising the BSAA to be a Big Bad in the future. which, again, doesn’t sit right with me

Retconning

Tying Ozwell E. Spencer back to Miranda wasn’t such a huge dealbreaker for me, but it is a bit obnoxious to now have to go back and amend “he came up with the idea for Umbrella and its pursuits with Marcus and Ashford, its other founding members” to “well, he didn’t actually come up with the idea for Umbrella and its research with Marcus and Ashford, he already had the idea from his time spent with Miranda uwu”

More so, the retconning around Eveline is a bit of a pain in the ass. So she only came about as a result of Miranda crossing paths with the Connections and giving them some of her mold to work with? And Eveline was only a failed experiment to Miranda in her attempt to be able to transfer her daughter’s essence/subconscious/whatever into a living child? And there are pictures of ‘10 year old” Eveline in Miranda’s possession - how come Evie didn’t have any memory of her at all (speaking of Evie, why the fuck did she appear in 8 briefly as a hallucination [?] to explain to Ethan his condition???)

How are you going to try and tell me that some village from prior to the 19th century was using the “Umbrella” symbol and Spencer just snatched it for himself? that was just stupid, honestly - even more stupid how Ethan didn’t recognize the symbol, despite flying off in a Blue UMBRELLA helicopter at the end of RE7

Mocap and cutscenes

Was it just me or did parts of this game look severely unpolished compared to RE7??? some parts looked good - like the Dimitresus all seemed to be rendered very well. It became very noticeable to me in the back half of the game, mainly with Chris and Mia, but a little with Heisenberg too, where their mouths didn’t match up with the dialogue a lot and they looked a lot less put together than previous scenes and characters. Mia in particular, i was struck by how much better her mocap seemed in RE7 compared to RE8. Maybe because there was a bigger ensemble cast in 8 that they spread themselves a little too thin in that regard?

[shielddrake]

Final Fantasy XII: A Retrospective Review

So, I received Final Fantasy XII: The Zodiac Age for Christmas last year.

Anyone who knows me knows that I am a huge fan of the Final Fantasy franchise.  I have played almost every game with that title that has been released…at least the ones released in America, since I sadly do not speak Japanese. So it’s not unreasonable to assume I would want a remake of one of its games.  I have quite a few, in fact, including V and VI on my iPhone, III and IV on my DS, and I and II on my PSP.  Final Fantasy IX was the first game I put on my PS4 when I got it (yeah, I admit I put a PS1 game on my PS4 before anything else) and I thoroughly enjoyed replaying VIII when its remaster came out last September.

 Final Fantasy XII, however, is a bit of an exception because, my Internet friends, I have a confession to make: Final Fantasy XII is my least favorite in the franchise.

 Now I wouldn’t say that FFXII is a bad game.  Far from it. It’s a very good game.  For the most part, I completely understand why so many people love it.  I just don’t feel the same way.

 When I first played the game when it was released, I was not too thrilled with a lot of the gameplay decisions and where it ended up going story-wise.  At the time, I concluded that while it was a good game, it was a poor Final Fantasy title.  And this is taking into account the fact that I had played and beaten both Final Fantasy Tactics and Tactics Advance several times before playing FFXII.  Both of these games are quite different from the main FF series, but are great in their own right. I basically consider the Ivalice Alliance as a separate spin-off series, sort of like the Crystal Chronicles games or the Dissidia series.  

 But FFXII was not that great, in my opinion.  I didn’t feel invested in the characters, I was not a fan of the combat or license board system at all, and I felt the story was incomplete at best and annoyingly vague at worst.  There were a lot of missed opportunities for the use of the characters.  I was neutral about the graphics, which, although beautiful, I felt did not really improve on what was presented in Final Fantasy X, and I didn’t like that a lot of the regular trends known in the previous installments (the summons being the main example that comes to mind) were thrown out for something completely disconnected.  I finished the game just feeling a mix of boredom and irritation, to be perfectly honest.  The only thing I can recall even remotely liking was the music, despite it not being composed by Nobuo Uematsu, my favorite composer of all time even to this day.

 Needless to say, playing The Zodiac Age was not on my list of priorities, and I’m not sure I ever would have played it had it not been gifted to me.

 All that said, I received the game and felt that, well, maybe since I have it anyway I would give it another shot.  Let’s see if FFXII is as bad as I remember. Maybe a retrospective review would be a good thing to post on the twelfth anniversary of the game’s original release, so why not?

 * Looks at the dates and realizes Final Fantasy XII was originally released 14 years ago, not 12. *

 Uh, never mind. Clearly I’m way too late for that party.

 Anyway, as I started playing, I decided that there were two big questions that I wanted to answer with this retrospective review:

 1.) Is Final Fantasy XII as bad of a game as I remember it being when it was first released?

 2.) Would I change my claim about Final Fantasy XII being my least favorite game in the franchise?

 Obviously the game has been out for a long time, remake or not, but I want to warn against spoilers here just in case. I don’t want to ruin anyone’s experience after all.  With that, let’s get started.

Statistics

 I just wanted to start this review with a few facts about my playthroughs (yes, the plural is intentional).

 I played through The Zodiac Age twice, once for about 42 hours in length and the second for about 47. I used each of the jobs in the zodiac job system in each playthrough, but in different combinations and on different characters.  Of course, I couldn’t account for every possible combination.  That would take a very long time…

 The party was at level 46 on my shorter playthrough and 51 on my longer one.  I did not complete all of the hunts, although I fought more of them the second time through. I did not try to get any of the special gear like the Zodiac Spear, mostly because I don’t know how.  I also did not get all of the espers, because other than the required time you have to summon Belias to get into Giruvegan, I never used summoning.

 I avoided any guides or other playthroughs for the game, relying on the game’s directions and my memory from my previous plays…fourteen years ago…to guide me through the main part of the story. Yeah, I haven’t played FFXII since it was released in 2006, maybe 2007, give or take a few months. So, if I got confused or lost during the course of the game, it was because I either missed directions or the game was not clear on where I needed to go.

 At the time of this review, I have not experimented at all with Trial Mode or played through New Game Plus.

 Graphics

 This section will be short, since I don’t have a lot to say about it.

 The graphics are very good. As I stated above, in the original I did not feel the graphics were all that different than Final Fantasy X released four years prior, and my opinion of The Zodiac Age hasn’t really changed.  According to the Final Fantasy Wiki, the game was given “high resolution upgrades to backgrounds, character models, 2d parts, and movie scenes.”  To be honest, I didn’t notice much of a difference, although that might be because I didn’t play the game often enough to have the original graphics etched in my memory.

 However, that does not mean the game looks bad. On the contrary, it is still a beautiful game, despite a few small glitches such as Balthier’s dialogue not syncing up to his lip movements or Basch’s hair not moving, Those are minor nitpicks. The game is still lovely to look at.

 Sound and Music

 Again, the music for this game is excellent. As I mentioned before, the music was probably the one thing I would praise about the game when it was originally released.  The Zodiac Age somehow manages to make it better by providing a rerecorded soundtrack that makes a lot of the notes sound less harsh. There is the option of switching it back to the original version, but I preferred the new one. Basically they took the one thing I liked about the original game and made it better.

 The voice acting I am pretty neutral about. For the most part, I don’t think anyone’s voice work was either bad or good.  Other than the overuse of sighs, of which I get most annoyed by Ashe’s because she sighs all the time, I don’t mind the voice acting very much.

 The only one I have a problem with, and this was also the case when I first played FFXII, is with Fran’s voice.  I always feel bad criticizing a voice actor because they put a lot of training and passion into their work, but I just can’t help but be really annoyed at the choices SquareEnix made when casting Fran. She sounds so different in the English version compared to the Japanese one, and I don’t think it fits the character at all.  Viera, all viera, are supposed to be these rather ethereal beings akin to the elves in The Lord of the Rings.  So why, then, would the translation team have Fran be given a voice that makes her sound like a nasally four-year-old?  According to the Wiki, the translators wanted to “sell the new take on the viera,” but it just falls flat.

 Miscellaneous Gameplay

 Okay, I only made this section so I can briefly go over some of the extra gameplay components the game has, both old and new.  First, the good.  

 The high-speed mode is great. I always thought the characters moved so annoyingly slow! This fixes that problem and honestly saves a lot of time.  I feel like it sheared off a couple of hours off the game that are just empty time needed simply to move from place to place. I used this in the FFVIII remaster as well for the same reason.  I basically never turned it off.  It didn’t affect cutscenes, so that wasn’t a problem. Also, the sound effect of four people running in high-speed mode is strangely hilarious to me.

 There is a transparent overlay map now available.  I find this to be much more useful than the minimap alone, which was constantly moving and incapable of helping me orient myself. Previously, I was frequently frustrated and getting lost in pretty much every area, dungeon and town when I played the original version.  The overlay map was especially useful in places where direction was important, like the part in the Tomb of Raithwall where you need to turn the statues to face the blade. I could never tell which way to turn them and needed to bring up the main map over and over and over again. The overlay map resolves makes this and general navigation much easier.  

 My only complaint is that, although it is transparent, it does take up a lot of the center of the screen, but that is a small price to pay for the relief of so much frustration. There are times when the overlay map isn’t useable, namely in parts of Giruvegan and the Bahamut, and then the frustration rises again, which only emphasizes how nice the overlap map is the other times.

 Autosave feature.  Need I say more? Thank you, SquareEnix, for an autosave feature! Especially during some of the hunts.

 And now the bad, which can be lumped into one thing: minigames.  Or I guess they’re minigames.  They’re small quests that are required to further the story that are not combat based. The yell at the guards to make them move game while stealing the Dusk Shard, AKA the dumbest guards ever.  The have Vaan declare he’s Basch in front of people in Bhujerba to get the Resistance’s attention, which unless you had already played the game you don’t know to do in front of the guides, leading you to just listening to Vaan spout annoying nonsense while literally nobody listens.  The exchanging information quest in Archadia to get chops to be allowed to ride a flying taxi, which is only slightly less annoying this time around because they reduced the number of exchanges you need to do from nine to three.  I guess they realized how tedious it was.  I disliked all of these when I first played the game and they were superfluous and dumb and add nothing to the experience this time around too.

 Character Progression and Combat

 Now we get to the parts where I feel I can really say something constructive. I was initially going to have these be separate sections, but they are so closely related to one another that it seemed silly to split them.

 There is something I want to make perfectly clear, that I must admit came very much to my surprise: The combat in The Zodiac Age is nowhere near as bad as I felt it was when I played the vanilla game.  Before it felt like a boring slog just to get from one quest to another, but I found that not to be the case this time around. I think the changes to the license board helps with the combat be more dynamic and require a bit more strategy since not every character ends up being the same.  I’ll get to the license board in a moment.

 With the job system in place, you have to think more about how you’re going to approach an enemy rather than having everyone just attack the whole time.  I mean, you can still do that, but your white mage is not going to be as strong as your knight, so having the white mage do only physical attacks doesn’t work quite as well.  And with the option of giving everyone different abilities, it means that every character has a different role to play in battle.  

 The ability to add a second job later in the game adds to the diversity you can bring, since you can make any number of combinations of jobs and really none of them are bad.  You’re also not limited by which characters can have which job.  Once you pick a job for a character you are stuck with it (at least on the PS4 version) but that does not lock the job away from other characters.  You can have two white mages, two knights, five red battlemages, or make every character a bushi if you so desire.  You can have someone balanced, someone focused on only offensive spells, someone focused on healing, someone just for physical attacks, a tank…the possibilities are huge!  

 The gambit system is still in place, and I still am not a huge fan.  If I have to micromanage a character’s actions, I’d rather have a system that allows me to input commands individually like in previous Final Fantasy games rather than allowing an AI to do it.  However, I understand that the combat in FFXII is fast-paced enough that it makes that sort of system more difficult, and I managed to deal with it fine. I wish I didn’t have to buy gambits for every single miniscule action though.

 On the other hand, I did find having multiple gambits useful for the various abilities each character has, especially since the job system allows for more individualized characters. This time, I felt like having several gambit slots was actually worthwhile because I had the characters able to do more things under specific circumstances, especially for spellcasters. This made it seem like it was worth the license points to spend on gambit slots from the license board.  So while I still am not fond of the gambit system, I found it overall less annoying than before.

 Obviously the license board is the biggest change to The Zodiac Age.  The job system is excellent this time around, compared to the complete lack of a job system in the original version. Normally a blank slate for character progression isn’t a bad thing.  VI, VII and VIII all had no job system as well, but you could still customize the characters to fit with a play style that you liked.  Vanilla FFXII didn’t allow that.  It was far too easy to make every character identical, so it ultimately didn’t matter which character you had in your party.  This time, the available variety made it much more enjoyable to play and experiment.

 The board was also improved on in that it was much more logical within each job.  Before, the board was literally just a board, with every license just kind of lumped together. The license for a helmet was next to a license for the fire spell.  It never made much sense and it seemed hard to predict what adjacent licenses you were unlocking. This time, armor licenses are together, sword licenses are together, magic licenses are together, and so forth.  Some licenses in the same category are spread apart, such as the technicks, but for the most part there is at least some sort of logic to it all, making it much easier to plan character growth instead of it feeling random.

 Later on, it is possible to make the characters very similar to one another, so that everyone can cast white magic, use the same technicks, wear the same gear, etc. This is especially easy if you pick secondary jobs that are opposite the first job (for stance, adding a foebreaker job to a white mage).  This doesn’t happen until late in the game though, so it doesn’t feel nearly as cheap.  FFX did the same with the sphere grid, but you had to be pretty far in the game before that was possible.  Same thing here.

 I feel I should mention the quickenings and summons, even though I never used the latter in battle. The mist abilities now have their own gauge rather than using MP, which is a nice throwback to the limit break bars of some of the previous games.  I definitely prefer it that way.  I found myself using quickenings less frequently than during my first playthrough, but that might be because the game was made to be overall a little easier.

 Story and Characters

 While the job system was the big change for The Zodiac Age, and certainly for the better, I feel I still need to talk about the story and the characters even though nothing about these parts of the game have changed.  The big reason for this is because the story was where I had the biggest problem with the original version of FFXII, and therefore will probably have the biggest impact on answering my two burning questions at the beginning of this review.

 That being said, if I were to go into all the details about the story and characters and what I think of it, this review would probably be three times as long as it already is.  To add to that, since the game has already been out for twelve fourteen years I’m not sure there’s a whole lot I could add to the conversation that hasn’t already been said, other than to point out how I would change the story to make it what would be, in my opinion, better.

 Perhaps if people are really interested in my in-depth analysis of the story I can do that in another post, but for the purposes of this review, I’m just going to give summarized version here.

 1.) Reks should have lived, or been replaced by Vaan, or have both in the party.

 2.) Vaan is not as annoying as I previously thought, but he needed to have a more concrete connection to the plot.

 3.) Same for Penelo. Still kind of preachy, but seemed more like a Jiminy Cricket character this time around.

 4.) The Strahl needed to be stolen somehow, both to give Balthier a better reason to go with the group and to give a better excuse to not just fly somewhere.

 5.) That said, knowing the whole plot of the game makes Balthier’s behavior throughout the story make more sense. Better foreshadowing, in a way.

 6.) Fran’s storyline needed to have a more satisfactory conclusion.  It just sort of ended.

 7.) Basch and Gabranth needed to have more personal interactions throughout the story to make their final moments more satisfying.

 8.) For that matter, have more personal interactions between the party and both Dr. Cid and Vayne. We meet both of them a total of two times…over the course of a 40-hour game. Too disconnected from the party’s actions to give much motivation for us to defeat them.

 8.) Why did they not use Vossler’s actions as a bigger plot point, with Basch trying to stop Vossler from doing what Basch was accused of? It’s sort of there, but it ends far too quickly.  Big missed opportunity.

 9.) More judge fights! We fight a total of three, Ghis, Bergan and Gabranth. I wanted more judge bosses!

 10.) To add to that, have more context for some of the bosses.  It kind of felt like so many of the bosses were there just for the sake of being bosses, and there’s only so many times I can say to myself, “It’s probably a guardian of whatever place.”

 11.) I still don’t get the love people have for Ashe.  I just don’t get it.

 12.) And finally, Larsa should have been the main character.  End of story.

 …Yeah, that’s the summarized version.

 Conclusion

 All things considered, I definitely had a different experience playing through The Zodiac Age compared to when I first played FFXII twelve fourteen years ago.  And ultimately this is why I decided on playing this game again.  I wanted to see if my opinion had changed, if I could look at it from another perspective rather than just negative memory. And although some of my feelings haven’t changed, it’s good to look back on something and see that maybe it isn’t exactly as I recall it.

 Let’s go back to the big questions I proposed at the beginning of this review.

 First, is Final Fantasy XII as bad of a game as I remember it being when it was first released?  No, it’s certainly not.  I think the changes made to the license board made the combat more enjoyable for me, and by extension it seemed less of a hassle and more of an actual game. I enjoyed running around and exploring more, and the bosses and hunts were more entertaining as well.  While I’m still not fond of the gambit system, I wasn’t as irritated by it and actually found myself experimenting more with it.

 Second, would I change my claim about Final Fantasy XII being my least favorite game in the franchise? Eh, probably not.  Again, even with the alterations made to the game, there are still a lot of things that I personally was not a fan of, especially involving the story.  I’m one of those people who love the story of a game more than anything else (which is clearly why I prefer RPGs to any other game genre). Since the story is still the weakest aspect of FFXII, in my opinion, especially compared to other Final Fantasy games, the game overall doesn’t grab me as much as some of the earlier ones.  It’s still a good game, but not great.  To be fair, short of completely overhauling the storyline and characters, it would the difficult change those aspects for the better in just a remaster.  This makes me wonder how the FFVII remake is going to go, but the jury’s still out on that one.

 With all the various opinions and thoughts about what makes a video game good, it’s hard for developers to create what might be considered a perfect game for everyone, and the Final Fantasy franchise is no exception.  That doesn’t mean a game cannot be corrected to make it better than the original.  That’s what is good about patches and remasters.  It gives the developers another opportunity to improve on what was criticized.  Final Fantasy XII: The Zodiac Age definitely succeeds in this, even if there are still parts that are not quite as good.

 Now, if you’ll excuse me, I have a Kingdom Hearts DLC to play and then proceed to tear apart.

[neoduskcomics]

If you didn't hear the news, 6 new episodes of Steven Universe were recently made available on the Cartoon Network app. Go watch them if you're able, and then come back here if you'd care to hear what I thought about them. SPOILERS. SPOILERS. SPOILERS.

Dewey Wins The plot in this episode is basically creating a parallel to Connie's heartbreak over Steven's actions in the last story arc and putting him in her shoes. It's not exactly the most gracefully or subtly executed story device, and I was a bit disappointed when, at the end, I realized that the entire point of it was simply to get Steven to understand why Connie was upset at the beginning of the episode (something that I'm sort of surprised wasn't immediately obvious to him).

That being said, I didn't dislike this episode. We're coming right of the heels of some of the most dramatic and loaded plot in the series, so a lot of it is really just winding down and getting everyone up to speed in the aftermath. It sort of subsists on carrying the momentum of what came before it. While the stuff with Dewey wasn't the most engaging, it was harmless, and they got a couple good jokes out of it.

I was hoping we'd see a bit more of Dewey actually dealing with the consequences of his lackluster-ness as a mayor, which we sort of did, but he didn't have a lot of time to process any of it, since the episode had to shift focus right back onto Steven's relationship issues with Connie. Hopefully, we'll see a future episode that features some actual character growth for Dewey so that this whole story wasn't just a means of getting from point A to point B. Gemcation What do you do when your son is clearly having some kind of personal problem, judging from the fact that he's constantly checking messages on his phone and all bummed out? You drag him to a vacation home that he's clearly disinterested in and try to force uncomfortable conversations about his traumatic space trip, of course. So much sound, emotional clarity going on in these episodes. Kidding aside, though, I did enjoy this one. It was amusing seeing the gems trying to figure out what was bugging Steven (and doing a comically terrible job of it). Pearl's antics got several laughs from me, and it made me feel like the comedy in this series was on point for the first time in a while. The plot wasn't outstanding, but it had a lot of good character moments. Seeing Garnet being awkward and out of her field of expertise was fun, and seeing Greg defer to the gems with helping Steven, only to reassert his role as father was nice to see. The whole cell-phone-reception-race ended predictably, but I do like that interpersonal issues in this show aren't resolved so quickly and easily. It's part of what helps the characters in this show feel like people and not just set pieces, and helps this series about magical gem warriors from outer space feel more grounded. Also, for real, though, that part with Pearl trying to talk to Steven and she kept covering her own mouth. The fuck was that. She totally killed Pink Diamond. Or she knows who killed her. Or she knows something. And someone cursed her or ordered her not to talk. Maybe Rose. Who the fuck knows. I'm sure everyone has already drawn up like fifty conspiracy theories about it. I'd prefer to just keep my mind open and let myself be surprised, but it's hard not to speculate when the show drops shit like that. Raising the Barn Say bye to Lapis, kids. I mean, you know, again. I'm sure she'll come back, but it is interesting to see such a status-quo-shifting departure happen on the show. Again, I like it when the show has these realistic turns of events. Connie's not gonna immediately make up with Steven. Lapis isn't necessarily going to stay just because Peridot wants to. Now, if I had an issue with all of this, it's probably that the way in which we arrive at these issues (or the resolutions thereof, but we'll get to that) isn't always the most interesting. Like, this episode was good, but it wasn't great. It could've done with more comedy or maybe more dialogue that was of consequence to the characters, rather than looping around the motions of Peridot very obviously avoiding the situation before finally and predictably confronting Lapis at the end. I'm not saying this episode was bad, just that it could've been better. I don't really have a whole lot to say about it other than that. Back to the Kindergarten While not one of my favorite episodes, this was a good episode for Peridot. I like seeing her really grapple with her newfound feelings of despair and distress, and trying to deal with it in an emotionally healthy way. While the sunflowers all dying was a tad predictable, it was still a well-executed plot device, and moving forward with the idea of understanding that while some parts of life will always be sad, there's always a whole world of potential happiness around you. Again, it's a more realistic message and, as a result, it feels more genuine. For there to be highs, there have to be lows. You have to work for your catharsis, and I think that's something this show mostly gets.

The last time we saw Amethyst, Peridot, and Steven hang out was the "shorty squad" episode, and I found this one to be far more interesting. Peridot doesn't simply spend the whole episode moping and then finally realizing some uplifting truth--there's an emotional mini-arc that she goes through: moving from despair to hopefullness, having that hope crushed, and then learning from the experience and finding that hope again in a different place. Moving through a range of different feelings is, I think, what makes for a more affective episode than having basically a single tone or conflict that leads you to an inevitable conclusion. Sadie Killer I think this is the first episode involving the cool kid crew that I genuinely enjoyed. There are a handful of episodes in the series are pretty much devoid of magical gem stuff, but out of all of those, this is definitely one of the better ones, if for no reason other than that it just has some great character development and progress for Sadie. For the first time, we really explore her as a person, not as she relates to Lars, but just herself. It was neat seeing her feel the weight of her monotonous and stressful life, and then finally break through and come out of her shell of her own volition—not because she was forced to in some contrived plot about how she doesn’t communicate well with her mom.

The musical number was fun and it was a great way to have Sadie let loose, doing something she enjoys and showing a side of her that you always sort of detected was there but she never just came out and expressed it. Sadie didn’t suddenly have a dark side for the sake of this episode; you’ve seen her deal with anxiety and stress and dealing with bullshit for five seasons. It’s good to finally see a culmination to all of that.

If I had an issue with this episode, it’s maybe that it just ends with her quitting the job. I would’ve liked to have seen her really deliberate over the situation, either prior to or in the aftermath of the decision, rather than simply using it as an ending revelation. But apart from that small gripe, it was a great character episode.

Kevin Party

I think this episode was a bit of a mixed bag. I think they really nailed the awkwardness of having Steven and Connie struggling to confront one another. The nervous tension is present in every scene of that episode, basically from the moment Kevin informs Steven that Connie would be at the party. Aside from that, though, the episode feels mostly like another one of those terrible “guy gets bad relationship advice from person he very obviously shouldn’t be taking relationship advice from and then inevitably screws things up before finally coming clean and being honest with himself which in return earns the trust/affection of the girl” plots. It’s played out and this story didn’t really offer anything new to the formula.

Not only that, but is Kevin just going to be a thing in every episode where Steven and Connie are having awkward relationship issues? I mean, we’ve already seen them embarrass/humiliate him for being a douche. I thought this time we might get something different. When he brings up that girl he apparently broke up with, I thought we might actually explore Kevin’s character and see why he is the way he is, and make him maybe a more complex character. But, no, we just saw him continue to be an asshat for self-gain before it blows up in his face.

Overall, I do like that we got to see Steven actually mess up in a personal matter and not just a magical destiny matter, and that’s something he really had to struggle with and learn from. At the same time, I feel like getting into that string of episodes and then leaving it was not the most gracefully executed. I’m glad that it happened, but I also sort of wish they went about it in a more interesting way, especially in a show that has frequently demonstrated, in the past, an ability to break the mold and go against the grain with its characters and storytelling.

But, you know. Connie has a cute haircut, now. So there’s that.

Overall

This was a nice chunk of episodes that left me feeling ultimately satisfied. I was expecting a string of episodes that leaned more toward the slice-of-life element of the show, but I was pleasantly surprised at how much I enjoyed them. To me, these were far superior to the slice-of-life episodes of Season 3 that I complained about. I found the plots more compelling, the characters were more engaging, and I even thought that the jokes were funnier (Steven’s oblivious napkin-stealing cracks me up).

Not to mention the fact that we’re seeing a lot of changes to the status quo. And not ones that feel like they were made just to switch things up. They all feel like logical outcomes based on what we know about the characters. Mayor Dewey was always ignorant and incompetent. Lapis was always against getting mixed up in Gem business, even Peridot at first. Sadie was always having her patience and tolerance for bullshit tested. It’s a good feeling when you have developments in your story that feel less like arbitrary sources of conflict and more like payoff to what we’ve known and felt all along.

I hope we get more episodes soon. Even if the “main plot” doesn’t advance, I just miss being in this world with these characters. This last Steven Bomb reminded me a bit of why I like the series so much in the first place. I hope we don’t end up like Steven, waiting fruitlessly for an update for days on end.