#a staple of many good zelda games

[futurefind]

//I DID THE THING FINALLY!! 😭😭😭The years on first one indicate when they first inspired me/influenced how I wrote/saw Sa!! Hence them being absent on the latter

Elaborations/details below the cut!!!

Element Valkyrie: (Kit) Literally how/why Sa has her main gimmick of fire + water/ice lmao!! In fact I think fire was her original main...? Ice became a focus post-atla (all of like... a year later lmfao)

Link (Twilight Princess): (Aesth) What can I say I really loved TPs, well, 'edgier' aesth (my second zelda after all of wind waker). Also, probably the first wolf association...? Less consciously, perhaps the first taste of cryptid drifter that goes around solving problems? (Kit) Why Sasume has a sword!! And why it's at her back/shoulder!! Also, sort of, ass kicking with said sword, but as a video game YMMV lmao. (Chara) The silent protag stuff could not hurt? Esp w the contrast with being good w kids, implicitly (Heart) WHAT CAN I SAY I'VE SAID IT BEFORE Sa is very much HeroTM, in broader loz/link sense, at heart. Saving and helping people is her priority!! Even when it's hard!!

Naruto: (Kit) Tbh... the source of Shinrei's aesthetic effects wrt eyes, teeth, claws, etc? (Bg/Lore) Samehat with her bg. With an emphasis on samehat, as the two were connected 1:1 in those early days. But unlike canon Naruto even baby Nori went 'reality ensues' 'edgier' variant where shit is traumatizing as fuck. (Heart) As I've also Also stated elsewhere... she's very much a shonen protagonist at heart??? A Knight in Sour Armor but a Knight all the same

Sasuke: (Aesth) Do I even need to say it...? The grumpy/angsty edgelord Lancer surface level absolutely came from here, lmao. Not as conscious as Naruto (iirc, I gave her blue hair bc my brown marker ran out when doing that design? lmfao) but definitely couldn't hurt. (Bg/Lore) Probably colored/inspired taking the aforementioned 'reality ensues' traumatic framing for Sa's bg. And a bunch of other plot-y stuff that's sliding scale of preserved to scraped entirely (ie being Nth distant relative survivors to the Uchiha clan lmfao). (Chara) What can I say... aren't we all familiar w the broadstrokes atp?? Loner angsting edgelord who's just afraid of letting people in... A staple of the archetype, and undoubtedly helped staple that archetype onto Sa. (Other) Far more nebulous, but did inspire a general 'special heritage/family line' power stuff. Though what said family line stuff was wouldn't be figured out 'til further down the line.

Kanda: (Aesth) For a hot second I literally intentionally looked to Kanda for aesth inspiration for Sa lmao... in my NLOG phase I even did an inverse of him being confused for a woman by having Sa be more Bifauxnen bc 'feminine = weak' lol (gag). Also, while from DGM's uniform as a whole rather than Kanda specifically, codified Sa's token look of skintight slevelees turtleneck + fingerless gloves— as well as remove previous aspects of color from her wardrobe. (Kit) Again, a side effect of DGM as a whole rather than Kanda specifically, but this is why Shinrei's kit isn't just so thought out but so specifically staggered (the 'Levels/Stages' aspects present across many Innocence). As a direct inspo, though, Mugen fucking with his pupils/eye is what I used to preserve Sa's emotive angy vfx (and what made it, and her entire kit, 1:1 with her sword rather than being innate). (Chara) Do I need to elaborate...? Lol. He also fits into the archetype of Sasuke that Sa was already in, so nothing too big, particularly as DGM made me develop Sa so much more and breakaway from copypasting him. However, he's liably the source of her more overt tsundere tendencies, as well as her aversion to using people's names (also for tsun reasons). Also probably why Sa's surface level is outright Jerkass and not just ominous stoic dude deal lmao.

Dean Winchester (s1-5): (Aesth) Gets some lite points for styling themselves against/for a parent, jerkass with a reckless heart of gold, and bravado/masculinity that oft loops back around to disingenuous/insecure. (Bg/Lore) What can I say? The idolization of a lost mother, comparing oneself against a parent (derogatory), the deadbeat dad (who's like the younger sibling), and the parentification and resulting over-protection and -devotedness toward their younger sibling/'child'. However, not much direct inspo here, especially since one of his hallmarks is his dysfunctional jackassery toward his sibling and one of Sa's is that her jackass exterior breaks away for hers. (Chara) While I remember Sasume's snark being unintentional irp, passive Deanfluence def couldn't hurt to cement the snark, lmfao. (Heart/Other) Lumping these two together bc man!! Man!!! What if you were forced into a life of violence and endangerment and self loathing and you 'reclaimed' it by putting how much you hate it and life and yourself into something meaningful, heroic. What if you were meant for greatness and it destroyed you. What if you wanted nothing more than a life of domesticity as a partner and parent and thought your only way to get there was through dreams and death. What if the only way you can get through the day is by chasing thrills and throwing yourself into risk after risk for others and half-hoping it kills you.

GRAVEYARD/REVERSE INSPO BOOGALOOS!!

As these are blorbos you can use to 'find Sasume in' instead of vice versa, these'll hopefully be more brief...? Things to make you point at and go 'omg just like Sa :)', rather than unpacking the building blocks of inspiration that helped codify her into how she is.

Geralt: (Aesth) The wandering enigmatic monster hunter with an extremely dangerous rep but with more heart/morals than you'd think... yk? Bonus spn gold eye points. (Kit) Nothing overt, but general hyper-competence wrt combat. (Bg) Witchers' sliding scale of dubious rep, yk? As well as his Butcher legacy. (Chara) As stated, gruff bastards with a caring heart that's variably concealed, depending on the moment. Notably (vs some prev examples), very okay with killing human monsters, even if it's not ideal.

Alucard: (Aesth) Pwincesses The supernatural & enigmatic auras that are both intimidating and inspiring reliance/protection yk? (Kit) Again general combat competence, but also healing factor and resulting being a gd tank, relatively. (Heart) Hearts of gold!! More overt since he's not a tsun though lol

Mizu: (Aesth) Edgelord wandering blue eyed 'samurai', lol. (Kit) Violence hypercompetence, pragmatism, and being a disturbing levels of tanking severe wounds. (Bg) What can I say Mizu's entire traumatic backstory and hardening into who she is is because of being othered and seen as nonhuman (if due to racism, vs Sa's). Plus some spoilery stuff I'm not gonna say bc oh my god guys go watch BES :') Esp if you like Sa. (Chara) The terrifying determinism, raw brutality/pragmatism, being stubborn idiots who need to be forced into accepting help... but also going to extreme lengths once the loner walls are breached. Also, the sass and taunting and blood knight aspects??? Peak Sa. Chef kiss. (Other) Holy fucking SHIT the insecurities? And self perception?? Seeing oneself as monstrous and inhuman and that inhumanity linked with an 'inability/failures of' being a woman yk......... augh,

Ed: (Kit) Having fun with 'bending' elements in utilitarian ways. (Bg) Orphaned big siblings whose main priority is saving/helping baby sib yk... Also, in retrospect, the hypercompetence being developed for the sake of said sib. (Heart) Again!! Shonen protagonist at her core!! Though ofc focusing more on the unironic softness, as well as her 'aspiring' for pacifism and hating having to kill but having no qualms doing so when necessary.

Rengoku: (Kit) Badass swordsmen with fire related aesth? Badass swordsmen. (Bg) While far more... mundane in the tragedies of his upbringing, the overlap in the themes and impact of their traumas are :') very much similar :'))) (Heart) Shonen protags but also mentors!! Staring very loudly at and ignoring even harder how as a kid my intent for Sa's story would be to kill her off. Tbf she's a very solid candidate for the Obi-Wan type 'crutch' characters whose death symbolisms an emblematic turning point...........

Vash: (Kit) Again: See: Hypercompetence in combat, now with more overt inhuman uncanniness!! (Bg) While far more fantastical and sort of... spread out? Impersonal? Than Sa's, it's impact and his view on it are very Sacore!! (Heart) SHONEN PROTAG OF ALL TIME??? And also see: aspirations of pacifism and how, just like Vash is able to be so extremely pacifistic because he's nonhuman levels of sturdy... Sasume cannot be because she's still very much human, and so can only take so much before she's forced to retaliate :') (And also being long past the point of breaking pacifism for sake of necessity/saving others... and p much Only breaking it to protect others... yk.......)

[doberbutts]

How are you enjoying tears of the kingdom so far?

I'm sort of two minds about it in complete honesty!

Tears of the Kingdom is a well executed sequel to a well executed proof of concept that was Breath of the Wild. I saw someone refer to TotK as the game BotW said it would be and I wholeheartedly agree. If you liked BotW, you will love TotK.

Everything that was great about BotW continues to be great and then some with TotK. The exploration. The look into how Hyrule and the surrounding kingdom/territories works. The mechanics are tighter. The story is more engaging. The characters are more fun and less bland. Additionally it feels like they took the good parts from some of their other games, including games that did not do well, and mixed it in here. The sky portion feels like what Skyward Sword wanted to be. Getting chased by the gloom hands felt like getting jumped by the shadow beasts in Twilight Princess. I feel like I'm playing a combo of Windwaker (my ultimate fave Zelda game), Minish Cap, Skyward Sword, A Link to the Past, Ocarina of Time, and Twilight Princess. And it's FUN.

Howver.

That means many of the flaws are continued as well. The Gerudo continue to be Orientalist middle eastern anti-arab stereotypes. The strange transmisogyny bits with the Gerudo are also still there. Those are both Zelda staples so in honesty they'd have to completely rehaul how they treat the entire race to fix it.

Sometimes controls are Extremely Stupid and things move in a completely different direction than I told them to. I was just 🔪🔪🔪 about this while playing Assassin's Creed Valhalla and how peeved it made me when I would move the stick forward and Eivor would cut left or right randomly while running to avoid an invisible obstacle. This also happened in BotW and it's actually a pretty common annoyance of mine with various games.

Overall I'd say it's a great game that does try to improve on its flaws and for the most part does a good job. But it also doubles down on a few of them and that can be a problem if those particular flaws kept you from playing the first one.

[aheathen-conceivably]

Hi! Amazing blog, I sometimes go back and read it all over again, that's how good it is! But, what would you say are the best packs to have when playing historical gameplay in the sims?

….oh my goodness, do you really? 🥹

That may be the nicest thing anyone has ever said omg thank you! 😭

But then of course you gotta follow it up with a difficult question! Lol and you know me, that means you ain’t getting a quick answer, so under the cut we go!

Expansion Packs:

Cottage Living: My top pick for expansion packs is probably my top pick of all the DLC. I wish that we had more mod-free gameplay for historical simming, but frankly farming is often our only option (especially pre-WWI). Plus being able to have animals, cross stitching, the grocery stall, and the world just make this a staple for me.

Runners-up: This is probably a three way tie between Seasons, Cats and Dogs, and Get Together. Seasons is just a staple for gameplay overall, and the addition of cold and hot weather will make any type of game better. Then I would say Cats and Dogs because people really underestimate how much historical peoples loved their pets; plus the world is useful for most eras and the BB can be very versatile too. Third is Get Together, almost exclusively for the world; although with some creativity the club system is always useful. For instance, it’s how I made Virginia “part” of the suffragettes.

Game packs:

Since almost every one of these packs is going to be useful just for BB and the world, I wanted to pick my top one as something that I think is marginally useful for historical gameplay. This may not be most people’s top choice but:

Outdoor Retreat: In addition to some BB objects that can be useful if you’re playing a more rustic, logging historical save, you also get a pretty decent world and what, in my opinion, is nice historical gameplay. This game pack comes with more woodworking designs, stargazing, campfire recipes, and telling stories around the fire, all things that I’ve used regularly. You also get the herbalism skill, which is (in my opinion) is too tied to the collectibles in Granite Falls, but with a mod is much more usable and fits into history gameplay wonderfully.

Runner-ups: Top choice is My Wedding Stories, which doesn’t always run smoothly but adds some variety and possible historical accuracy to your weddings. I also use some of the CAS for men and love the world, which can make an excellent starting point for a different type of gameplay or a vacation world (like with Rosella). Then I would chose Strangerville, Realm of Magic, and Vampires, mostly for the BB (RoM is the basis for Antoine and Zelda’s apartment) but also because you can make great use of those worlds too.

Stuff Packs:

Laundry Day & Nifty Knitting: These are just some of the best value for your money stuff packs, and they actually have gameplay that I use consistently. Laundry Day in particular, because I love the added challenge of off the grid laundry. Nifty Knitting a bit less so, because the objects created are so modern, but I still love having the knitting skill alongside cross-stitching.

Runners-up: Top choice here is probably Paranormal, because I have also used the BB quite a lot and will probably use the CAS going forward too. But more than that, so many people have brought up the seance tables as great for 1900s gameplay. I myself didn’t do it, but I love the idea. Second is Vintage Glamour because both the BB and CAS is useful, plus the added gameplay of butler can come in handy.

Kits:

I will pick one kit and one alone, and that is Bust the Dust. The sole reason that I’m including it is because of this mod, which I absolutely love. As I said I like having chores to do to make the game harder and feel more mundane so together with Laundry Day I do use this one constantly.

Thanks for sitting through the whole spiel. Hope it could help a little! 😄

[luigi-mcdingle]

I've got some less-than-orthodox ideas about harpies, so let's get into that today

Historically, harpies are mythological creatures featured in plenty of ancient texts from Greece to Rome, known for being heralds of the wind, guardians of the sky, and/or creatures under the command of the deity of the writer's choice. They're usually depicted as winged bipedal things with the face of a woman.

In more recent times, harpies, like many ancient mythological creatures, have become a staple of the fantasy genre, especially in video games. In that medium and over the years, harpies have taken a number of forms that I've come to classify into three groups: Feral, Wild, and Domestic.

Feral harpies, like the one seen in this concept art for Dragon's Dogma, are closest to their original mythological incarnations, though leaning more on the "attack dog of the underworld" side of the mythos. They're monsters through and through, ugly, ravenous beasts who know only hunger and death-- good for introducing players to flying enemies.

Wild harpies, like this one from Dungeons & Dragons are more humanoid and intelligent. They've lived near civilized races and have picked up the concepts of language and socializing, but still aren't typically to be trusted. This is the most common form of harpy seen in tabletop RPGs, and they more ably embody the myths that view harpies as greedy and treacherous; you'll often see wild harpies coveting shiny objects and stealing from unwary travelers.

Domestic harpies are where I usually lose people.

Domestic harpies are usually not called "harpies", but otherwise check off all the marks: Winged bipedal creatures with humanoid faces that inhabit the winds and sky as their domain. Rito from Zelda, Avians from Starbound, hell, even the Birdpeople from Rick and Morty can be considered a cousin of harpies. I find it difficult to discern where else in historical storytelling these sorts of races could come from, but most people seem to not make the connection. Perhaps that's just a good indication of how storytelling and myth has evolved over the centuries.

oh, also, smash

[sparkylurkdragon]

I still feel really ambivalent about Tears of the Kingdom, this close to the end of the story. It's not bad. It's not. Great, either? It just kind of is, for me.

We'll see how the final battles treat me. Just. So much bullshit retconning and frankly lazy writing ("Demon King? Secret Stone?" four times with pretty much zero variation is a major offender here), but man is Zelda herself good, and while I'm a little annoyed that this is clearly not the Ganondorf I know and love to hate, he's still been a wonderful bastard of a villain so far in a way that's always fun from any version of the King of Evil.

There are so many little things nagging me that they build up into A Big Thing, though. It's not like Sonic 2006 where the thing is unplayable, and it's not like Metroid: Other M where the story is a steaming pile of hot garbage. It's just.

Weird.

Gibdos being bugs is weird. The Sheikah tech being vapourised is weird. No one recognising Link is weird. The Zonai being stapled to the setting's backstory is weird.

The Secret Stones upstaging the Triforce is weird.

Maybe I'd like it better if it was my first Zelda game. Yes, even before Breath of the Wild.

Maybe this is the point. *shrugs*

[sergeantneko]

Hi there! I'm Neko, and I found your post as a reblog from a friend of mine. I've played all of the 3D zelda games, and I write fanfics for the series. I'll answer these as best I can!

1: I've never really thought about it, but if I were to do so, I would put Skyward Sword in Spring, Breath Of The Wild in Autumn, Ocarina of Time in Summer, and Twilight Princess in winter.

2: Assuming you mean 2D as pixelated. I haven't played any of the 2D retro titles (pretty much any of the pixelated ones), however I have played all of the 3D top-down ones. I'm gonna pick one of those, if that's okay? Defo either Link Between Worlds or Spirit Tracks.

3: Skyward Sword! She's SO FRICKIN' CUTE.

4: That's a really hard one. Of the ones I've played, I'd say Phantom Hourglass.

5: I cannot justify picking just one soundtrack, so I'll pick out a few of my favourites instead. Colgera's battle theme (ToTK), Ganon's battle theme (OoT, That 23/16 time signature is insane and I love it), Yuga Ganon battle theme (ALBW, same reason, song is set to 7/8 time signature and it's just as insane), Tarrey Town theme (BoTW), Tal Tal Heights (Link's Awakening Remake), and so many more that elude me.

6: Nope! Bring it on, I love a challenge!

7: There are too many to list, but there is one that I love that others don't. That being the Water Temple from Ocarina of Time. Most people hate it because it's confusing, but I saw it as an experience. And that experience was fucking good, for me anyway.

8: Spirit Tracks for sure. The music, the story, I love it. The controls are not fun, and using the flute was fun if flawed, but everything else makes that tolerable.

9: Hmmmm... I'm gonna go with Tingle on this one.

10: The hookshot! It can get you to many places, and it has been a staple in traditional zelda games! So fun shooting it out and then zipping to the place it sticks.

11: That ones a toss up. I love all of his incarnations. I think Wind Waker is top due to him actually having some sort of humanity. He just wanted what was best for his people, and I can understand his plight. However, the way he went abouy it was wrong.

12: Ocarina of Time. It was the first Zelda game I ever played. And I was enthralled the entire time. Since then, I have managed to play every 3D Zelda game up to now, and it's my favourite franchise.

13: Breath of The Wild. The character designs and lore is incredible. Not much more to say there, really. Nintendo did an amazing job with this entry, and the one after it too.

14: Master Sword. No question.

15: Gerudo Desert, specifically the one from Breath of The Wild.

16: I don't really have one, they're all great.

17: Twilight Princess. It's my favourite in the series for a reason, and atmosphere is a big factor.

18: Again, Twilight Princess. Quite the dark game, especially in contrast to other entries.

19: Same as above, for the same reasons.

20: Same as above.

21: Skyward Sword! The painterly style is fucking awesome. If you're further away from an object, the shader makes the object look watercolored. They improved that effect in the HD remaster on switch, and it's beautiful.

22: I don't really have a favourite. They're all good!

23: Spiritual Stones please.

24: Either Ocarina of Time or Twilight Princess for items.

25: Midna.

26: Spirit Tracks.

27: Breath of The Wild. Mainly cause it pertains to being a breath of fresh air for the series as a whole with it being open world, and the whole place being mostly wilderness at this point.

28: Skyward Sword, up to a point.

29: Hookshot!

30: Ocarina of Time title theme.

31: City In The Sky from Twilight Princess. The entire dungeon is the "I am confusion" gif.

32: Breath of the Wild.

33: Mix of both. It wouldn't be a Zelda game without either.

34: Hmmm... That's a tough one. I think overall I might have had the most trouble with the second Ganon battle that takes place within Hyrule Castle in Echoes of Wisdom.

35: I didn't really have much issue with any of them except for Demise in Skyward Sword. Took me a little while to learn his patterns.

36: that one's between Twilight Princess and Skyward Sword. Both cinematic games, and both incredible in their own way.

37: I have no idea. If I had to give an answer, the Likelike's are weird.

38: The Dead Hand, as well as the ReDeads and Gibdos from Ocarina of Time. Both EXTREMELY creepy.

39: Echoes of Wisdom.

40: Tingle.

41: I have three. Song of Storms, Serenade of Water, and Requiem of Spirit.

42: The Couple's Mask.

43: Goron Mask.

44: The Anju and Kafei quest.

45: Tarrey Town.

46: Skyward Sword HD

47: Each game fulfills something different for me, and so I can't say that any one game is the most fulfilling for me.

48: I love the one incorporated in Breath of The Wild and Tears of The Kingdom. Amazing shading style that blends Cel shading with semi-realistic graphics.

49: Fairy.

50: Modern Hylian Shield, BoTW and ToTK style.

Hope this gives a little bit of insight into my views on the series!

🌟 TLOZ asks 🌟

1. Is there a Zelda game(s) that you associate with each season or time of year?

2. Favourite 2D title?

3. Favourite incarnation of Zelda?

4. Least favourite entry in the series?

5. Favourite LOZ soundtrack?

6. Is there a Zelda game that intimidates you/looks too hard?

7. Favourite dungeons?

8. Most underrated Zelda game?

9. Least favourite character in the series?

10. Favourite item?

11. Favourite Ganon characterization?

12. Which Zelda game has the most sentimental value to you?

13. What Zelda game, in your opinion, has the best character design?

14. Master Sword, the Four Sword, Great Fairy's Sword, the Koholint Sword, or the Biggoron Sword?

15. Favourite location within Hyrule?

16. Favourite location outside of/parallel to Hyrule (Termina, Lorule, Holodrum, Subrosia, the Dark World, Labrynna, the Great Sea, etc)?

17. Most atmospheric game?

18. Which Zelda game feels most mature to you?

19. Which Zelda game has the darkest story to you?

20. Favourite 3D title?

21. Prettiest Zelda game?

22. Favourite incarnation of Link?

23. The Pendants of Virtue, the Spiritual Stones, or the Goddess Pearls?

24. Game with most impressive/useful lineup of items?

25. Favourite companion (Midna, Ezlo, Navi, etc)?

26. Favourite handheld title?

27. Game with the best title (Breath of the Wild, Twilight Princess, Link's Awakening, etc)?

28. Most wholesome Zelda game?

29. Favourite item to use (aside from the sword & shield)?

30. Favourite title theme from a Zelda game?

31. Hardest dungeon played?

32. Game with the best map design?

33. Do you prefer puzzles or combat?

34. Game with the hardest boss?

35. Game with the hardest final boss?

36. Which game had the most engaging story, in your opinion?

37. Least favourite enemy?

38. Creepiest enemy?

39. Which Zelda game, in your opinion, had the most satisfying ending?

40. Most out-of-place thing in the series?

41. Favourite ocarina song?

42. Favourite non-transformation mask from Majora's Mask?

43. Favourite transformation mask from Majora's Mask?

44. Hardest sidequest in the series?

45. Best sidequest in the series?

46. Favourite remake/remaster (Ocarina of Time 3D, The Wind Waker HD, Link's Awakening for the Switch)?

47. Most fulfilling Zelda game?

48. Favourite graphical style within the games (cel-shading, realistic, 16-bit, etc)?

49. Favourite thing to keep in a bottle?

50. Favourite shield?

[trash64]

ChatGPT on N64

I'm critically bored at work, I'm inputting a few different gaming prompts into ChatGPT just to see what is says. I almost feel like I should apologise in advance for platforming or publishing the work. This blog is in appreciation of gaming, specifically Nintendo 64. It is unpaid content I post to Tumblr in anonymity, the most engaged with post is a repost from a prominent CRT Account. I hope these offer some interest.

ChatGPT explains Stop 'n Swop in Banjo Kazooie

Stop 'n' Swop is a feature in the original Banjo-Kazooie game for the Nintendo 64 that was meant to allow players to unlock content in its sequel, Banjo-Tooie. The idea behind Stop 'n' Swop was that players could collect special colored eggs and a key in Banjo-Kazooie and then, using a feature on the Nintendo 64 that allowed for the transfer of data between games, unlock new content in Banjo-Tooie.

However, due to technical limitations, the original Nintendo 64 version of Banjo-Tooie was not able to fully implement Stop 'n' Swop, and the feature was left unfinished. In later re-releases of Banjo-Kazooie, such as the Xbox Live Arcade version, the Stop 'n' Swop feature was re-implemented using different means, but it still served as a way to unlock content in Banjo-Tooie.

Overall, Stop 'n' Swop was an ambitious idea that was never fully realized, but it remains a unique feature that demonstrates the creativity and ingenuity of the Banjo-Kazooie development team.

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ChatGPT tells a little known fact about Super Mario 64

A little known fact about Super Mario 64 is that it was originally planned to have a two-player mode, where one player controlled Mario and the other controlled Luigi. This mode was eventually scrapped due to technical limitations, as the Nintendo 64 did not have enough processing power to handle two separate camera views at once. However, traces of this two-player mode can still be found in the game's code, including unused Luigi character models and animations. Additionally, a fan-made mod called "Super Mario 64: Last Impact" has implemented a two-player mode using these unused assets.

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ChatGPT Generates a Top 5 list of Nintendo 64 games

Sure, here are five of the top Nintendo 64 games (in no particular order):

Super Mario 64 - This groundbreaking game was a launch title for the Nintendo 64 and is widely considered one of the greatest video games of all time. It introduced 3D platforming to the world and set the standard for many games to come.

The Legend of Zelda: Ocarina of Time - Another iconic game, Ocarina of Time is widely regarded as one of the greatest games ever made. It took the Zelda series into 3D for the first time and revolutionized the action-adventure genre with its intricate puzzles, immersive world, and engaging story.

GoldenEye 007 - This game is a classic first-person shooter that was groundbreaking for its time. It popularized the console FPS genre and was one of the first games to feature split-screen multiplayer, which was a huge hit among friends.

Mario Kart 64 - This beloved kart racing game has become a staple of the Nintendo franchise. It features classic Mario characters, fun tracks, and addictive multiplayer gameplay that still holds up today.

Banjo-Kazooie - This 3D platformer is another classic from the Nintendo 64 era. It features a fun cast of characters, challenging puzzles, and an immersive world to explore. It's considered one of the best platformers of its time and is still enjoyed by many today.

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ChatGBP generates a good party for Poke Cup Master Ball in Pokemon Stadium

The Poke Cup Master Ball in Pokemon Stadium is a tough challenge, so having a strong and balanced party is essential. Here is a suggested party that can help you beat this cup:

Machamp - Machamp is a powerful Fighting-type Pokemon that can deal a lot of damage and has high physical defense. Teach it moves like Dynamic Punch, Rock Slide, Earthquake, and Counter.

Alakazam - Alakazam is a fast and powerful Psychic-type Pokemon that can easily take down opponents with special attacks. Teach it moves like Psychic, Thunderbolt, Ice Punch, and Recover.

Gyarados - Gyarados is a strong Water/Flying-type Pokemon that can dish out powerful physical attacks and has decent defense. Teach it moves like Hydro Pump, Dragon Dance, Earthquake, and Hyper Beam.

Exeggutor - Exeggutor is a versatile Grass/Psychic-type Pokemon that can use both special and physical attacks. Teach it moves like Solar Beam, Psychic, Sleep Powder, and Explosion.

Zapdos - Zapdos is a fast and powerful Electric/Flying-type Pokemon that can deal a lot of damage with special attacks. Teach it moves like Thunderbolt, Drill Peck, Thunder Wave, and Rest.

Snorlax - Snorlax is a bulky Normal-type Pokemon that can absorb damage and deal heavy hits with physical attacks. Teach it moves like Body Slam, Rest, Earthquake, and Hyper Beam.

This party covers a variety of types and movesets that can deal with most opponents in the Poke Cup Master Ball. Be sure to train your Pokemon well and choose moves carefully, as some opponents may have unique abilities or weaknesses that you'll need to exploit to win.

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ChatGPT curates a list of the best lesser known or cult Nintendo 64 games?

Here are some of the best lesser-known or cult Nintendo 64 games that are worth checking out:

Paper Mario - This is a cult classic RPG that was released towards the end of the N64's lifespan. It features a charming paper-craft aesthetic, a memorable cast of characters, and a great story that still holds up today.

Blast Corps - This is a unique puzzle game where you control vehicles that destroy buildings to clear a path for a runaway nuclear missile. It has a fun and addictive gameplay loop that's both challenging and rewarding.

Snowboard Kids 2 - This is a lesser-known snowboarding game that offers a unique mix of racing and trick-based gameplay. It features charming anime-style graphics, catchy music, and tight controls that make it a joy to play.

Mystical Ninja Starring Goemon - This is a quirky action-adventure game that's heavily inspired by Japanese folklore and culture. It features a charming and colorful world, fun combat, and a wacky sense of humor that's sure to delight.

Mischief Makers - This is a lesser-known 2D platformer that's known for its unique gameplay mechanics. You play as a robot maid named Marina who can grab and shake objects to solve puzzles and defeat enemies. It has a charming aesthetic, memorable bosses, and a fun soundtrack.

All of these games offer a unique experience that's worth checking out for any Nintendo 64 fan looking to expand their collection.

-

ChatGPT can not objectively state, but refers to some critics and gaming enthusiasts opinions about the worst Nintendo 64 game.

As an AI language model, I cannot make subjective statements and opinions. However, according to some critics and gaming enthusiasts, one of the worst Nintendo 64 games of all time is Superman 64. The game was released in 1999 and was highly anticipated, but it was met with overwhelmingly negative reviews for its poor graphics, clunky controls, and repetitive and frustrating gameplay. The game also suffered from several game-breaking glitches and bugs that made it nearly impossible to play. It is often cited as one of the worst video games of all time, not just for the Nintendo 64, but in the history of gaming.

-

ChatGPT lists a great Japanese only Nintendo 64 title without a significant language barrier?

One great Japanese-only Nintendo 64 title that doesn't have a significant language barrier is "Doubutsu no Mori" (Animal Forest), which was later released in the West as "Animal Crossing" for the Nintendo GameCube. While the game is entirely in Japanese, it is relatively easy to navigate and understand without knowledge of the language.

The game is a life simulation game where players move to a new town inhabited by anthropomorphic animals and must perform various tasks to improve their home and the town. The game features a real-time clock and calendar, with events and activities changing based on the time of day and season.

Despite being entirely in Japanese, the game's tasks and activities are relatively easy to understand and follow, and there are online resources available that provide translations for any essential dialogue or menus. The game's charming characters, relaxing gameplay, and unique features make it an enjoyable experience, even without understanding the language.

Overall, Doubutsu no Mori (Animal Forest) is a great Japanese-only Nintendo 64 title that doesn't require significant knowledge of the language to enjoy, and it's definitely worth playing for fans of life simulation games.

-

List 5 great Japanese only Nintendo 64 title without a significant language barrier?

Sin and Punishment - This rail shooter game is one of the best Japanese-only Nintendo 64 titles and has gained a cult following over the years. The gameplay is fast-paced and intense, and the controls are relatively easy to pick up, even if you don't understand the dialogue.

Rakuga Kids - This is a unique 2D fighting game that features a cast of colorful and quirky characters. The game's mechanics are easy to understand, making it accessible for players who don't speak Japanese.

Custom Robo V2 - This is a popular action game that involves players controlling small robots that engage in battles. The game's menus and mechanics are relatively easy to navigate, and the game is known for its depth and customization options.

Choro Q 64 2: Hachamecha Grand Prix Race - This is a kart racing game that features cute, customizable toy cars. The game has a variety of tracks and challenges, and the controls are easy to pick up and play.

Goemon: Mononoke Sugoroku - This is a board game-style game set in the world of the Goemon series. The game features minigames and challenges that are easy to understand and play, and the game's graphics and sound design are top-notch.

[telemna-hyelle]

Listen, I’m am Totally Here for all things Palace of the Four Swords, but isn’t ‘The Dark World’ of the downfall timeline just the Sacred Realm that’s been corrupted by Ganon?? So I’m the non-corrupted timelines the four swords are just put to rest chilling in the sacred realm in their own fancy palace under the Triforce. I always thought the swords being there in the first place was likely done by Dot after Four(s) passing so that the sword(s) that are Literally fused with parts of his soul couldn’t be used by anyone else and he could Rest In Peace.

Yes, you are absolutely right! My general headcanon seems to be the same as yours--that Four lived a long and peaceful life (because it never says otherwise and you can pry my happy endings out of my cold dead hands) and after he died, the Four Sword was placed in the temple for safekeeping, so that the bits of Four still inside the sword can be at peace.

But in a lot of the Palace of the Four Sword fics I've seen it's been actual-still-alive-Four who was somehow trapped and sealed inside the four sword and poor baby first-adventure Legend ended up fighting him and killing him and didn't know what was going on until too late. 

Which is really sad, and so I thought I'd try my end at making a happier version.

Which I'm not sure I've succeeded at yet. 

Anyway, my fic is still in drafting stages so I haven't quite figured it out yet, but it either has a) in the real world, there's an entrance to the Palace of the Four sword that's accessible from Hyrule, and once you're inside all possible access to the sacred realm has been sealed off. The Palace is essentially in it's own pocket dimension for all intents and purposes; or b) the Palace has somehow been brought to the real world and hidden deep in the woods or something. As to why such a thing has happened?

Well.

I did say Twilight was one of the ones who stumbled upon the Palace at the start of the fic. 

Make of that what you will.

[monochromayhem]

Alright so I’m gonna be clear here. BotW isn’t super difficult when you compare it to other Zelda games. But you know what’s harder than the temples in OoT?

The Temple of the Ocean King from Phantom Hourglass.

Not only are you wrestling with touch screen controls that aren’t perfected until the next entry, not only do you have to visit it a total of SIX times, not only do the Phantoms approach and relentlessly hunt you at breakneck speed, not only will the Phantoms OHKO you if you can’t make it to a safe zone in time, not only are many of the 13 floors huge and labyrinthine, not only do you have to return to the beginning if you die, but

you have to do all of that under a time limit.

The only godsend are gold pots that drop seconds worth of time to refill your limit. If that time limit is reached, as long as you’re not in a safe zone, your life will drain fast.

And remember

If you die you have to start from the beginning.

Good luck! :)

All that being said, I don’t think it’s fair to dismiss botw players like that. Really alienated newcomers who might go back and check out old titles. While I agree that the Divine Beasts aren’t too difficult, they can be word and confusing when you are going in blind. Medoh is probably the simplest to understand, then Ruta, the Rudania, then Naboris, not counting their respective bosses. Switch Rudania and Arita for the boss order from least to most difficult.

Where the real challenge comes in is the beginning of the Champion’s ballad, the final trial, and the sword trials. Not to mention that if you don’t know what you’re doing and aren’t fast enough, the Thunderblight revisit can give you a hell of a time since all your weapons are metal and you have practically no food.

A lot of people also complain about how difficult it can be to pull off mobility tricks like BTB and windbombing. Though it’s not technically a part of plot, physics is an inherent part of BotW, so I consider these tricks to be a fun way to get around Hyrule and are—because of the built in physics— absolutely within the realm of intentional.

Once you get good at hunting down guardians, you aren’t afraid of much in this game. Including Ganon.

I don’t think it’s fair to judge it solely based on dungeons because that was not the focus of this entry— its focus was open exploration. It’s an homage in structure to the original Legend of Zelda, down to the fact that the guardians’ size and threat were directly inspired from the octoroks in the original. Though dungeons are in many ways a staple of the franchise, the creators chose to break the mold and out the adventure back into the players’ hands and not railroad you.

Also I saw someone say they loved the divine beasts because they were challenging. I don't mean to sound negative or like they can't find divine beasts challenging but when I see things like that I'm like yeah you haven't played ocarina of time

[aquilaofarkham]

Much like his infamous father, the aesthetic of Alucard has changed tremendously since Castlevania’s start in the 1980s—yet certain things about him never change at all. He began as the mirror image of Dracula; a hark back to the days of masculine Hammer Horror films, Christopher Lee, and Bela Lugosi. Then his image changed dramatically into the androgynous gothic aristocrat most people know him as today. This essay will examine Alucard’s design, the certain artistic and social trends which might have influenced it, and how it has evolved into what it is now.

☽ Read the full piece here or click the read more for the text only version ☽

INTRODUCTION

Published in 2017, Carol Dyhouse’s Heartthrobs: A History of Women and Desire examines how certain cultural trends can influence what women may find attractive or stimulating in a male character. By using popular archetypes such as the Prince Charming, the bad boy, and the tall dark handsome stranger, Dyhouse seeks to explain why these particular men appeal to the largest demographic beyond mere superfluous infatuation. In one chapter titled “Dark Princes, Foreign Powers: Desert Lovers, Outsiders, and Vampires”, she touches upon the fascination most audiences have with moody and darkly seductive vampires. Dyhouse exposits that the reason for this fascination is the inherent dangerous allure of taming someone—or something—so dominating and masculine, perhaps even evil, yet hides their supposed sensitivity behind a Byronic demeanour.

This is simply one example of how the general depiction of vampires in mainstream media has evolved over time. Because the concept itself is as old as the folklore and superstitions it originates from, thus varying from culture to culture, there is no right or wrong way to represent a vampire, desirable or not. The Caribbean Soucouyant is described as a beautiful woman who sheds her skin at night and enters her victims’ bedrooms disguised as an aura of light before consuming their blood. In Ancient Roman mythology there are tales of the Strix, an owl-like creature that comes out at night to drink human blood until it can take no more. Even the Chupacabra, a popular cryptid supposedly first spotted in Puerto Rico, has been referred to as being vampiric because of the way it sucks blood out of goats, leaving behind a dried up corpse.

However, it is a rare thing to find any of these vampires in popular media. Instead, most modern audiences are shown Dyhouse’s vampire: the brooding, masculine alpha male in both appearance and personality. A viewer may wish to be with that character, or they might wish to become just like that character. 

This sort of shift in regards to creating the “ideal” vampire is most evident in how the image of Dracula has been adapted, interpreted, and revamped in order to keep up with changing trends. In Bram Stoker’s original 1897 novel of the same name, Dracula is presented as the ultimate evil; an ancient, almost grotesque devil that ensnares the most unsuspecting victims and slowly corrupts their innocence until they are either subservient to him (Renfield, the three brides) or lost to their own bloodlust (Lucy Westenra). In the end, he can only be defeated through the joined actions of a steadfast if not ragtag group of self-proclaimed vampire hunters that includes a professor, a nobleman, a doctor, and a cowboy. His monstrousness in following adaptations remains, but it is often undercut by attempts to give his character far more pathos than the original source material presents him with. Dracula has become everything: a monster, a lover, a warrior, a lonely soul searching for companionship, a conquerer, a comedian, and of course, the final boss of a thirty-year-old video game franchise.

Which brings us to the topic of this essay; not Dracula per say, but his son. Even if someone has never played a single instalment of Castlevania or watched the ongoing animated Netflix series, it is still most likely that they have heard of or seen the character of Alucard through cultural osmosis thanks to social media sites such as Twitter, Instagram, Reddit, and the like. Over the thirty-plus years in which Castlevania has remained within the public’s consciousness, Alucard has become one of the most popular characters of the franchise, if not the most popular. Since his debut as a leading man in the hit game Castlevania: Symphony of the Night, he has taken his place beside other protagonists like Simon Belmont, a character who was arguably the face of Castlevania before 1997, the year in which Symphony of the Night was released. Alucard is an iconic component of the series and thanks in part to the mainstream online streaming service Netflix, he is now more present in the public eye than ever before whether through official marketing strategies or fanworks.

It is easy to see why. Alucard’s backstory and current struggles are quite similar to the defining characteristics of the Byronic hero. Being the son of the human doctor Lisa Țepeș, a symbol of goodness and martyrdom in all adaptations, and the lord of all vampires Dracula, Alucard (also referred to by his birth name Adrian Fahrenheit Țepeș) feels constantly torn between the two halves of himself. He maintains his moralistic values towards protecting humanity, despite being forced to make hard decisions, and despite parts of humanity not being kind to him in turn, yet is always tempted by his more monstrous inheritance. The idea of a hero who carries a dark burden while aspiring towards nobility is something that appeals to many audiences. We relate to their struggles, cheer for them when they triumph, and share their pain when they fail. Alucard (as most casual viewers see him) is the very personification of the Carol Dyhouse vampire: mysterious, melancholic, dominating, yet sensitive and striving for compassion. Perceived as a supposed “bad boy” on the surface by people who take him at face value, yet in reality is anything but.

Then there is Alucard’s appearance, an element that is intrinsically tied to how he has been portrayed over the decades and the focus of this essay. Much like his infamous father, the aesthetic of Alucard has changed tremendously since Castlevania’s start in the 1980s—yet certain things about him never change at all. He began as the mirror image of Dracula; a hark back to the days of masculine Hammer Horror films, Christopher Lee, and Bela Lugosi. Then his image changed dramatically into the androgynous gothic aristocrat most people know him as today. This essay will examine Alucard’s design, the certain artistic and social trends which might have influenced it, and how it has evolved into what it is now. Parts will include theoretical, analytical, and hypothetical stances, but it’s overall purpose is to be merely observational.

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What is Castlevania?

We start this examination at the most obvious place, with the most obvious question. Like all franchises, Castlevania has had its peaks, low points, and dry spells. Developed by Konami and directed by Hitoshi Akamatsu, the first instalment was released in 1986 then distributed in North America for the Nintendo Entertainment System the following year. Its pixelated gameplay consists of jumping from platform to platform and fighting enemies across eighteen stages all to reach the final boss, Dracula himself. Much like the gameplay, the story of Castlevania is simple. You play as Simon Belmont; a legendary vampire hunter and the only one who can defeat Dracula. His arsenal includes holy water, axes, and throwing daggers among many others, but his most important weapon is a consecrated whip known as the vampire killer, another iconic staple of the Castlevania image.

Due to positive reception from critics and the public alike, Castlevania joined other titles including Super Mario Bros., The Legend of Zelda, and Mega Man as one of the most defining video games of the 1980s. As for the series itself, Castlevania started the first era known by many fans and aficionados as the “Classicvania” phase, which continued until the late 1990s. It was then followed by the “Metroidvania” era, the “3-D Vania” era during the early to mid 2000s, an reboot phase during the early 2010s, and finally a renaissance or “revival” age where a sudden boom in new or re-released Castlevania content helped boost interest and popularity in the franchise. Each of these eras detail how the games changed in terms of gameplay, design, and storytelling. The following timeline gives a general overview of the different phases along with their corresponding dates and instalments.

Classicvania refers to Castlevania games that maintain the original’s simplicity in gameplay, basic storytelling, and pixelated design. In other words, working within the console limitations of the time. They are usually side-scrolling platformers with an emphasis on finding hidden objects and defeating a variety of smaller enemies until the player faces off against the penultimate boss. Following games like Castlevania 2: Simon’s Quest and Castlevania 3: Dracula’s Curse were more ambitious than their predecessor as they both introduced new story elements that offered multiple endings and branching pathways. In Dracula’s Curse, there are four playable characters each with their own unique gameplay. However, the most basic plot of the first game is present within both of these titles . Namely, find Dracula and kill Dracula. Like with The Legend of Zelda’s Link facing off against Ganon or Mario fighting Bowser, the quest to destroy Dracula is the most fundamental aspect to Castlevania. Nearly every game had to end with his defeat. In terms of gameplay, it was all about the journey to Dracula’s castle. 

As video games grew more and more complex leading into the 1990s, Castlevania’s tried and true formula began to mature as well. The series took a drastic turn with the 1997 release of Castlevania: Symphony of the Night, a game which started the Metroidvania phase. This not only refers to the stylistic and gameplay changes of the franchise itself, but also refers to an entire subgenre of video games. Combining key components from Castlevania and Nintendo’s popular science fiction action series Metroid, Metroidvania games emphasize non-linear exploration and more traditional RPG elements including a massive array of collectable weapons, power-ups, character statistics, and armor. Symphony of the Night pioneered this trend while later titles like Castlevania: Circle of the Moon, Castlevania: Harmony of Dissonance and Castlevania: Aria of Sorrow solidified it. Nowadays, Metroidvanias are common amongst independent developers while garnering critical praise. Hollow Knight, Blasphemous, and Bloodstained: Ritual of the Night are just a few examples of modern Metroidvanias that use the formula to create familiar yet still distinct gaming experiences. 

Then came the early to mid 2000s and many video games were perfecting the use of 3-D modelling, free control over the camera, and detailed environments. Similar to what other long-running video game franchises were doing at the time, Castlevania began experimenting with 3-D in 1999 with Castlevania 64 and Castlevania: Legacy of Darkness, both developed for the Nintendo 64 console. 64 received moderately positive reviews while the reception for its companion was far more mixed, though with Nintendo 64’s discontinuation in 2002, both games have unfortunately fallen into obscurity. 

A year later, Castlevania returned to 3-D with Castlevania: Lament of Innocence for the Playstation 2. This marked Koji Igarashi’s first foray into 3-D as well as the series’ first ever M-rated instalment. While not the most sophisticated or complex 3-D Vania (or one that manages to hold up over time in terms of graphics), Lament of Innocence was a considerable improvement over 64 and Legacy of Darkness. Other 3-D Vania titles include Castlevania: Curse of Darkness, Castlevania: Judgment, and Castlevania: The Dracula X Chronicles for the PSP, a remake of the Classicvania game Castlevania: Rondo of Blood which merged 3-D models, environments, and traditional platforming mechanics emblematic of early Castlevania. It is important to note that during this particular era, there were outliers to the changing formula that included Castlevania: Portrait of Ruin and Castlevania: Order of Ecclesia, both games which added to the Metroidvania genre. 

Despite many of the aforementioned games becoming cult classics and fan favourites, this was an era in which Castlevania struggled to maintain its relevance, confused by its own identity according to most critics. Attempts to try something original usually fell flat or failed to resonate with audiences and certain callbacks to what worked in the past were met with indifference. 

By the 2010s, the Castlevania brand changed yet again and stirred even more division amongst critics, fans, and casual players. This was not necessarily a dark age for the franchise but it was a strange age; the black sheep of Castlevania. In 2010, Konami released Castlevania: Lords of Shadow, a complete reboot of the series with new gameplay, new characters, and new lore unrelated to previous instalments. The few elements tying it to classic Castlevania games were recurring enemies, platforming, and the return of the iconic whip used as both a weapon and another means of getting from one area to another. Other gameplay features included puzzle-solving, exploration, and hack-and-slash combat. But what makes Lords of Shadow so divisive amongst fans is its story. The player follows Gabriel Belmont, a holy warrior on a quest to save his deceased wife’s soul from Limbo. From that basic plot point, the storyline diverges immensely from previous Castlevania titles, becoming more and more complicated until Gabriel makes the ultimate sacrifice and turns into the very monster that haunted other Belmont heroes for centuries: Dracula. While a dark plot twist and a far cry from the hopeful endings of past games, the concept of a more tortured and reluctant Dracula who was once the hero had already been introduced in older Dracula adaptations (the Francis Ford Coppola directed Dracula being a major example of this trend in media).

Despite strong opinions on how much the story of Lords of Shadow diverged from the original timeline, it was positively received by critics, garnering an overall score of 85 on Metacritic. This prompted Konami to continue with the release of Castlevania: Lords of Shadow—Mirror of Fate and Castlevania: Lords of Shadow 2. Mirror of Fate returned to the series’ platforming and side-scrolling roots with stylized 3-D models and cutscenes. It received mixed reviews, as did its successor Lords of Shadow 2. While Mirror of Fate felt more like a classic stand-alone Castlevania with Dracula back as its main antagonist, the return of Simon Belmont, and the inclusion of Alucard, Lords of Shadow 2 carried over plot elements from its two predecessors along with new additions, turning an already complicated story into something more contrived. 

Finally, there came a much needed revival phase for the franchise. Netflix’s adaptation of Castlevania animated by Powerhouse Animation Studios based in Austen, Texas and directed by Samuel Deats and co-directed by Adam Deats aired its first season during July 2017 with four episodes. Season two aired in October 2018 with eight episodes followed by a ten episode third season in March 2020. Season four was announced by Netflix three weeks after the release of season three. The show combines traditional western 2-D animation with elements from Japanese anime and is a loose adaptation of Castlevania 3: Dracula’s Curse combined with plot details from Castlevania: Curse of Darkness, Castlevania: Symphony of the Night, and original story concepts. But the influx of new Castlevania content did not stop with the show. Before the release of season two, Nintendo announced that classic protagonists Simon Belmont and Richter Belmont would join the ever-growing roster of playable characters in their hit fighting game Super Smash Bros. Ultimate. With their addition also came the inclusion of iconic Castlevania environments, music, weapons, and supporting characters like Dracula and Alucard. 

During the year-long gap between seasons two and three of the Netflix show, Konami released Castlevania: Grimoire of Souls, a side-scrolling platformer and gacha game for mobile devices. The appeal of Grimoire of Souls is the combination of popular Castlevania characters each from a different game in the series interacting with one another along with a near endless supply of collectable weapons, outfits, power-ups, and armor accompanied by new art. Another ongoing endeavor by Konami in partnership with Sony to bring collective awareness back to one of their flagship titles is the re-releasing of past Castlevania games. This began with Castlevania: Requiem, in which buyers received both Symphony of the Night and Rondo of Blood for the Playstation 4 in 2018. This was followed the next year with the Castlevania Anniversary Collection, a bundle that included a number of Classicvania titles for the Playstation 4, Xbox One, Steam, and Nintendo Switch.

Like Dracula, the Belmonts, and the vampire killer, one other element tying these five eras together is the presence of Alucard and his various forms in each one.

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Masculinity in 1980s Media

When it comes to media and various forms of the liberal arts be it entertainment, fashion, music, etc., we are currently in the middle of a phenomenon known as the thirty year cycle. Patrick Metzgar of The Patterning describes this trend as a pop cultural pattern that is, in his words, “forever obsessed with a nostalgia pendulum that regularly resurfaces things from 30 years ago”. Nowadays, media seems to be fixated with a romanticized view of the 1980s from bold and flashy fashion trends, to current music that relies on the use of synthesizers, to of course visual mass media that capitalizes on pop culture icons of the 80s. This can refer to remakes, reboots, and sequels; the first cinematic chapter of Stephen King’s IT, The Dark Crystal: Age of Resistance, and both Ghostbusters remakes are prime examples—but the thirty year cycle can also include original media that is heavily influenced or oversaturated with nostalgia. Netflix’s blockbuster series Stranger Things is this pattern’s biggest and most overt product. 

To further explain how the thirty year cycle works with another example, Star Wars began as a nostalgia trip and emulation of vintage science fiction serials from the 1950s and 60s, the most prominent influence being Flash Gordon. This comparison is partially due to George Lucas’ original attempts to license the Flash Gordon brand before using it as prime inspiration for Star Wars: A New Hope and subsequent sequels. After Lucas sold his production company Lucasfilms to Disney, three more Star Wars films were released, borrowing many aesthetic and story elements from Lucas’ original trilogy while becoming emulations of nostalgia themselves. 

The current influx of Castlevania content could be emblematic of this very same pattern in visual media, being an 80s property itself, but what do we actually remember from the 1980s? Thanks to the thirty year cycle, the general public definitely acknowledges and enjoys all the fun things about the decade. Movie theatres were dominated by the teen flicks of John Hughes, the fantasy genre found a comeback due to the resurgence of J.R.R. Tolkien’s classic works along with the tabletop role-playing game Dungeons & Dragons, and people were dancing their worries away to the songs of Michael Jackson, Whitney Houston, and Madonna. Then there were the things that most properties taking part in the thirty year cycle choose to ignore or gloss over, with some exceptions. The rise of child disappearances, prompting the term “stranger danger”, the continuation of satanic panic from the 70s which caused the shutdown and incarceration of hundreds of innocent caretakers, and the deaths of thousands due to President Reagan’s homophobia, conservatism, and inability to act upon the AIDS crisis. 

The 1980s also saw a shift in masculinity and how it was represented towards the public whether through advertising, television, cinema, or music. In M.D. Kibby’s essay Real Men: Representations of Masculinity in 80s Cinema, he reveals that “television columns in the popular press argued that viewers were tired of liberated heroes and longed for the return of the macho leading man” (Kibby, 21). Yet there seemed to be a certain “splitness” to the masculine traits found within fictional characters and public personas; something that tried to deconstruct hyper-masculinity while also reviling in it, particularly when it came to white, cisgendered men. Wendy Somerson further describes this dichotomy: “The white male subject is split. On one hand, he takes up the feminized personality of the victim, but on the other hand, he enacts fantasies of hypermasculinized heroism” (Somerson, 143). Somerson explains how the media played up this juxtaposition of “soft masculinity”, where men are portrayed as victimized, helpless, and childlike. In other words, “soft men who represent a reaction against the traditional sexist ‘Fifties man’ and lack a strong male role model” (Somerson, 143). A sort of self-flagellation or masochism in response to the toxic and patriarchal gender roles of three decades previous. Yet this softening of male representation was automatically seen as traditionally “feminine” and femininity almost always equated to childlike weakness. Then in western media, there came the advent of male madness and the fetishization of violent men. Films like Scarface, Die Hard, and any of Arnold Schwarzenegger’s filmography helped to solidify the wide appeal of these hyper-masculine and “men out of control” tropes which were preceded by Martin Scorcese’s critical and cult favourite Taxi Driver.

There were exceptions to this rule; or at the very least attempted exceptions that only managed to do more harm to the concept of a feminized man while also doubling down on the standard tropes of the decade. One shallow example of this balancing act between femininity and masculinity in 80s western media was the hit crime show Miami Vice and Sonny, a character who is entirely defined by his image. In Kibby’s words, “he is a beautiful consumer image, a position usually reserved for women; and he is in continual conflict with work, that which fundamentally defines him as a man” (Kibby, 21). Therein lies the problematic elements of this characterization. Sonny’s hyper-masculine traits of violence and emotionlessness serve as a reaffirmation of his manufactured maleness towards the audience.

Returning to the subject of Schwarzenegger, his influence on 80s media that continued well into the 90s ties directly to how fantasy evolved during this decade while also drawing upon inspirations from earlier trends. The most notable example is his portrayal of Robert E. Howard’s Conan the Barbarian in the 1982 film directed by John Milius. Already a classic character from 1930s serials and later comic strips, the movie (while polarizing amongst critics who described it as a ���psychopathic Star Wars, stupid and stupefying”) brought the iconic image of a muscle-bound warrior wielding a sword as half-naked women fawn at his feet back into the collective consciousness of many fantasy fans. The character and world of Conan romanticizes the use of violence, strength, and pure might in order to achieve victory. This aesthetic of hyper-masculinity, violence, and sexuality in fantasy art was arguably perfected by the works of Frank Frazetta, a frequent artist for Conan properties. The early Castlevania games drew inspiration from this exact aesthetic for its leading hero Simon Belmont and directly appropriated one of Frazetta’s pieces for the cover of the first game.

--

Hammer Horror & Gender

Conan the Barbarian, Frank Frazetta, and similar fantasy icons were just a few influences on the overall feel of 80s Castlevania. Its other major influence harks back to a much earlier and far more gothic trend in media. Castlevania director Hitoshi Akamatsu stated that while the first game was in development, they were inspired by earlier cinematic horror trends and “wanted players to feel like they were in a classic horror movie”. This specific influence forms the very backbone of the Castlevania image. Namely: gothic castles, an atmosphere of constant uncanny dread, and a range of colourful enemies from Frankenstein’s Monster, the Mummy, to of course Dracula. The massive popularity and recognizability of these three characters can be credited to the classic Universal Pictures’ monster movies of the 1930s, but there was another film studio that put its own spin on Dracula and served as another source of inspiration for future Castlevania properties.

The London-based film company Hammer Film Productions was established in 1934 then quickly filed bankruptcy a mere three years later after their films failed to earn back their budget through ticket sales. What saved them was the horror genre itself as their first official title under the ‘Hammer Horror’ brand The Curse of Frankenstein starring Hammer regular Peter Cushing was released in 1957 to enormous profit in both Britain and overseas. With one successful adaptation of a horror legend under their belt, Hammer’s next venture seemed obvious. Dracula (also known by its retitle Horror of Dracula) followed hot off the heels of Frankenstein and once again starred Peter Cushing as Professor Abraham Van Helsing, a much younger and more dashing version of his literary counterpart. Helsing faces off against the titular fanged villain, played by Christopher Lee, whose portrayal of Dracula became the face of Hammer Horror for decades to come. 

Horror of Dracula spawned eight sequels spanning across the 60s and 70s, each dealing with the resurrection or convoluted return of the Prince of Darkness (sound familiar?) Yet these were not the same gothic films pioneered by Universal Studios with fog machines, high melodrama, and disturbingly quiet atmosphere. Christopher Lee’s Dracula and Bela Lugosi’s Dracula are two entirely separate beasts. While nearly identical in design (slicked back hair, long flowing black cape, and a dignified, regal demeanor), Lugosi is subtle, using only his piercing stare as a means of intimidation and power—in the 1930s, smaller details meant bigger scares. For Hammer Horror, when it comes time to show Dracula’s true nature, Lee bares his blood-covered fangs and acts like an animal coveting their prey. Hammer’s overall approach to horror involved bigger production sets, low-cut nightgowns, and bright red blood that contrasted against the muted, desaturated look of each film. And much like the media of 1980, when it came to their characters, the Dracula films fell back on what was expected by society to be ‘masculine’ and ‘feminine’ while also making slight commentary on those very preconceived traits.

The main theme surrounding each male cast in these films is endangered male authority. Dracula and Van Helsing are without a doubt the most powerful, domineering characters in the story, particularly Helsing. As author Peter Hutchings describes in his book Hammer & Beyond: The British Horror Film, “the figure of the (male) vampire hunter is always one of authority, certainty, and stability (...) he is the only one with enough logical sense to know how to defeat the ultimate evil, thus saving the female characters and weaker male characters from being further victimized” (Hutchings, 124). The key definition here is ‘weaker male characters’. Hammer’s Dracula explores the absolute power of male authority in, yet it also reveals how easily this authority can be weakened. This is shown through the characters of Jonathan Harker and Arthur Holmwood, who differ slightly from how they are portrayed in Stoker’s novel. While Dracula does weaken them both, they manage to join Helsing and defeat the monster through cooperation and teamwork. In fact, it is Harker who lands one of the final killing strikes against Dracula. However, the Jonathan Harker of Hammer’s Dracula is transformed into a vampire against his will and disposed of before the finale. His death, in the words of Hutchings, “underlines the way in which throughout the film masculinity is seen (...) as arrested, in a permanently weakened state” (Hutchings, 117).

This theme of weakened authority extends to Holmwood in a more obvious and unsettling manner. In another deviation from the source material, Lucy Westenra, best friend to Mina Murray and fiancé to Arthur Holmwood, is now Holmwood’s sister and Harker’s fiancé. Lucy’s story still plays out more or less the same way it did in the novel; Dracula routinely drains her of blood until she becomes a vampire, asserting his dominance both physically and mentally. This according to Hutchings is the entirety of Dracula’s plan; a project “to restore male authority over women by taking the latter away from the weak men, establishing himself as the immortal, sole patriarch” (Hutchings, 119). Meanwhile, it is Helsing’s mission to protect men like Arthur Holmwood, yet seems only concerned with establishing his own dominance and does nothing to reestablish Holmwood’s masculinity or authority. Due to the damage done by Dracula and the failings of Helsing, Holmwood never regains this authority, even towards the end when he is forced to murder his own sister. His reaction goes as follows: “as she is staked he clutches his chest, his identification with her at this moment, when she is restored to a passivity which is conventionally feminine, suggesting a femininity within him which the film equates with weakness” (Hutchings, 117).

So Van Helsing succeeds in his mission to defeat his ultimate rival, but Dracula is victorious in his own right. With Jonathan Harker gone, Lucy Holmwood dead, and Arthur Holmwood further emasculated, he succeeds in breaking down previous male power structures while putting himself in their place as the all-powerful, all-dominant male presence. This is the very formula in which early Hammer Dracula films were built upon; “with vampire and vampire hunter mutually defining an endangered male authority, and the woman functioning in part as the site of their struggle (...) forged within and responded to British social reality of the middle and late 1950s” (Hutchings, 123).

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Alucard c. 1989

As for Castlevania’s Dracula, his earliest design takes more from Christopher Lee’s portrayal than from Bela Lugosi or Bram Stoker’s original vision. His appearance on the first ever box art bears a striking resemblance to one of the most famous stills from Horror of Dracula. Even in pixelated form, Dracula’s imposing model is more characteristic of Christopher Lee than Bela Lugosi.

Being his son, it would make logical sense for the first appearance of Alucard in Castlevania 3: Dracula’s Curse to resemble his father. His 1989 design carries over everything from the slick dark hair, sharp claws, and shapeless long cloak but adds a certain juvenile element—or rather, a more human element. This makes sense in the context of the game’s plot. Despite being the third title, Dracula’s Curse acts as the starting point to the Castlevania timeline (before it was replaced by Castlevania: Legends in 1997, which was then retconned and also replaced by Castlevania: Lament of Innocence in 2003 as the definitive prequel of the series). Set nearly two centuries before Simon Belmont’s time, Dracula’s Curse follows Simon’s ancestor Trevor Belmont as he is called to action by the church to defeat Dracula once he begins a reign of terror across Wallachia, now known as modern day Romania. It is a reluctant decision by the church, since the Belmont family has been exiled due to fear and superstition surrounding their supposed inhuman powers. 

This is one example of how despite the current technological limitations, later Castlevania games were able to add more in-depth story elements little by little beyond “find Dracula, kill Dracula”. This began as early as Castlevania 2: Simon’s Quest by giving Simon a much stronger motivation in his mission and the inclusion of multiple endings. The improvements made throughout the Classicvania era were relatively small while further character and story complexities remained either limited or unexplored, but they were improvements nonetheless.

Another example of this slight progress in storytelling was Castlevania 3’s introduction of multiple playable characters each with a unique backstory of their own. The supporting cast includes Sypha Belnades, a powerful sorceress disguised as a humble monk who meets Trevor after he saves her from being frozen in stone by a cyclops, and Grant Danasty, a pirate who fell under Dracula’s influence before Trevor helped him break free from his curse. Then there is of course Adrian Fahrenheit Țepeș who changed his name to Alucard, the opposite of Dracula, as a symbol of rebellion against his tyrannical father. Yet Castlevania was not the first to conceptualize the very character of Alucard; someone who is the son of Dracula and whose name is quite literally the backwards spelling of his fathers’. That idea started with Universal’s 1943 venture Son of Dracula, a sequel to the 1931 classic that unfortunately failed to match the original’s effective atmosphere, scares, and story. In it, Alucard is undoubtedly the villain whereas in Dracula’s Curse, he is one of the heroes. Moral and noble, able to sway Trevor Belmont’s preconceptions of vampiric creatures, and with an odd sympathy for the monster that is his father. Alucard even goes as far as to force himself into an eternal slumber after the defeat of Dracula in order to “purge the world of his own cursed bloodline” (the reason given by Castlevania: Symphony of the Night’s opening narration).

When it comes to design, Castlevania’s Alucard does the curious job of fitting in with the franchises’ established aesthetic yet at the same time, he manages to stand out the most—in fact, all the main characters do. Everyone from Trevor, Sypha, to Grant all look as though they belong in different stories from different genres. Grant’s design is more typical of the classic pirate image one would find in old illustrated editions of Robinson Crusoe’s Treasure Island or in a classic swashbuckler like 1935’s Captain Blood starring Errol Flynn. Sypha might look more at home in a Dungeons & Dragons campaign or an early Legend of Zelda title with a large hood obscuring her facial features, oversized blue robes, and a magical staff all of which are commonplace for a fantasy mage of the 1980s. Trevor’s design is nearly identical to Simon’s right down to the whip, long hair, and barbarian-esque attire which, as mentioned previously, was taken directly from Conan the Barbarian. 

Judging Alucard solely from official character art ranging from posters to other promotional materials, he seems to be the only one who belongs in the gothic horror atmosphere of Dracula’s Curse. As the physically largest and most supernaturally natured of the main cast, he is in almost every way a copy of his father—a young Christopher Lee’s Dracula complete with fangs and cape. Yet his path as a hero within the game’s narrative along with smaller, near missable details in his design (his ingame magenta cape, the styling of his hair in certain official art, and the loose-fitting cravat around his neck) further separates him from the absolute evil and domination that is Dracula. Alucard is a rebel and an outsider, just like Trevor, Sypha, and Grant. In a way, they mirror the same vampire killing troupe from Bram Stoker’s novel; a group of people all from different facets of life who come together to defeat a common foe. 

The son of Dracula also shares similar traits with Hammer’s Van Helsing. Same as the Belmonts (who as vampire hunters are exactly like Helsing in everything except name), Alucard is portrayed as one of the few remaining beacons of masculinity with enough strength, skill, and logical sense who can defeat Dracula, another symbol of patriarchal power. With Castlevania 3: Dracula’s Curse, we begin to see Alucard’s dual nature in aesthetics that is automatically tied to his characterization; a balance that many Byronic heroes try to strike between masculine domination and moralistic sensitivity and goodness that is often misconstrued as weakly feminine. For now though, especially in appearance, Alucard’s persona takes more from the trends that influenced his allies (namely Trevor and Simon Belmont) and his enemy (Dracula). This of course would change drastically alongside the Castlevania franchise itself come the 1990s.

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Gender Expression & The 1990s Goth Scene

When a person sees or hears the word “gothic”, it conjures up a very specific mental image—dark and stormy nights spent inside an extravagant castle that is host to either a dashing vampire with a thirst for blood, vengeful ghosts of the past come to haunt some unfortunate living soul, or a mad scientist determined to cheat death and bring life to a corpse sewn from various body parts. In other words, a scenario that would be the focus of some Halloween television special or a daring novel from the mid to late Victorian era. Gothicism has had its place in artistic and cultural circles long before the likes of Mary Shelley, Edgar Allan Poe, Bram Stoker, and even before Horace Walpole’s The Castle of Otranto, a late 18th century novel that arguably started the gothic horror subgenre. 

The term itself originated in 17th century Sweden as a descriptor of the national romanticism concerning the North Germanic Goths, a tribe which occupied much of Medieval Götaland. It was a period of historical revisionism in which the Goths and other Viking tribes were depicted as heroic and heavily romanticised. Yet more than ever before, gothicism is now associated with a highly specific (and in many ways personal) form of artistic and gender expression. It started with the golden age of gothic Medieval architecture that had its revival multiple centuries later during the Victorian era, then morphed into one of the darkest if not melodramatic literary movements, and finally grew a new identity throughout the 1990s. For this portion, we will focus on the gothic aesthetic as it pertains to fashion and music.

Arguably, the advent of the modern goth subculture as it is known nowadays began with the 1979 song “Bela Lugosi’s Dead” from Northampton’s own rock troupe Bauhaus. The overall aesthetic of the song, accompanying live performances, and the band itself helped shaped the main themes of current gothicism including, but not limited to, “macabre funeral musical tone and tempo, to lyrical references to the undead, to deep voiced eerie vocals, to a dark twisted form of androgyny in the appearance of the band and most of its following” (Hodkinson, 35-64). This emphasis on physical androgyny in a genre that was predominantly focused on depictions of undeniable masculinity was especially important to the 80s and 90s goth scene. Bauhaus opened the gates in which other goth and post-punk bands gained popularity outside of underground venues, including The Cure, Siouxsie and the Banshees, and Southern Death Cult. Much like Bauhaus’ “twisted form of androgyny”, these other bands pioneered a romantic yet darkly feminine aesthetic which was then embraced by their fans. It wasn’t until the producer of Joy Division Tony Wilson along with members from Southern Death Cult and U.K. Decay mentioned the word “goth” in passing that this growing musical and aesthetic subculture finally had a name for itself. 

The goth movement of the 1990s became an interesting mesh of nonconformity and individual expression while also emphasising the need for a mutual connection through shared interests and similar aesthetics. Unique social outsiders looking for a sense of community and belonging—not unlike Stoker’s vampire hunting troupe or the main cast of Castlevania 3: Dracula’s Curse. Paul Hodkinson author of Goth: Identity, Style and Subculture describes the ways in which goths were able to expand their social networking while making the subculture their own. In order to gain further respect and recognition within the community, “they usually sought to select their own individual concoction from the range of acceptable artefacts and themes and also to make subtle additions and adaptations from beyond the established stylistic boundaries” (Hodkinson, 35-64). This was one of the ways in which the goth subculture was able to grow and evolve while maintaining some typical aesthetics. Those aesthetics that had already become gothic staples as far back as classic Victorian horror included crucifixes, bats, and vampires; all of which were presented by young modern goths, as Hodkinson puts it, “sometimes in a tongue-in-cheek self-conscious manner, sometimes not” (Hodkinson, 35-64).

The vampire, as it appeared in visual mass media of the time, was also instrumental to the 90s gothic scene, reinforcing certain physical identifiers such as long dark hair, pale make-up, and sometimes blackened sunglasses. This was especially popular amongst male goths who embodied traditional gothic traits like dark femininity and androgyny, which had already been long established within the subculture. 

As always, television and film did more to reinforce these subcultural trends as recognizable stereotypes, usually in a negative manner, than it did to help people embrace them. In media aimed towards a primarily teenage and young adult demographic, if a character did not possess the traditional traits of a hyper-masculine man, they instead fit into two different molds; either the neurotic geek or the melodramatic, moody goth. However, there were forms of media during the 90s that did manage to embrace and even relish with no sense of irony in the gothic aesthetic. 

Two films which helped to build upon the enthusiasm for the vampire were Francis Ford Coppola’s lavish adaptation of Stoker’s novel titled Bram Stoker’s Dracula starring Gary Oldman in the titular role of Dracula and another adaptation of a more recent gothic favourite among goths, Anne Rice’s Interview with the Vampire with Brad Pitt and Tom Cruise. The majority of the male goth scene especially emulated Oldman’s portrayal of Dracula when in the film he transforms into a much younger, more seductive version of himself in order to blend in with society, everything down to the shaded Victorian sunglasses and the long flowing hair; a vision of classic, sleek androgyny combined with an intimidating demeanor without being overly hyper-masculine. 

Primarily taking place during the 18th and 19th century, Interview with the Vampire (the film and the original novel) also encouraged this very same trend, helping to establish European aristocratic elements into the gothic aesthetic; elements such as lace frills, finely tailored petticoats, corsets, and a general aura of delicacy. 

Going back to Hodkinson’s findings, he states that “without actually rendering such categories insignificant, goth had from its very beginnings been characterized by the predominance, for both males and females, of particular kinds of style which would normally be associated with femininity” (Hodkinson, 35-64). However, it is important to acknowledge that the western goth subculture as described in this section, while a haven for various forms of gender expression, placed heavy emphasis on thin, white bodies. Over the years, diversity within the community has been promoted and encouraged, but rarely do we see it as the forefront face of gothicism.

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The Japanese Goth Scene & Ayami Kojima

Modern gothicism was not limited to North America or Europe. In Japan, the subculture had evolved into its own form of self-expression through clothing and music that took inspiration from a variety of 18th and 19th century themes (mostly originating from European countries). Yet despite the numerous western influences, the eastern goth community during the 1990s and early 2000s embraced itself as something unique and wholly Japanese; in other words, different from what was happening within the North American movement at the same time. To refresh the memory, western goth culture focused primarily on the macabre that included completely black, moody wardrobes with an air of dark femininity. Japanese goth culture maintained those feminine traits, but included elements that were far more decadent, frivolous, and played further into the already established aristocratic motifs of gothicism. This created a new fashion subculture known as Gothic Lolita or Goth-Loli (no reference to the Vladimir Nabokov novel Lolita or the themes presented within the text itself). 

In Style Deficit Disorder: Harajuku street fashion, a retrospective on the history of modern Japanese street fashion, the Goth-Loli image is described as “an amalgam of Phantom of the Opera, Alice in Wonderland, and Edgar Allan Poe” (Godoy; Hirakawa, 160). It was an aesthetic that took the western notion of “gothic” to higher levels with a heavier emphasis on opulence and an excessive decorative style—think Gothic meets Baroque meets Rococo. Teresa Younker, author of Lolita: Dreaming, Despairing, Defying, suggests that during the early years of the Gothic Lolita movement, it acted as a form of escapism for many young Japanese individuals searching for a way out of conformity. She states that “rather than dealing with the difficult reality of rapid commercialization, destabilization of society, a rigid social system, and an increasingly body-focused fashion norm, a select group of youth chose to find comfort in the over-the-top imaginary world of lace, frills, bows, tulle, and ribbons”. One pioneer that helped to bring the Goth-Loli image at the forefront of Japanese underground and street fashion the likes of Harajuku was the fashion magazine Gothic & Lolita Bible. Launched in 2001 by Index Communication and Mariko Suzuki, each issue acted as a sort of catalogue book for popular gothic and lolita trends that expanded to art, music, manga, and more. 

According to Style Deficit Disorder, during this time when Gothic & Lolita Bible had helped bring the subculture into a larger collective awareness, the Goth-Loli image became “inspired by a yearning for something romantic overseas (...) and after taking on the “Harajuku Fashion,” ended up travelling overseas, while remaining a slightly strange fashion indigenous to Japan” (Godoy; Hirakawa, 137). Then came KERA Maniac, another magazine launched in 2003 that had “even darker clothing and international style points and references, such as features on the life and art of Lewis Carroll, Japanese ball-jointed dolls, or interviews with icons like Courtney Love” (Godoy; Hirakawa, 140). The fashion trends that both Gothic & Lolita Bible and KERA Maniac focused on also found popularity amongst visual kei bands which were usually all male performers who began sporting the very same ultra-feminine, ultra-aristocratic Goth-Loli brands that were always featured in these magazines. 

Similar to traditional Kabuki theatre, “this visual-kei placed great importance on the gorgeous spectacle created onstage” (Godoy; Hirakawa, 135). One particular visual kei performer of the early 2000s that became Gothic & Lolita Bible’s biggest and most frequent collaborator was Mana. Best known for his musical and fashion career, Mana describes his onstage persona, merging aristocratic goth with elegant gothic lolita, as “either male or female but it is also neither male nor female. It is both devil and angel. The pursuit of a middle ground” (Godoy; Hirakawa, 159).

Opulence, decadence, and femininity with a dark undertone are all apt terms to describe the image of Japanese gothicism during the 90s and early aughts. They are also perfect descriptors of how artist Ayami Kojima changed the face of Castlevania from a franchise inspired by classic horror and fantasy to something more distinct. As a self-taught artist mainly working with acrylics, India ink, and finger smudging among other methods, 1997’s Castlevania: Symphony of the Night was Kojima’s first major title as the lead character designer. Over the years she worked on a number of separate video games including Samurai Warriors and Dynasty Warriors, along with other Castlevania titles. Before then, she made a name for herself as a freelance artist mainly working on novel covers and even collaborated with Vampire Hunter D creator Kikuchi Hideyuki for a prequel to his series. Kojima has been dubbed by fans as “the queen of Castlevania” due to her iconic contributions to the franchise. 

Kojima’s influences cover a wide array of themes from the seemingly obvious (classic horror, shounen manga, and East Asian history) to disturbingly eclectic (surgery, body modification, and body horror). It is safe to assume that her resume for Castlevania involves some of her tamer works when compared to what else is featured in her 2010 artbook Santa Lilio Sangre. Yet even when her more personal art pieces rear into the grotesquely unsettling, they always maintain an air of softness and femininity. Kojima is never afraid to show how the surreal, the intense, or the horrifying can also be beautiful. Many of her pieces include details emblematic of gothicism; skulls, bloodied flowers, the abundance of religious motifs, and lavish backgrounds are all commonplace, especially in her Castlevania art. Her models themselves—most often androgynous men with sharp cheekbones, flowing hair, and piercing gazes—look as though they would fit right into a gothic visual kei band or the pages of Gothic & Lolita Bible.

Castlevania: Harmony of Despair was the final Castlevania game Kojima worked on, as well as her last game overall. It wasn’t until 2019 when she reappeared with new pieces including promotional artwork for former Castlevania co-worker Koji Igarashi’s Bloodstained: Ritual of the Night and a collaboration with Japanese musician Kamijo on his newest album. Her work has also appeared in the February 2020 issue of TezuComi, depicting a much lighter and softer side of her aesthetic. Ayami Kojima may have moved onto other projects, but the way in which she forever influenced the Castlevania image is still being drawn upon and emulated to this day.

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Alucard c. 1997

There were actually three versions of Alucard during the 1990s, each of which were products of their time for different reasons. The first example is not only the most well known amongst fans and casual onlookers alike, but it is also the one design of Alucard that manages to stand the test of time. Ayami Kojima redesigned a number of classic Castlevania characters, giving them the gothic androgynous demeanour her art was known for. Most fans will say with some degree of jest that once Kojima joined Konami, Castlevania grew to look less like the masculine power fantasy it started as and more like a bishounen manga. No matter the differing opinions on the overall stylistic change of the series, Kojima’s reimagining of Alucard for Castlevania: Symphony of the Night is undoubtedly iconic. His backstory has more or less remained the same, carried over from Castlevania 3: Dracula’s Curse. After killing his father Dracula, Alucard, unable to fully process his actions or his bloodline, decides to force himself into a centuries long slumber in order to rid the world of his dark powers. Symphony of the Night begins with the Byronic dhampir prince waking up after nearly 300 years have passed once Dracula’s castle mysteriously reappears in close proximity to his resting place. The only difference this time is there seems to be no Belmont to take care of it, unlike previous years when Dracula is resurrected. Determined to finish what was started during the 15th century, the player takes Alucard on a journey throughout the castle, which has now become larger and more challenging than past incarnations.

Despite being somewhat of a direct sequel to Dracula’s Curse, Symphony’s Alucard is not the same dhampir as his 80s counterpart. Gone are any similarities to Bela Lugosi or Christopher Lee; now Alucard bears more of a resemblance to Anne Rice’s own literary muse Lestat de Lioncourt from her ongoing Vampire Chronicles. Instead of slicked back dark hair, thick golden locks (which were originally black to match his father) cascade down Alucard’s figure, swaying with his every pixelated movement. Heeled leather boots, a black coat with gold embellishments along with an abnormally large collar underneath a flowing cape, and a high-collared cravat replace the simplistic wardrobe of 80s Alucard—from a traditional, minimalist goth mirroring his father’s masculinity to an extravagant, aristocratic goth with his own intense, almost macabre femininity.

With the early Metroidvanias came the inclusion of detailed character portraits designed by Ayami Kojima which would appear alongside a dialogue box to further establish the illusion of the characters speaking to each other. Symphony of the Night was one of the first titles where players got to see Alucard’s ingame expression and it looked exactly as it did on every piece of promotional poster and artwork. The same piercing glare, furrowed brow, and unshakeable inhuman determination, the sort that is also reflected in his limited mannerisms and character—all of which are displayed upon an immaculate face that rarely if ever smiles. Just by looking at his facial design nearly hidden behind locks of hair that always seems meticulously styled, it is clear that Alucard cannot and will not diverge from his mission. The only moment in the game when his stoic facade breaks completely is when he faces off against the Succubus, who tempts Alucard to give into his vampiric nature by disguising herself as his deceased mother Lisa. Yet even then he sees through her charade and, depending on the player’s ability, quickly disposes of her. 

Despite his delicate feminine features, emotional softness is not one of Alucard’s strongest suits in Symphony. Though for someone in his position, someone who must remain steadfast and succeed in his goal or else fail the rest of humanity, where little else matters, Alucard’s occasional coldness (a trait that would return in recent Castlevania instalments) makes sense. There is a scene near at the climax of the game where he exposits to the other main protagonists Richter Belmont and Maria Renard about how painful it felt to destroy his father a second time, but he reframes it as a lesson about the importance of standing up against evil rather than an admission of his own vulnerability. However, he does choose to stay in the world of mortal humans instead of returning to his coffin (depending on which ending the player achieves).

The second 90s version of Alucard is a curious case of emulation, drawing inspiration from both Kojima’s redesign and other Japanese art styles of the 1990s. Castlevania Legends was released for the Game Boy the exact same year as Symphony of the Night and acted as a prequel to Dracula’s Curse, following its protagonist Sonia Belmont as she traverses through Dracula’s castle alongside Alucard and becomes the first Belmont in history to defeat him. It was then retconned after the release of Castlevania: Lament of Innocence in 2003 due to how its story conflicted with the overall timeline of the series. As with most of the earliest Game Boy titles, the ingame graphics of Legends are held back by the technological limitations, but the box art and subsequent character concepts reveal the game’s aesthetic which seems to take the most inspiration from other Japanese franchises of the decade. The biggest example would be Slayers, a popular comedic fantasy series that included light novels, manga, and anime. Legends Alucard is portrayed in this particular animated style, yet his design itself is very similar to how he looks in Symphony of the Night with only minor exceptions. 

The third and arguably most obscure 90s Alucard comes from the animated children’s show Captain N: The Game Master, a crossover that brought together popular Nintendo characters like Mega Man, Kid Icarus, and Simon Belmont. The episodes were presented as traditional monsters of the week, meaning each one focused on a brand new story or environment usually taken from Nintendo games. One episode that aired in 1993 centered on Castlevania and featured a comedic and parodied version of Alucard. Although the episode took elements from Dracula’s Curse, Alucard was meant to be a stereotypical representation of rebellious 90s youth, i.e. an overemphasis on skateboarding and “radical” culture. A colorful, kid-friendly version of the character that was never meant to be taken seriously; much like the rest of the show.

Out of the three variations, Ayami Kojima’s Alucard is the one that made the biggest and longest lasting impact on Castlevania. Redesigning an iconic franchise or character always comes with its own risks and gambles. In the case of Symphony of Night, the gamble made by Kojima—and by extension Konami and director Koji Igarashi—paid off. Unfortunately, the same cannot be said regarding Alucard’s next major change as a character and an image. 

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Lords of Shadow

“What motivates a man to confront the challenges that most of us would run from?” This is a question put forth by Castlevania: Lords of Shadow, the first attempt by Konami to reinvigorate and inject new life into the Castlevania brand name by completing rebooting the universe. Starting from scratch as it were. Originally, Lords of Shadow seemed to have no connection to the Castlevania franchise. Announced by Konami during a games convention in 2008, this was meant to give more attention and not distract from the upcoming Castlevania: Judgment. However, merely a year later at Electronic Entertainment Expo, it was revealed that Lords of Shadow was in fact the next major step that Konami was taking with Castlevania. From its announcement and early trailers, the game was already generating a healthy amount of media buzz due to its updated graphics, design, and gameplay. Having Konami alumni, video game auteur, and creator of the critically acclaimed Metal Gear series Hideo Kojima attached to the project also helped to generate initial hype for this new phase of Castlevania (though it should be noted that Kojima was only credited as a consultant and advisor for the Lords of Shadow development team). After nearly a decade of near hits, substantial misses, and a lack of focus for the franchise, Castlevania had once again become one of the most highly anticipated upcoming games. To quote gaming news and reviews website GamesRadar+ at the time, “this could be a megaton release”.

And it was—so to speak. As mentioned in previous sections, the first Lords of Shadow did relatively well, garnering critical and commercial success. By November of 2010, nearly one million copies had sold in North America and Europe alone. While not a monumental achievement or a record breaker, Lords of Shadow soon became the highest selling Castlevania game of all time. But enough time has passed since its release and nowadays, fans look back upon this reinvented Castlevania timeline pushed by Konami with mixed feelings, some more negative than others. 

The main criticism is that when it comes to gameplay, environment, and story, Lords of Shadow changed too much from its original source material. Change is not always a terrible thing especially in regards to long-running franchises and Castlevania had already gone through one massive upheaval with Symphony of the Night. Although the difference is how well that dramatic change was executed and how players reacted to it. For many, Lords of Shadow felt less like the game it was supposed to be emulating and more like other action hack-and-slashers of the time. The gameplay didn’t feel like Castlevania, it felt like Devil May Cry. Elements of the story didn’t feel like Castlevania, they felt like God of War. Each boss fight didn’t feel like Castlevania, they felt like Shadow of the Colossus (a frequent comment made by fans). Despite the familiar elements from past games that made their way into this new instalment, for many, Lords of Shadow was too little of Castlevania and too much of everything else that surrounded its development. Meanwhile, the afformented familiar elements seemed like attempts at fanservice in order to make sure that longtime fans felt more at home.

Does the game and its following sequels still hold any merit in terms of aesthetic and story? They do, especially when it comes to its style. Lords of Shadow, its midquel Mirror of Fate, and the sequel Lords of Shadow 2 are not unappealing games to look at. When examining the concept art of characters, enemies, and environments, one could argue that the Lords of Shadow series has some of the most visually striking Castlevania art in the series. The monster designs in particular take on a much grander, ambitious, and menacing presence that take inspiration from various mythological and biblical sources, the best example being Leviathan from Lords of Shadow 2. 

By the 2010s, AAA video games in general were going through a sort of golden age with titles such as Assassin’s Creed 2, Batman: Arkham Asylum, and Red Dead Redemption among many others. Not only were the stories and gameplay mechanics improving by ten folds, so too were the graphical capacities that each game could uphold. Due to technological advancements, Castlevania had the chance to become more detailed and fleshed out than before. The locations of Lords of Shadow and its sequels, which ranged from gothic castles, to modern decrepit cities, to fantastical forests, grew lusher and more opulent while the monsters evolved past the traditional skeletons of the series into far more imposing nightmarish creatures.

The first game along with Mirror of Fate kept themselves fairly grounded in their respective environments. Nearly every character looks as though they firmly belong in the gothic fantasy world they inhabit. Gabriel Belmont and the rest of the Brotherhood of Light are dressed in robes reminiscent of medieval knights (with a few non-historical embellishments) while the vampiric characters of Carmilla and Laura dress in the same manner that typical vampires would. However, a new location known as Castlevania City was introduced in Lords of Shadow 2, modelled after a 21st century metropolitan cityscape. Characters with designs more suited to God of War or Soul Calibur intermingle with NPCs dressed in modern clothing, further highlighting the clash of aesthetics. While this is not the first time Castlevania has featured environments populated with humans, the constant shifting between a dark urban landscape with more science fiction elements than fantasy and the traditional gothic setting of Dracula’s castle can feel like whiplash. 

The Lords of Shadow timeline was an ambitious attempt by Konami to try and give fans a Castlevania experience they had not seen before. New concepts that were previously unexplored or only alluded to in past games were now at the forefront. Yet the liberties that each game took with established Castlevania lore, both in terms of story and design, were perhaps too ambitious. The biggest example is the choice to have the Belmont protagonist turn into Dracula through a combined act of despair and selflessness, but Alucard went through a number of changes as well. Transforming him from the golden-haired aristocrat of the 90s and 2000s into an amalgamation of dark fantasy tropes. 

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Alucard c. 2014

After the success of Castlevania: Symphony of the Night, Alucard reappeared in a number of following titles, most of which depicted him in his typical black and gold wardrobe. There were exceptions, including Castlevania: Aria of Sorrow and its direct sequel Castlevania: Dawn of Sorrow where he adopts the alias of Genya Arikado, an agent for a futuristic Japanese organization dedicated to stopping any probable resurrections of Dracula. Because of this need to appear more human and hide his true heritage, Genya’s appearance is simple and possibly one of Ayami Kojima’s most minimalistic character designs; a black suit, shoulder length black hair, and the job is done. In Dawn of Sorrow, Alucard briefly appears as himself, drawn in a less detailed anime style that softens his once intensely stoic expression first seen in Symphony. The next exception is Castlevania: Judgment, a fighting game where characters from separate games and time periods are brought together to face off against one another. Konami brought on Takeshi Obata (who by then was famously known for his work on Death Note) as the lead character designer and in many regards had a similar aesthetic to Ayami Kojima, creating lavish gothic pieces that were heavily detailed and thematic. 

Like Kojima, Obata was given free range to reconceptualize all of the characters appearing in Judgment with little to no remaining motifs from previous designs. This included Alucard, who dons a suit of silver armor and long white hair to match it. Judgment’s Alucard marked a turning point for the character in terms of appearance; a gradual change that was solidified by Lords of Shadow.

This is where things get complicated. While Castlevania could be considered a horror series solely based on its references, aesthetic, and monsters, nearly every iteration whether it comes down to the games or other forms of media tends to veer more towards the dark fantasy genre. Edward James and Farah Mendleson’s Cambridge Companion to Fantasy Literature describe the distinction between traditional horror and dark fantasy as a genre “whose protagonists believe themselves to inhabit the world of consensual mundane reality and learn otherwise, not by walking through a portal into some other world, or by being devoured or destroyed irrevocably, but by learning to live with new knowledge and sometimes with new flesh” (James; Mendleson, 218). While horror is a genre of despair, directly confronting audience members with the worst of humanity and the supernatural, “the protagonist of dark fantasy comes through that jeopardy to a kind of chastened wisdom” (James; Mendleson, 217). 

Dark fantasy is ultimately a genre of acceptance (i.e. characters accepting a horrible change or embracing the world they have been forcibly thrown into), but it also represents a rejection of traditional tropes implemented by the works of Tolkien or the Brothers Grimm, thus defining itself by that very same act of rejection. An example of this is the theme of failure, which is common in many dark fantasy stories. There are far more unhappy or bittersweet endings than happy ones while the construction of the classic hero’s journey hinges more on all the possible ways in which the protagonist could fail in their quest. 

Going off from this definition, the Lords of Shadow timeline fits squarely into the dark fantasy genre, especially concerning its two leading men. We already know that Gabriel Belmont sacrifices his humanity in order to become Dracula, but what happens to his son borders on a Greek tragedy. Before the “deaths” of Gabriel and Maria, they had a son named Trevor who was immediately taken into the care of the Brotherhood of Light and kept away from his father in order to protect him. Years later when Trevor is an adult with a family of his own, he vows to defeat Dracula for bringing shame and dishonor upon the Belmont bloodline. Yet when their eventual confrontation happens, Dracula easily beats Trevor who, on the verge of death, reveals the truth about his connection to the lord of vampires. In a desperate act of regret, Dracula forces Trevor to drink his blood and places him into a coffin labeled “Alucard” where he will seemingly rest for eternity.

Time passes and Trevor Belmont—now transformed into the vampire Alucard—awakens, just as he did at the beginning of Dracula’s Curse and Symphony of the Night. During his disappearance, his wife Sypha Belnades was killed by Dracula’s creatures, orphaning their son Simon Belmont. The two eventually meet and work together to stop Dracula, but Alucard cannot bring himself to tell Simon the truth.

Despite a well-deserved happy ending in Lords of Shadow 2 (he and his father reconcile before going off to presumably live a peaceful life), the character of Trevor/Alucard is built upon the same themes of failure and learning to accept terrible change found within dark fantasy. His design is especially reminiscent of one of the darkest and most tortured protagonists in the genre, Michael Moorcock’s Elric from his Elric of Melniboné series. First appearing in the June 1961 issue of Science Fantasy, he stands out amongst most sword and sorcery heroes, different from the hypermasculinity of Conan the Barbarian for his embittered personality, philosophical motifs, and memorable design. Elric is constantly described as looking deathly pale with skin “the color of a bleached skull; and the long hair which flows below his shoulders is milk-white” (Moorcock, 3) and a body that needs a steady stream of potions in order to function properly or else he will gradually grow weaker, nearer towards the edge of death—more a corpse than a human being. 

Lords of Shadow Alucard is very much like a walking corpse as well. His long hair is the same milk-white tone as Elrics’, his skin is deprived of any real color, and his open chest outfit reveals a body that is both robust yet emaciated. Moorcock’s Elric was the prototype for many other white haired, pale faced, otherworldly antiheroes in fantasy that came afterwards and the darkly ethereal aesthetic that reflected his constant state of self-loathing and tragedy was the most ideal fit for this new version of Alucard. Both fail as traditional fantasy heroes, both abhor their physical states, yet both learn to embrace it at the same time.

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A Brief History of Modern Animation

Before we move onto the final iteration of Dracula’s son, let us first acquaint ourselves with an artistic medium that has not been fully discussed yet. This essay has gone into detail concerning the aesthetics of video games, fashion, filmmaking, and music, but where does animation fit in? Since 1891’s Pauvre Pierrot, the only surviving short film predating the silent era with 500 individually painted frames, animation has evolved into one of the most expressive, diverse, and groundbreaking art forms of the modern age. There were earlier methods that fit into the animation mold before Pauvre Pierrot including but not limited to shadow play, magic lantern shows, and the phenakistoscope, one of the first devices to use rapid succession in order to make still images look as though they were moving. Throughout the 20th century, with the help of mainstream studios like Warner Bros. and of course Walt Disney, the medium quickly began to encompass a variety of techniques and styles beyond a series of drawings on paper. Some of the more recognizable and unique styles are as followed:

Digital 2-D animation

Digital 3-D animation

Stop-motion

Puppetry

Claymation

Rotoscoping

Motion capture

Cut-out animation

Paint-on-glass

The most common forms used in film and television are traditional hand drawn and digital 3-D, sometimes merged together in the same product. There has been much debate over which animation technique has more artistic merit and is more “authentic” to the medium, but the reality is that there is no singular true form of animation. Each style brings its own advantages, challenges, and all depends on how it is being used to tell a specific story or evoke a feeling within the audience. For example, the 2017 semi-biographical movie Loving Vincent is animated in a nontraditional style with oil paints in order to create the illusion of a Vincent Van Gogh painting that has come to life. As Loving Vincent is about the influential painter himself and his tragic life, this animation technique works to the film’s advantage. If the story had used a more traditional form like 2-D or 3-D, it might not have had the same impact. Another example like the film A Scanner Darkly starring Keanu Reeves uses a somewhat controversial technique known as rotoscoping, which entails tracing over live action scenes in order to give it a realistic yet still animated feel. A Scanner Darkly is a futuristic crime thriller meant to evoke a sense of surrealism and discomfort, making the uncanniness of rotoscoping the perfect fit for its artificial atmosphere. 

Throughout its history, animation has gone through a number of phases corresponding to political, artistic, and historical events such as propaganda shorts from Walt Disney during World War II and the rise of adult-oriented animators who rode the wave of countercultural movements during the late 1960s and early 70s. Animation meant for older audiences was especially coming into its own as most audiences had become more comfortable associating the medium with the family friendly formula perfected by the Disney company. The only other western mainstream animation studio that could stand toe to toe with Disney while also dabbling in mature subject matter at the time was Warner Bros. and its juggernaut Looney Tunes, which even then was mostly relegated to smoking, slapstick violence, and mild suggestive material. Meanwhile, the works of Ralph Bakshi, arguably the father of elevated adult animated features, dealt with everything from dark humor, sexuality, profanity, and complex themes most of which delved into pure shock value and were highly offensive in order to make a statement. There were later exceptions to this approach including Bakshi’s own adaptation of Tolkien’s Lord of the Rings, Wizards, and Fire and Ice, a high profile collaboration with Frank Frazetta, in which both films utilized rotoscope animation to create unique, fantasy-based experiences for mature viewers.

With the right amount of funds and creativity, other countries began developing their own animated features with distinct styles that reflected the culture, social norms, and history in which they originated from. The 1960s are referred to as “the rise of Japanese animation”, or as it came to be known worldwide as anime, thanks to iconic characters of the decade like Astro Boy, Kimba the White Lion, and Speed Racer. The longest running anime with over 7,700 episodes to date is Sazae-san, based on the popular 1940s comic strip of the same name. Western audiences commonly associate modern anime with over the top scenarios, animation, and facial movements while having little to no basis in reality when it comes to either story or character design. 

While the Walt Disney company was steadily losing its monopoly on the animation industry with financial and critical disappointments (making room for other animators like Don Bluth) until it's renaissance during the 1990s, the 1980s turned into a golden age for ambitious, groundbreaking anime projects. Not only were films like Akira, Grave of the Fireflies, Barefoot Gen, and Nausicaä of the Valley of the Wind among many others, appealing to a wide variety of audiences, they were also bold enough to tackle mature, complex subject matter with a certain degree of nuance that complimented each film’s unique but often times bizarre or surreal styles. Akira watches like a violent cyberpunk splatterfest with extreme body horror and juvenile delinquency, yet its borderline exploitative methods serve a larger purpose. Akira takes place in a bleak, dystopian Japan where Tokyo has been rebuilt after its destruction in 1988, setting up an allegorical story that directly confronts government experimentation and the fallout of nuclear warfare.

Artists of all mediums have always influenced one another and the impact that anime has had on western animation continues to this day whether through passing tongue-in-cheek references, taking inspiration from common anime tropes while also depicting them through a western lens, or shows that feature a heavily emulated anime style like Avatar: The Last Airbender and its successor The Legend of Korra. Then there are shows that completely blur the lines between western animation and anime, with the ultimate distinction usually coming down to where it was originally developed (i.e. North America or Japan).

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Alucard c. 2017

The overall aesthetic and image of Netflix’s Castlevania is built upon a number of different influences, the majority of which come from Japanese animation. Executive producer and long time Castlevania fan Adi Shankar has gone on record saying that the show is partially “an homage to those OVAs that I would watch on TV (...) and I was like, “This is beautiful, and it’s an art form”. He has also directly compared the show to those golden age-era ultra violent anime features of the 80s and 90s, including titles such as Akira, Ghost in the Shell, and Ninja Scroll. Director Samuel Deats, another avid Castlevania fan, has mentioned the long-running manga series Berserk along with its 1997 anime adaptation as one of the animation team’s primary inspirations numerous times, explaining in further detail in a 2017 interview with io9: “I pulled out my ‘I love the Berserk manga, Blade the Immortal’ and all that. That dark fantasy style of storytelling, character design, how gorey it gets… I put together a bunch of drawings and sketches, and a few color images that channeled all of that”.

Watching Castlevania, the aesthetic references to Berserk are obvious. Both series merge together medieval fantasy elements with gruesome horror but they are also similar in their particular animation styles. One director from Korean studio MOI Animation who partnered with Powerhouse Animation collaborated on the feature length film Berserk: The Golden Age—The Egg of the King along with its two sequels. But the biggest inspiration for the design of Castlevania, especially when it comes to its characters, is Ayami Kojima herself. 

From the pre-production phase, the team at Powerhouse knew they wanted Kojima’s art to be the main basis of how the finished product would look and feel. According to Samuel Deats, “In the back of everyone’s heads, we knew that we wanted to heavily reference the style Ayami Kojima used in the Castlevania games. We wanted to bring the same shade-before-image sort of thing”. However, due to the sheer amount of details and embroidered style of Kojima’s aesthetic, many of her original designs had to be simplified into 2-D animated forms (just as they had to be reduced into pixelated form for Symphony of the Night).

Alucard’s animated design is the best example of this simplification process, but it took some trial and error in order to arrive at the finished product. When Castlevania was originally planned as a movie, his design veered closer to the otherworldliness and corpse-like aesthetic of Lords of Shadow Alucard—something that looked as far from a human being let alone a dhampir as possible. Following the years of stifled development until Netflix picked up the project, Powerhouse opted to fall back on Kojima’s artwork for sheer iconography and recognizability. 

On the one hand, animated Alucard’s facial expressions are identical to his game counterpart with the exception of a few liberties taken; same determined scowl, same intensely golden eyes, and same lush eyelashes (there’s even a note from his character sheet specifically stating that they must cast shadows for close-ups). Most of all, the same feminine androgyny of Kojima’s work. But there are just as many omitted details from Alucard’s updated model as there are those that were carried over from the original design. When compared to Symphony of the Night, his wardrobe seems to be severely lacking in excessive ornaments, instead opting for a sleek black coat with simple gold embellishments, knee high boots with a slight heel, and a white shirt with an open v-neckline. Despite these supposedly easy changes and evocation of Kojima’s art style, Alucard is still one of the more difficult characters to animate as stated by Deats: “I mean, Alucard has to be just right. You can’t miss an eyelash on him without it looking weird”. 

For the most part, it shows in the final product. There are moments when the animation goes off model (as is the case with most 2-D animated shows for time and budgetary reasons), but rarely is Alucard drawn from an unflattering angle. The other reason for his change in design is the fact that Castlevania takes place three centuries before the events of Symphony of the Night. Because of the story constraints and console limitations, players were not given an in-depth look at Alucard’s character beyond his quest to defeat Dracula and the guilt he felt afterwards. It would make sense that his demeanor differs from the stoic nature of how he reacts to certain situations three hundred years later. As a result, Alucard is given a toned-down design to reflect what he might have been like as a younger, brasher, and more immature version of himself.

This immaturity and juvenile nature of his visual image comes through in his portrayal. While the show is in its third season, we will primarily focus on season two as when compared to the others, it revolves around Alucard’s personal journey towards an important aspect of his long established character the most; namely, the reason for his rebellion against Dracula and his eventual act of patricide. Because Alucard only appears as a silhouette in episode one then makes his full introduction during the last fifteen minutes of the final episode, season one gives the audience a very limited idea of his character. What we do get from Alucard is the same impression that Symphony of the Night left fans with: someone who is determined, intensely fixated on his goal, and is willing to use any means to accomplish it—even if it involves striking a tentative truce between a vampire hunter and a scholar of magic. Season two expands upon this, showing an Alucard who is soft-spoken, careful in his mannerisms, more feminine than masculine, yet always rises to the occasion whenever he needs to match Trevor Belmont’s own crassness. For all of his grace, Alucard’s high emotions coupled with an unchecked immaturity (especially in the presence of Trevor) show how ill-equipped he is when dealing with human interactions.

One other piece of evidence that adds to this chink in Alucard’s carefully crafted metaphorical armor is the goal of stopping his father. Throughout small interactions and moments of dialogue, the truce struck between him, Trevor, and Sypha eventually develops into more of a friendship, yet Alucard continues to suffer from extreme tunnel vision, going as far as to chastise his two companionships whenever they get too distracted or unfocused from their mission. This character flaw is also touched upon in Castlevania: Grimoire of Souls when characters remark upon Alucard’s (otherwise referred in the game as Arikado) overly serious nature. A flaw that does more to unintentionally push others away rather than any attempt to bring them closer to him.

When Alucard finally achieves his goal of killing Dracula, it leaves him feeling hollow. He doesn’t quite know how to fully process this ultimate decision, maintaining a delicate sense of composure on the outside while in the presence of others. It’s only when Alucard is left alone does he allow the emotions of everything that has just happened to overwhelm him in a moment of genuine vulnerability that was only alluded to in previous scenes.

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Conclusion

Despite the show being renewed for a fourth season, the future of the Castlevania franchise in general remains uncertain. There’s been no talk of any other past games being set for rerelease, Grimoire of Souls continues to make sporadic updates to its gacha system rather than its story mode, and Konami has since chosen to take a step back from developing video games in favour of manufacturing pachislot machines. Symphony of the Night and Bloodstained: Ritual of the Night creator Koji Igarashi has mentioned in past interviews that should Konami somehow make a return to Castlevania, he would be willing to direct a new instalment. But at the present time, rumors have remained rumors and there are no signs of a new official Castlevania game in the near future whether developed by Konami or an outside company.

No matter what direction Castlevania takes in the years to come, it seems as though Alucard will always follow it, just as Dracula and the Belmonts will as well. This is his franchise as much as it is theirs thanks to continued fan popularity. He’s taken many forms in the past thirty years and become the visual representation of certain trends, yet one thing about him never changes: he is still Dracula’s son, the opposite of his father. He can be cruel, powerful, cold, and everything else a Byronic hero should be yet he can also reject his masculine inheritance in both character and aesthetic. 

Above all else, the human side of Alucard is greater than the monstrous side.

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References

Bannister, Matthew. White Boys, White Noise: Masculinities and 1980s Indie Guitar Rock. Burlington: Taylor & Francis, 2017.

Castlevania Wiki | Fandom. https://castlevania.fandom.com/wiki/Castlevania_Wiki

Dyhouse, Carol. Heartthrobs: A History of Women and Desire. Oxford: Oxford University Press, 2017.

Godoy, Tiffany; Hirakawa, Takeji. Style Deficit Disorder: Harajuku Street Fashion, Tokyo. San Francisco: Chronicles Books, 2007.

Hodkinson, Paul. Goth: Identity, Style and Subculture. Bloomsbury Fashion Central, 2002.

Hutchings, Peter. Hammer and Beyond: The British Horror Film. Manchester: Manchester University Press, 1993.

James, Edward; Mendlesohn, Farah. The Cambridge Companion to Fantasy Literature. New York: Cambridge University Press, 2012.

Kibby, M.D. Real Men: Representations of Masculinity in the Eighties Cinema. Sydney: Western Sydney University Thesis Collection, 1997.

Kojima, Ayami. Santa Lilio Sangre. ToÌ"kyoÌ" : Asukashinsha, 2010.

Metzger, Patrick. “The Nostalgia Pendulum: A Rolling 30-Year Cycle of Pop Culture Trends.” The Patterning. WordPress.com, 2017. https://thepatterning.com/2017/02/13/the-nostalgia-pendulum-a-rolling-30-year-cycle-of-pop-culture-trends/

Moorcock, Michael. Elric of Melniboné. New York: Ace Fantasy, 1987.

Narcisse, Evan. “The Animation Studio That Made Castlevania Explains Why It Was A Dream Project.” io9. Gizmodo, 2017. https://io9.gizmodo.com/the-animation-studio-that-made-castlevania-explains-why-1797476526

Younker, Terasa. “Japanese Lolita: Dreaming, Despairing, Defying.” Standford Journal of East Asian Affairs, 2012, 97-110.

[clickbliss]

Trigger Witch takes the “ultraviolent Nintendo game” gag to its logical conclusion

By Amr (@siegarettes)

Trigger Witch 

Developers - Rainbite

Publisher - eastasiasoft

Switch, Playstation, Xbox

Among easy internet gags “Nintendo game with ultraviolence” is a long time staple. One look at Trigger Witch and it’s easily clear this is its starting point. Everything from the viewpoint, tilesets, structure and even certain melodies mark it as a clear pastiche of A Link to the Past, with AKs and Magnums replacing the swords and magic. Complete with the violent bursts of blood when you finish off an enemy. 

What makes Trigger Witch stand out is how far it’s willing to take the concept, answering questions of how and why, and doing legitimate world building around it. Witches in the world have forgotten how to use most magic, and in its place a faith devoted to the use and crafting of firearms has developed, complete with rights of passage to receive your first gun. 

It’s at once far more elaborate than you’d expect--going so far as to talk about the infrastructure that allows them to develop and magically conjure ammunition--and not elaborate enough. By answering so many questions about the world it leaves many more open. And coming from American gun culture, in which the right to lethal force is presented with equal religious fervor, Trigger Witch rides an uncomfortable tension. 

More straightforward is Trigger Witch’s play on the Zelda structure, complete with an overworld that slowly opens its gates as you earn new weapons. Traversal’s a little less charming when the doors open to a grenade launcher, however. Likewise, enemy patterns become less interesting when your entire arsenal is projectile based. Most enemies you’ll encounter perform some form of either rushing you down or firing at you, and though the room design attempts to keep this novel, it quickly becomes rote. 

When combat does switch up for boss fights, it becomes a hectic, sloppy mess. Not confident that it’s boss gimmicks can carry it, Trigger Witch throws enemy mobs into what are already iffy fights, completely breaking up the steady rhythm that its combat sets elsewhere. The first boss fight in particular proved so tedious that I ended up just spraying bullets and spamming health potions to grind through it. 

Building on that is Trigger Witch’s bizarre ammunition system. Your revolver is the only weapon that can be manually reloaded, with other weapons requiring you to switch to the pistol and wait until a full clip conjures itself into the chamber. It’s already a bizarre system with only two weapons, but the more weapons you pick up the more unwieldy it becomes, adding an unwanted sense of chaos to combat. 

Trigger Witch is full of small decisions like this that make it more messy as it goes on, which draws a lot of unfavorable comparisons when the game you’re riffing on is known for its flawless polish. Outside of boss battles, it does a surprisingly good job setting the pace, but these small problems continually have Trigger Witch stumbling over its own feet. 

With more considered combat Trigger Witch could have remained an enjoyable, if derivative, Zelda style adventure. As it is, it’s a light hearted gag that does more than expected, but doesn’t quite deliver. 

[loadet851]

Pc Games With Character Creation Offline

Games With Character Customization Pc

Steam Games With Character Creation

One of the things I love most in a RPG (Role-Playing Game) is the possibility of creating my own character with tons of different options and add-ons. I made a research yesterday and found some interesting PC Games I already knew about, adding them to the titles I have or plan to get with the best Character Customization. I’m going to list them here for you guys also attaching a few videos so that you can see directly how they work and what kind of possibilities they offer.

It’s the main reason I enjoy games like Skyrim and Fallout. But there seem to be so few good (single player) games with decent character creation - and not just picking from a few presets. The character creation in Dragon Age: inquisition was amazing (although I struggled to enjoy the game) as well as Saints Row (which I really enjoyed). Addicting Offline Co-op Games For PC You’ll Want To Play. Dennis Patrick / Features / Best Co-op PC Games, Co-op, Cooperative. Sonic the Hedgehog is a staple video game character. Best MMORPG with Character Creation. Final Fantasy 14 has one of the most complex and sophisticated character editors. In this game, you can change the smallest details using different sliders, pick a unique voice, or add unique tattoos, accessories and facial paint. What Are Best RPGs With Character Creation? Role-playing games let us live out some of our greatest fantasies like slaying dragons, saving the world and owning a house. Whether your main character is dead, alive, or somewhere in between, these games will let you adjust your appearance and abilities to however you see fit. I've always loved games that give you the option to create your character before you start in the world. I enjoy the game even more when it has role playing or social aspects added to it, allowing you interact with NPCs, or other players if the game has a multiplayer feature. Just character creation would interest me enough to check any game out.

Follow me under the cut if you’re curious!

I’ve been introduced to this type of creation with a game I still keep in my heart and consider one of the best of all times; The Sims 2. Seriously, I’ve created so many 3D characters that if I could win an award I’d have 200 on my shelf by now.

With that said, here you are my personal list of PC games with their awesome customization in no particular order:

I tried this game myself (the free beta that is) a few times in the past and I swear the CC included in it is currently one of my favorite. Without the complete pack I probably didn’t have a lot of additional options available in terms of clothes, makeup and hair, but what truly mesmerized me at the time was the shaping tool, not yet common in games when they released EVE. You can grab and drag different parts of the head and body, modeling unique characters every time.

2. Black Desert Online

This game has been released recently with two different packages and it seems to be quite a popular MMORPG (Massive(ly) Multiplayer Online Role-Playing Game) in Russia and Korea. I’m not surprised considering the quality this game seems to have and its customization is clearly no less. Just like EVE Online, Black Desert offers a good sculpt instrument to shape faces and bodies as much as you like, plus a beautiful variety of colors and combinations.

UPDATE: The game is also available on Steam!

This patch lets you play Legend of Zelda Spirit Tracks with mostly non-touch based controls. The new control bindings are Control Bindings: D-Pad=Run Y+Dpad=Walk B=Wide slash B+Dpad=Long slash Y+B=Spin Attack A=Interact A+Dpad=Roll. Legend of Zelda Spirit Tracks D-Pad Patch This patch implements non-touchscreen controls for essential actions in Legend of Zelda Spirit Tracks. Legend of zelda spirit tracks xenophobia patched rom.

3. Blade&Soul

This is another Asian MMORPG with the classical ‘Anime’ style, you cannot freely reshape the character’s structure, only pick one of the available presets and play around with the sliders to modify the whole body. Andy mckinney molly hatchet. Still, I honestly like the bright colors, the races/classes and the fact that you can actually recreate other existing characters using additional content (just like this guy did with Cloud from Final Fantasy VII).

4. BLESS Online

Yes, another Asian online title. Hey, it’s not my fault if they look so pretty! Bless is quite recent and not yet released in its final stage, but judging by how the CC works you have as much freedom as in EVE or Black Desert and the same unmistakable Fantasy touch.

5. The Sims 4

Didn’t I mention The Sims 2? Well, looks like the latest title in the series has improved quite a lot in this area. The shaping/sculpting method is here as well, considering that we finally have more possibilities I certainly won’t complain!

Note: In this video I can see the woman has a few mods installed. If you decide to get this game (or even the previous chapters) I definitely suggest you to do the same if you don’t like the default character design.

6. Fallout 4

Another recent (and quite famous) game. Apparently you can only work on the face here, but once again we see the sculpt tool in action. Even if the hair options are a bit limited you can still customize your character and create unique features playing around with your cursor.

7. Dragon Age: Inquisition

Who knows me is well aware of the fact that I am completely OBSESSED with this game, thus I couldn’t really leave it out. The hair options are definitely questionable and just like in Fallout 4 you do not have any body morph nor slider to alter, but as you can see from this video example you are still able to personalize your Inquisitor in a good way, also using real people or other characters as reference. To be honest I like some of the default presets too, if you don’t like spending two hours working on a face (I do that all the time, but I am a basket case so please ignore my madness :P), you can pick those and get a good result nonetheless.

And don’t forget about mods! 😉

8. Skyrim (The Elder Scrolls V)

This one has been around for a very long time and it remains probably the top 1 Fantasy game out there. If you’re not into mods at all and want to keep your game vanilla be sure that the overall quality is not as improved as the current generation, you can see that from the low-res hair and general textures. The reason why I’m including this CC in the list anyway is because even if old, Skyrim looks quite good compared to other games where you only get 3/4 slider options.

9. APB Reloaded

The last game I’d like to mention (and I literally just discovered it) is this not so new title which has a kick-ass Character Creator. Not only it shows some quality graphics there, but the level of customization is unbelievable! You can make hair shorter, beards longer, create beautiful tattoos (and place or rotate them wherever you want!), add patterns to clothes and even get your personal car! 😀

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There are of course many other games with a Character Creator, but they all seem pretty similar or not good enough to be mentioned in my list.

What do you think about these? Let me know with a comment if you like!

Those late-night multiplayer sessions can be really fun sometimes. Surely, everything is better with friends, they say and you’ll agree with that at some point. However, after a long day of work and studying, I like to relax with offline games. Sometimes, it’s satisfying to let yourself indulge in a great single-player story and forget about any problems bothering you. So, if you are like me, then welcome to the club! Below is my list of 20 best offline games for PC and I hope you’ll enjoy them.

1. The Witcher 3: Wild Hunt

W2k16 pc download. Well, you’ve guessed it! The Witcher 3: Wild Hunt takes first place on the list with its epic setting, characters, gameplay, and those breathtaking visuals! It’s a compelling game that will offer you more than a hundred hours of non-filler gameplay, and there’s always something to explore. The game looks amazing, and the combat system is great. This open-world title is everything you need on your free days! Combine that with the great RPG elements and fun dialogues with NPCs, and you got yourself a pretty good offline game! Go and play it now, it’s a must-play.

2. Wolfenstein 2: The New Colossus

Wolfenstein series has been once again revived with Wolfenstein 2: The New Colossus. The positive reviews flashed all around the globe, and this game quickly became one of the best shooting games of 2017. B.J Blazkowicz is such a badass protagonist and the characters surrounding the game are interesting. You’ll quickly start to care about each and every one of them, making this game a worthy offline title. Bethesda said that they won’t be focusing on multiplayer, so they can bring an immersive single-player experience. Well, you nailed it, Bethesda; great job!

3. The Elder Scrolls V: Skyrim

Bethesda is one of my favorite companies when it comes to gaming, at least they were a few years back. A few years back, this masterpiece called The Elder Scrolls V: Skyrim was released and it took the Earth by storm! This offline open-world title offers hundreds of hours of exploration and you’ll probably never get bored of it! The combat system might be dated, but it’s damn fun to play and explore every corner of the game. After six years since its release, I’m still eager to give Skyrim another go. It’s that great!

4. Fallout 4

Games With Character Customization Pc

Fallout 4 is one of those top offline games that you either like or dislike. It’s a great single-player experience, as you explore a huge world of fictional city Commonwealth. I mean, the story here is scattered here and there, and our protagonist is in search of his abducted son. However, the game often steers away from that and let you have some freedom and exploration. It’s a fantastic reboot of the series, and it’s surely the best game in the franchise. If you are up for that Stalker-ish feeling, then give this a try!

5. Hitman (2016)

Hitman isn’t a strictly offline game, but I included it because it has a great single-player campaign. While the previous entry in the series Hitman: Absolution relied more on linear, claustrophobic, and confined experience, Hitman (2016) went in a different direction. Here, you’ll experience a vast, open-world with lots of stuff to do. The levels are not that numerous, but they are as big as hell! You can complete your missions in various ways and earn certain rewards and points for doing so. Hitman is a challenging stealth experience, but once Agent 47crawls under your skin, there’s no going back!

Steam Games With Character Creation

6. Nioh

Nioh is a less-known offline game released this year, and I feel like this game is very underrated. It’s a child of Dark Souls and Bloodborne series, which can tell you much about this game. It has a single, crushing, and unforgiving difficulty that will leave you begging for mercy. It’s hard, and you’ll need some blazing fast reflexes and huge gaming skills to finish it. There are more than twenty bosses in the game, and every single boss will kick your ass! Don’t expect to finish this game in a few days; you’ll need weeks to finish it and it will be painfully slow as the bosses shame you every little time… you helpless gamer!

7. Nier: Automata

Another underrated game – Nier: Automata. How could the gaming community overlook this game? Are you blind, or what? This game offers thirty hours of a pure, refined, and amazing experience! It’s a hack-and-slash title that mergers several genres with it. The open world in this game is huge, and the post-apocalyptic environment looks depressing and feels like a void. Nier also introduces RPG elements so you can now level yourself up, upgrade weapons, buy stuff, etc. On top of that, there are some 2D sections that feel like a great platformer, and that’ very unique! Nier: Automata is better than most AAA titles and costs double the less of that price, which is one more reason to get it.

8. Dark Souls 3

Dark Souls series got a fantastic reboot with Dark Souls 3. Just if it wasn’t enough for the previous games in the series, and now we got this punishing game. What can I say? Prepare to die a LOT in this game, as it’s created to kill you. I’m not joking, the whole game is against you, and you can’t do anything about that except fight like a lunatic. Even when you die, the enemies around you respawn and you must fight again and again, which is really frustrating. However, if you have the balls to play it, and manage to finish it, then you deserve a medal, Sir!

9. Bioshock Infinite

Bioshock Infinite is the newest installment in the Bioshock series. This cheap game can give you a huge value for your buck, especially when the Holidays come. I mean, for just a couple of bucks, you can get a fantastic FPS game, which campaign isn’t short and definitely isn’t boring! Bioshock Infinite continues its tradition with great shooting mechanics, various powerups, and that fast-paced shooting in a beautiful environment of the game. Get ready to cause mayhem!

10. Alien: Isolation

Alien: Isolation is that PC offline game that will haunt your dreams every time you try to sleep. It’s a horror game in which you try to stay in one piece and escape that damn space station called Sevastopol. Sounds similar? Well, that’s because the game is based on Alien (1979) movie, which was a very disturbing experience at the time. It’s an intense game that makes your palms sweat and your heart beating so fast that you’ll think it’s gonna come out of your chest! Try this horror if you dare, and watch yourself getting swallowed by the Alien, in a single bite!

11. Far Cry Primal

Elephants are cool, but mammoths are so badass! In Far Cry Primal, you can hunt mammoths and even ride them when you get to higher levels! How cool are you from zero to riding a mammoth? This beautiful-looking game is set 10,000 years BC and no, you aren’t going to shoot guns, but bash the hell out of your enemies. The arsenal of weapons might not be that huge, but the combat is great and requires more thinking, as the enemies are sometimes overwhelming and can easily kill you. If you have the luck to tame a sabertooth tiger, you may survive in this harsh world!

12. Resident Evil 7: Biohazard

There is something special about that claustrophobic feeling, especially when it comes to horror games that you can play without internet. That sense of dread and despair when you don’t have much space to move is priceless. Don’t think of me as a psycho, but I LOVE the horror genre! RE7: Biohazard is a game that caught my attention as soon as it was released. This bad boy will provide you with a horrific experience that will leave you scared to death! As the game plays from the first-person perspective, it’s much easier to get yourself immersed, but also scared.

13. Outlast 2

Outlast 2 is yet another offline horror experience, where the developers decided to leave your powerless. There aren’t weapons for you to use, and surely no means to defend yourself. So, what are you left with? Well, a camera and a journal should do the trick! The game does a damn fine job of melding the horror and the dread with stealth and great storytelling. In the end, you may feel a little let down by the ending, but I know you’ll enjoy it until the very end.

14. Dead Space 3

Cat et 2015a factory password generator. While the past games in the series focused more on that horror experience, Dead Space 3 is more of an action-horror game. Sure, there are Necromorphs and they are vicious and all, but the action part is more prominent. Needless to say that Dead Space 3 is an amazing game and I’m very sad that Visceral Games is closed by EA in October. This survival horror game is hugely underrated, but it’s awesome and I recommend you to play it. It’s just a couple of bucks for this experience, don’t be a niggard!

15. Portal 2

There’s something awesome when it comes to Source Engine. The games made with this engine looks amazing, yet they run smoothly. How did Valve manage to do that? Well, as I am not a game developer, don’t ask me! But ask me about Portal 2, which is Valve’s magnum opus, and a compelling puzzle game. The whole point of the game is to use a Portal gun in order to create portals and pass through them. However, the game isn’t that simple and requires some brain skill to finish it. Grab your Portal Gun, and let’s go on a venture!

16. Limbo

This 2D game is straight-up terrifying, dark, and misanthropic from the start to finish! In Limbo, you are a little boy that needs to survive this colorless world of the game as he overcomes various obstacles and escape scary monsters. I like the game’s artwork and the atmosphere is simply top-notch here if you like the dark ambient in the games. It’s a must-play for every offline Indie games lover!

17. S.T.A.L.K.E.R.: Call of Pripyat

Speaking of the atmosphere, very few great offline games can replicate the atmosphere as it is in S.T.A.L.K.E.R.: Call of Pripyat. That post-apocalyptic atmosphere of Pripyat looks great, and the game isn’t colorful, which is the whole point. Everything has that grey-ish tint, as this town suffered greatly when the Nuclear Powerplant in that area exploded. It’s based on a real-life event that occurred around 1989, which gives the game a certain weight and meaning.

18. Metal Gear Solid V: The Phantom Pain

With MGSV: The Phantom Pain, Hideo Kojima proved that he still has what it takes to create such immersive PC games without internet. This stealth game is challenging and full of stuff to do, due to its open-world nature. The characters are badass and the game feels somewhat dark, with a very serious tone. Oh, and not to forget that plot twist at the end that’s worth those thirty hours I’ve spent on this game!

19. SOMA

Horror fans will be pleased that I mentioned another horror title here. SOMA is an absolutely spooky and nerve-wracking experience! It creates that atmosphere that’s very unique, and with the story being told in the shape of various documents scattered through the game, it’s even more badass! You are all alone here and you’ll fight for your life, only to find out that you aren’t actually alive! A truly wonderful offline game for Windows.

20. Superhot

Superhot is a cartoonish-looking offline game that revolves around time. To make it simple, the time in the game moves when you move, so if you are standing still, nothing will happen. Vice Versa, if you are moving and shooting, then the enemies will do the same. It’s a lot of fun, but a lot of challenges too. I played it with some of my favorite death metal albums, just to ensure that I’m hardcore enough to beat it!

As we are approaching near the end of our journey through the offline PC games, I’m here to ask you a question. What is your favorite offline game for PC? I tried my best to count some of my favorite offline games, and although I’m maybe going to start a war for not including some of the games, I stand behind my words. Oh, and why don’t you tell me what game did I miss? Do you have any favorites besides these 20 games? Please, let me know, and don’t forget to do some gaming today!

[octolingo-writes]

oh what a fun idea! first of all thank you somer, very sweet :)! The fact that JRWI has crossed-over as "that underwater show that isnt bubble guppies" is hysterical to me /pos

I'm going to @ all my mutuals, if you don't want to be @ ed or don't want to respond you ofc do not have to and just let me know if you don't want to be @ ed :)

@atomicraft banger fics and some of the coolest headcanons around

@ryahisbored ryah!! one of my most faithful readers, very sweet, always leaves wonderful comments and has great requests! also has a cool riptide story of their own :D

@somer-writes writing LU Twilight-centric fanfiction with a speed I have never seen in a human being before. how do you do it

@edeadinside made that one really banger post about Miss Gilbert (as they should be), also good analysis

@freakinflipflop flippin :D super friendly, always reblogs posts that make me smile when they show up on my dash

@supmaww very cool, stylized art

@raeraesmentality how could I forget Raylin_Shire one of the most banger LU fic writers out there, who wrote Afterlorn which is still one of my favorite LU fics

@the0retically always has really funny and entertaining reactions to things as they happen in the campaigns

@firefly464 JRWI OG, been here forever (I think, it feels that way to me at least), very excitable and fun :)

@starsinoursystem tons of the JRWI art that shows up on my dash is bc they reblogged it

@s0lar-ch3ri another supplier of excellent JRWI posts on my dash, also tends to have good analysis in tags of posts

@somegurl8 BANGER posts, BANGER reblogs, and also is very helpful for when I need information for fics :) also they made the JRWI out of context video which is hilarious

@its-always-the-witching-hour I get tons of fun reblogs from you :)

@sapphicwithapen fellow Fated enjoyer, makes very funny memes and writes excellent fics

@honestly-nerdy reblogs fun posts and is very sweet :)

@zeldazee one of the top LOST writers, absolutely excellent work

@chaos-0verload my good buddy, my good pal

@gremlinbehaviour LOST writer!! has written some excellent Sayid works that I absolutely love

@phantom-does-a-thing one of the most prolific JRWI writers, everything they've written absolutely SLAPS and there's so much of it!! highly highly recommend

@kippierre always gives me tons of fun polls to participate in via reblogs

@lillianforest22 ask games!! most of the time when I get tagged in ask games its bc of them and I love ask games :)

@fishcop FISHCOP the man the myth the legend, absolutely BANGER art and wrote a really sick Convergence fic that I loved, also drew art for a fic I wrote and I may have cried looking at it

@stripesysheaven Ben Linus apologist /pos

@datbugboi7 very good reblogs ranging from funny to serious (I remember the frog post vividly) @princie33 ~reblogs~ I have lots of mutuals who supply me with a constant stream of new stimuli

@davvero-annoiatx always gives me tons of cool Zelda content to look at, also aro Link truther for the win

@enby-ralsei JRWI community staple, writes good fics, leaves good comments, and has some of the best analysis posts out there, also spam reblogs

@polypd just some absolutely BANGER Jrwi posts

@navysealt4t another JRWI staple, I remember seeing the name back before I even got a tumblr account

@silverdragonms I remember you from my early LU days on Ao3 because you commented all the time :) very friendly person

@parallasso Jrwi posts. So many Jrwi posts. Also lots of Fated content which I ofc go crazy for

@fragilecqpricorn Baldur's Gate posts (which I just started playing, actually) and Jrwi :)

@raviotheraviolis the only reason I've noticed recent LU updates is bc you've reblogged them lmao

@dracolunae tons of good JRWI content and reblogs for me to consume

@caesurah-tblr very good JRWI posts, I remember the hero Vyncent x villain William one from yesterday in particular

@paradoxical-hermitcrab tons of banger LU content and reblogs

@mellowtakes JRWI!!! Also I recognize the profile picture very quickly

@thep1nscollective slimecicle and JRWI reblogs for me to enjoy :)

@veeiiiii-0-ween BANGER reblogs, gives me lots of content both from fandoms and just in general

@ishhbowl I remember you reblogged the abandoned parking lot tumblr thing and I laughed about it for like five minutes

@shadow-and-purgatory funny LU posts and also just all-around good reblogs, also BANGER writer on Ao3

@imhereoutofspite JRWI :) a lot of my mutuals I just associate them with a fandom and this one's JRWI

@slugs-against-stairs currently, Starkid stuff! which is fun for me bc I just got into Starkid recently

@earlgay-milktea bro, literally the JRWI writer to end all writers, wrote Heart of the Sea which is iconic, just absolutely banger writing (please read their work if you haven't) @kasperconvergence the url says it all. JRWI convergence my beloved

@blossomingwaters LU writer and reblogger!! one of my LU content-givers (people who reblog LU stuff and I see it)

@redcloverf3y another person who supplies me with a constant stream of cool reblogs (I can't quite remember which fandom I originally know you from but I want to say it's LU)

@weewaweewa LU content!! reblogs really cool and funny artwork

Whew, that's all of them (I think! If we're mutuals and I missed you please let me know)! I know for some people I had more or less to say than others, please know I love you all equally :) /platonic

Thanks for the @!

[coolgreatwebsite]

Cool Games I Finished In 2020 (In No Real Order)

Oh, hey! Right! I have a website! I’m like a week late on writing this, but what’s a week on top of an entire year of not writing, right? 2020 was... well, we all know what 2020 was. For me personally, it was simultaneously the best and worst year of my life. The worst in both ways you can probably assume and ways you definitely can’t (neither of which I’ll be getting into), and the best in ways I absolutely never would have guessed. That uncertain job I mentioned last year got very suddenly much more certain, at a much bigger company, for a much larger amount of money. That allowed me to get my own place, making my weird living situation much less weird. Still haven’t gotten the majority of my belongings off of the east coast, but if the entire world wasn’t currently fucked up by a global pandemic I’d have sorted all that out too. What I’m saying is that, for the third year in a row, my life has been a complete whirlwind that has left me very little time to get comfortable with any aspect of it. But I did manage to play more video games than I did last year! Which is perfect, because it’s once again time for another one of these. Here’s a bunch of cool games I experienced for the first time in 2020.

Astro’s Playroom (PlayStation 5, 2020)

My one word description of Astro's Playroom is "delightful". It's just an absolute goddamn delight. A total surprise too! Included with every PlayStation 5, Astro's Playroom is, in my opinion, one of the best pack-in games of all time.

First off, it's an incredible tech demo for the PS5's new DualSense controller. It was easy to brush off Sony's talk about the controller's haptic feedback and triggers as some Nintendo-style HD Rumble bullshit, but it really is incredibly cool once you get your hands on it. The game is obviously more than a tech demo though, or else it wouldn't be on here. It also just so happens to be an extremely solid and fun platformer on top of that. Astro controls exceptionally well and the levels are all well-designed and fun, even the gimmick vehicle ones designed to show off different features of the controller. It also has an oddly compelling speedrun mode, made all the more compelling by the PS5 notifying you when your friends beat your times and the ability to load into it within two seconds from anywhere on the console. But the biggest thing for me and, call me a mark, because I am, is that the game is an honestly incredible love letter to PlayStation history.

For the first time ever, Sony has pulled off a nostalgia piece without it ending up as embarrassing garbage in the vein of PlayStation All-Stars Battle Royale. There's a Nintendo-like joyful reverence for all things PlayStation oozing out of every single corner of this game. There are so many nods and references and gags for literally every PlayStation thing of note throughout the the last 25 years, and then on top of that there's a whole heap more for the things that AREN'T of note that only hyperdorks like me would get! A sly reference to the ill-fated boomerang controller? Yep. A goof on the fat PS3's Spider-Man font? You betcha. A trophy you can earn by repeatedly punching a Sony Interactive Entertainment sign until it breaks and reveals the Sony Computer Entertainment sign it was slapped on top of? Yeah buddy. It's deep cuts all the way down, even up until the final boss which had me grinning like a total dipshit the entire time. The game is endlessly, effortlessly charming.

Animal Crossing: New Horizons (Nintendo Switch, 2020)

Animal Crossing: New Horizons was the perfect game at the perfect time. That doesn't mean it's a perfect game, I actually have some issues with it, but it could not have released at a better time than when it did. It came out at the very very beginning of everyone going into lockdown due to the pandemic, and it was the biggest game in the world for a couple of months as a result. I played like 300 hours and that pales in comparison to the amount of time many others put into it.

Animal Crossing: New Horizons is the most different Animal Crossing game there's ever been, and I'm of two minds on it. Like, I loved the game, I played a ton of it, but it's lacking so much of the stuff that made me love Animal Crossing in the first place. The series has been slowly trending in this direction for a bit now, but it's not really a game that happens around you anymore. It's all about total player control. You select where everything goes, you customize every detail of everything to your liking, hell, you can even terraform the landmass to be exactly what you want. Your neighbors take a backseat in focus and end up as little more than decorations with limited dialogue and next to no quests associated with them. Series staples like Gyroids are missing in action. Facilities and services that have been around since Wild World aren't implemented. It's similar to past Animal Crossing games in a lot of ways, but on the whole it feels like a different thing.

But like I said, two minds. New Horizons strays from what I truly want from an Animal Crossing game, but I can't deny that the game as it is is a hell of a lot of fun. There's SO much you can do and SO many options, it's super addictive. Plus it implemented my long-requested feature of letting you effortlessly send mail to friends online! Too bad the actual online play is as cumbersome as ever.

In conclusion, Animal Crossing: New Horizons is a land of contrasts. I'm kidding. It's good, but definitely missing something in a way where I can understand some people being disappointed in it. I had a ton of fun though, and I'm probably going to get back into it later in 2021.

Trials of Mana (Nintendo Switch, 2019)

Late in 2019, with the physical release of Collection of Mana for the Switch, I decided I was going to play through each game on it for the first time and finally find out what this whole Mana thing was about. I went into Final Fantasy Adventure (the first game in the Mana series, because every RPG had to be Final Fantasy back then) with zero expectations and found a totally serviceable little Zelda-like with light RPG elements. I enjoyed my time with it. I went into Secret of Mana with the expectation of it being a beloved classic and found the worst game I beat that year, hands down. That game fucking sucks. I get why it made an impression on people at the time, but it's just so so SO awful to play. Needless to say I was pretty disappointed. Honestly, I would have been disappointed even if I hadn't heard it was one of "the best games" for so long. It would have been a disappointing follow-up to Final Fantasy Adventure, a game that in and of itself isn't anything incredible. Secret of Mana is just that rotten.

I braced myself for more disappointment when (after a much needed vacation from the series) I started up Trials of Mana. This game had a reputation too, as a long-lost classic that never made it stateside. One of the best games on the Super Nintendo, criminally never released for western audiences! Like Secret of Mana before it, I'd heard nothing but effusive praise. Unlike Secret of Mana, however, I was very pleased to find out that Trials of Mana mostly lives up to the hype. From a gameplay standpoint, Trials is an improvement on Secret in almost every single way. It's not perfect. The menus are still kinda clunky, animations for things like magic and items are still frequently disruptive. But the main thing is it actually plays like a sensible video game designed by humans with brains. Attacking is responsive! Hitboxes aren't complete nonsense! You don't constantly get stunlocked to death! There are more answers to combat than casting the same spell for five straight minutes to kill your enemies before they get a chance to move! It's great!

On top of being an enjoyable video game to actually play, the presentation is top notch. Secret of Mana could be a pretty game with decent music in some spots, but Trials is consistently gorgeous and the soundtrack is across the board great instead of randomly having songs that sound like clown vomit. And while Trials of Mana doesn't have the deepest story in the world, it manages to avoid being completely paper-thin like Secret. The story actually kind of has a reason for being a bit straightforward, and the reason is that it has a really cool system where you pick your three playable characters from a pool of six. Each character has their own goals and storyline, some of which line up with other potential party members, some of which don't, and you'll even run into the characters you didn't choose as NPCs along the way. This and the relatively brisk pace of the game make it highly replayable.

I'm really glad that Trials of Mana made it over here in an official capacity, even if it was like 25 years late. It's as good as I expected Secret of Mana to be and singlehandedly saved my interest in seeing any more of the series. I'm aware the quality of what came after is very spotty, but I'll get to the rest eventually!

Final Fantasy VII Remake (PlayStation 4, 2020)

They (almost) did it. They (basically) pulled it off. They remade (a chunk of) Final Fantasy VII and (for the most part) didn't fuck it up. Ok, funny parentheticals aside, Final Fantasy VII Remake is astoundingly good coming off of over two decades of just absolutely dreadful post-FF7 sequels, side games, and movies.

Final Fantasy VII has been historically misremembered as this kind of miserable, angsty, brooding thing, both by fans and by the company that made it. FF7-branded media after FF7 itself is a minefield of changed personalities, embarrassing original characters, and monumentally lame stories. Final Fantasy VII Remake is the first post-FF7 anything that actually remembers the characters, setting, and plot of Final Fantasy VII and what made them memorable and special to people in the first place. Which isn't to say it's a slavish recreation! There's a ton of changes and additions, and I actually like almost all of them! Except for some really big stuff I'll touch on in a bit!

The combat in Final Fantasy VII Remake is great. I was super skeptical about it when the game was first announced, but they actually managed to make the blend of real-time action and turn-based RPG menuing fun and engaging. The characters all play super differently from each other too, which is a huge and welcome difference from the original game. The Materia system fits like a glove in this revamped combat system as well. The remixed music is good as hell, and the visuals are beautiful (outside of a couple of very specific spots that I'm kinda of surprised they haven't fixed in a patch yet). It's a well-executed package all around.

But alas, as always, there are negatives. For starters, this is only part one of the overall Final Fantasy VII Remake project. It goes up to the party leaving Midgar which, as you may or may not recall, is the first six hours of the original game. They compensated for this by fleshing the hell out of the Midgar section the game, ballooning the overall playtime to total of about 30-ish hours. The game feeling padded is a common complaint but for what it's worth, I didn't really feel it until the unnecessarily long final dungeon, There's also the previously mentioned and funny parenthetical'd changes and additions I don't like.

This is big time spoilers for this game so if you don't want that jump ahead to the next game on the list. The Whispers suck ass. Final Fantasy VII Remake should have been brave enough to be different without having to constantly derail everything in the most ham-fisted and intrusive way possible. You can have Jessie twist her ankle without making a spooky plot ghost trip her. I don't want to fight the physical manifestation of the game everyone thought they were getting as an end boss. If you're not doing a straight remake, that's fine, but have the fucking guts to stand by your artistic decisions without feeling the need to invent the lamest deus ex machina I've ever fucking seen. The last couple of hours of this game are 100% about the Whispers and are awful for it. It's a true testament to the strength of the rest of Final Fantasy VII Remake that this aspect didn't completely sour me on it. I can only hope that they stay dead and gone for good in the games yet to come and the remake can be different while standing on its own two feet.

I truly cannot wait for the next entry in the Final Fantasy VII Remake project. I'm excited for Final Fantasy VII in a way I haven't been since the late 90s. I have a bit of trepidation that they could royally screw it up. I mean, they already got kinda close, as I said in my last paragraph. But they got so much right in this entry that, for the first time in decades, I'm willing to believe in Square Enix when it comes to Final Fantasy VII.

13 Sentinels: Aegis Rim (PlayStation 4, 2020)

My one word description of 13 Sentinels is "fucking crazy". I realize that's two words, but shut up. A bizarre hybrid of visual novel, adventure game, and strategy RPG, 13 Sentinels not only makes that work, but makes it work incredibly well. 

The story is fucking bonkers. It's told entirely non-linearly and is purposefully dense and confusing, but it does an amazing job of hooking you with a cast of likable characters and some impressively well-paced twists, made all the more impressive by the fact that you can tackle the story in basically whatever order you want. I'll say it again for those in the back, the story is Fucking Bonkers. Wherever you think it's going, it's not going. Where it is going is PLACES. Seriously, if you want a wild goddamn ride, this is the game for you. The presentation is also stunning. It's a drop dead gorgeous game with a really nice soundtrack. Easily Vanillaware's best looking game, which is saying something seeing as looking good is Vanillaware's whole deal.

If I had to levy one criticism against the game, it's that the strategy RPG portion is just kind of ok. It's enjoyable enough, it doesn't get in the way and there's not too much of it, but once it starts introducing armored versions of previous enemy types it's kind of done doing anything different. It is really good at getting people to out themselves as having no idea what tower defense is as a genre though!

Hyrule Warriors: Definitive Edition (Nintendo Switch, 2018)

I haven't really historically been a "Musou Guy". Not to say I've actively disliked them, they're just not something I've seeked out very often or played very much of. Hyrule Warriors: Definitive Edition kinda turned me into a "Musou Guy" a little bit? It's good, surprisingly-less-mindless-than-you'd-think fun.

I actually super don't care about the Zelda branding. I think all the fanservice stuff is meh at best. What I do care about is that there's a ton of character variety and a metric shitload of content. There's so many different characters and weapons for those characters that all play differently from one another and SOOOOOO many levels to play. Like the story mode is, again, kinda meh, the real meat of the game is the Adventure mode and there's a ton of it. It's 8 different world maps, each based off a different Zelda game, with each square of the map containing a little mini-scenario with unique objectives and rewards. There has to be at least 1000 scenarios between all the maps. There's so much. And that's not even getting into some of the other side stuff like the challenge modes and the fairy raising. It's a crazy amount of game in this game.

And again, it's not as mindless as it'd seem. It's not really a game ABOUT destroying 5000 guys, it's an area control and resource management game where the 5000 guys are one of those resources. Knowing who to send where and when to fight who is way more important than pressing the XXX YYY XXX YYY on the more than one million troops.

I'd say that if you're even cursorily potentially maybe interested in a musou game, this is the one to try. And if you like it, it could literally be your forever game. A sequel came out recently too, and I'm looking forward to trying that out soon.

Phantasy Star Online 2 (Xbox One, 2020)

Phantasy Star Online 2 finally came stateside in the year 2020, eight years after its initial Japanese release and initial American cancellation. It's no Phantasy Star Online 1, but it is a really fun game in its own right provided you can find the willpower to break through its clunkiness and eight years of confusing poorly tutorialized free-to-play MMO cruft.

The main thing going for PSO2, and this is a major improvement from PSO1, is that the act of engaging in its combat is fun. The combat is just feels really really good. There's a bunch of different weapon types and classes, and once you find the ones that really click with you you're in for a good time, whether you're izuna dropping dudes with wire claws or literally doing air juggles and rainstorm from Devil May Cry with the dual machine guns.

The other stuff around that combat is weird. I generally like it, but it's weird. The story mode is one of the most bizarrely presented things I've ever seen. It apparently used to be something you'd seek out in the levels themselves, but presently it's just a list of scenes you pick from a menu and watch with next to no context until it makes you fight a boss sometimes. There's some weird moments in there that MIGHT have been cool if it were presented in literally any other way?

The systems and presentation are also way more... I dunno, pinball? Pachislot? In very stark contrast to how chill original Phantasy Star Online was, everything in PSO2 is designed in a way to maximize that flashy light bing bing wahoo you got ~*~RARE DROP CHANCE UP~*~  feeling. Which isn't to say I don't like flashy light bing bing wahoo, but it's a weird different thing.

Was it worth the wait? Yeah, sure! For me! This is another one that I played like 300 hours of! I haven't even seen half of it, I fell off right before Episode 4 released because it coincided with my move! I'm gonna go back and see all that shit! PSO2's fun! A different flavor of fun than the original, sure, but fun all the same. Another one that I'm glad finally made it over here.

Riichi Mahjong (A Table, 1924)

Holy shit I fucking did it I finally learned how to play Mahjong and it rules.

It started when I picked up Clubhouse Games for the Switch. I saw that it had Riichi Mahjong and something in my brain snapped. For whatever reason, I decided that this was the time I was going to rip the band-aid off and figure this shit out. It wasn't too dissimilar to the first time I decided to try eggs, but that's a different and much stupider story for a different time. I did the tutorial in Clubhouse Games, looked up some more basics and advice because the tutorial wasn't super amazing, and I kept playing while being aided by the game's nice helper features like the button that pulls up recommended hands. I kept playing and... sorta got it. I learned the basic rules, but none of the strategy. And then I stopped playing for a few months.

In that few months, for whatever reason, a decent amount of people I know had their brains snap the same way? Like a more-than-two amount of people I'm either friends with or following online also decided to learn Mahjong. I decided to get back on the horse and downloaded Mahjong Soul and I don't know whether it was perseverance or the power of anime babes, but this time I got it. I still refer to a sheet with all the hands and whether they work open or closed, and I'm by no means a master player, but I actually honest to god understand what I'm doing and it's an incredible feeling.

Mahjong has such a huge amount of what I like to call "Get That Ass" energy. It is the energy you feel when you get someone's ass. In Mahjong you are either constantly getting someone's ass or getting your ass gotten. Someone puts down the wrong tile and you fucking GET THEIR ASS DUDE! They're got!! They're a fucking idiot that put down the wrong thing and now you have their points!!! Or you draw what you need yourself and you're a brain genius all according to plan and everyone gives you points because you're so wise!!!! It's great!!!!!

Mahjong has long been one of those games where I'd say "I'll learn this someday" and never reeeeally actually try to learn, and I'm so glad I finally took the effort to because it's good as hell. And, truth be told, it wasn't THAT hard to learn? Like you can get to the point where I was where I didn't know the strategy fairly easily in my opinion, and once you do that It's just a matter of continuing to play to understand the rest. I highly recommended that you also go out and learn it if you similarly revel in getting that ass, it's so satisfying once you do.

Yakuza: Like a Dragon (PlayStation 4, 2020)

Ryu Ga Gotoku Studio took a big gamble with Yakuza: Like a Dragon. After seven games (more if you take spinoffs and remakes into consideration) they decided to focus on a new main character and, even more unexpectedly, they decided to change things up by turning the series into a turn-based JRPG. Their gamble paid off in spades. This is easily in my top 3 favorite Yakuza games.

The JRPG gameplay is surprisingly solid. There's definite room for improvement, but they nailed a bunch of it right out of the gate. Some mechanics are a little janky and I wish the job system was more fleshed out or just worked more like Final Fantasy V's, but they nailed one of the most important things and made the battles brisk and fun. It's a great foundation, especially for a team that's never attempted anything like this, and it's way more fun than the combat's been in any of the previous Dragon Engine games. I can't wait to see them iterate on it.

Everything else is top fuckin' notch. The music is great, the side content is fully fleshed out in a way it hasn't been since before they switched to the Dragon Engine, and I love the characters and story so much. Yakuza has a new main character in Ichiban Kasuga, and he's my son and I love him. Kiryu was great, and I love him too, but he was a bit of a passive protagonist. Stuff happened around him and he mostly just stoically reacted to it. Ichi is a much more active lead and it's great. He's a big lovable dope, and his tendency to keep an upbeat attitude and eagerness to leap into action is such a breath of fresh air. And it's not only Ichiban, since this is an RPG you have a whole party of characters and they're all great! Having them with you at all times bantering with each other and reacting to things is another great change of narrative pace, too. 

Yakuza: Like a Dragon just straight up rules. As someone who has historically not been too much of a fan of the Dragon Engine games, it's simultaneously a refreshing new take on the series and a fantastic return to form. I can't wait for what comes next. Wherever Ichiban goes, I go.

Moon: Remix RPG Adventure (Nintendo Switch, 2020)

After 23 years of Japanese PS1 exclusivity, Moon: Remix RPG Adventure finally got an English release this year for Nintendo Switch. I'm glad it did, because Moon isn't just the very definition of A Sebmal Game. It's the Sebmal Game missing link. In addition to being just a great video game, it helped me make a mental throughline for a bunch of games I love and a large part of my taste in video games.

To keep a long story short (seriously, I have a much much longer version of this saved in my drafts that I'll maybe finish someday), Moon turned out to be not the JRPG I assumed it was, given the title and basic story pitch, but a secret prequel to a game I love named Chulip. Moon's developer, Love-de-Lic, was formed by a handful of ex-Squaresoft employees, many of which worked on an extremely formative game I love named Super Mario RPG: Legend of the Seven Stars. Love-de-Lic broke up in the year 2000 and its staff went on to form a bunch of different studios that ended up making a BUNCH of different games I love like Chibi-Robo, Freshly-Picked Tingle's Rosy Rupeeland, Dandy Dungeon, and the aforementioned Chulip. These games, when you make the connection and line them up, all have a very distinct weirdness in common that makes perfect sense once you've realized many of the same people worked on them. Figuring this all out felt like snapping a piece of my brain back in place, and it was really crazy to come to understand exactly how much this studio that formed and disbanded decades before I'd even heard of them had impacted my tastes and, hell, my life.

So what is Moon, for those who don't innately understand what I mean by "a secret prequel to Chulip"? Moon is an adventure game where you explore a world with a day/night cycle, learn about that world's inhabitants, and eventually solve their problems. Think of it kind of like The Legend of Zelda: Majora's Mask, but if the sidequests were the entirety of the focus with no Groundhog Day time reset mechanic and none of the Zelda stuff like combat and dungeons. You play as a young boy who, after a late night JRPG binge session, is sucked into the world of the game he was just playing. Everything is off from the way it was portrayed while the boy was playing the game, though. The hero he had previously controlled is actually a silent menace, raiding peoples' houses for treasure and slaughtering every innocent animal that crosses his path in an endless quest for EXP. The townspeople seem more concerned with problems in their day-to-day lives than the supposed world threatening crisis outlined in the game's intro. It's up to you as the boy to investigate this world's mysteries, help the townsfolk, mend the damage the hero has done, and eventually restore love to a loveless world.

Speaking of love, I fucking loved Moon. I loved the story, I loved the characters, I loved the music, I loved the way it looks (even though the Switch port is a little crusty in that basic emulator-y kinda way), I loved how constantly bizarre and surprising and funny it was. Like I said earlier, it's the very definition of a game made for me. It was essentially the progenitor of a long line of games made for me, and of games potentially made for me but I don't know yet because I haven't played them due to not understanding Japanese (UFO: A Day in the Life translation next please? Anyone from Onion Games reading this??). For as similar as Moon and Chulip are in their systems and pacing, I think I might actually like Moon better despite it coming earlier? It's not as full force maximum impact absurd as Chulip is, but it is a lot more playable and less obtuse once you get a grip on the time limit mechanic. You don't need a full strategy guide included in the instruction manual for Moon, and you don't need to exchange business cards with every single character to get information vital to finishing the game either.

I truly cannot recommend Moon enough if your taste in games ventures anywhere off the beaten path. Maybe this is a little conceited of me, but I assume if you're reading this article, let alone this far down into it, you relate to my video game opinions at least a little bit? You should play Moon. Everyone reading this sentence should play Moon. Moon: Remix RPG Adventure is my game of the year for the year 2020.

These games were also cool, I just had less to say about them:

Death Stranding (PlayStation 4, 2019): Death Stranding, much like Metal Gear Solid V, was a game I enjoyed for the gameplay and not much else. The story, characters, and writing were a huge disappointment for me, but man if I didn't enjoy lugging those boxes around and setting up my hellish cross-continental goon summer camp lookin' zipline network. Mr. Driller Drill Land (Nintendo Switch, 2020): I am a known Mr. Driller Enjoyer, and I enjoyed this Mr. Driller. Originally released for the Gamecube, Mr. Driller Drill Land is another long-time Japanese exclusive that finally came stateside this year and it's packed with new and novel twists on the Mr. Driller format. It looks super sharp, the music's great (also the credits music is the most impossibly out of place and extra as hell shit in the world and it's hilarious), and it's just a good ass time. The main campaign is pretty damn short, but if you're a post-game content kinda guy it has that and it's all super hard. Tony Hawk's Pro Skater 1+2 (PlayStation 4, 2020): They finally made another good new Tony Hawk game, and all it took was perfectly remaking two of the best old Tony Hawk games! Plays exactly like you remember it with the added benefit of the best mechanics from up to THUG1, looks great, packed full of content, even has most of the music alongside some mostly crappy new stuff. It's the full package as is, but I do hope they end up adding THPS3 to it eventually. Mad Rat Dead (Nintendo Switch, 2020): Mad Rat Dead was a pleasant surprise that I only picked up because I saw a couple of people on my Twitter timeline constantly talking about it. A fun and inventive platformer where all your actions need to be on beat with the music. The gameplay feels great (aside from some not so great performance issues on Switch), the soundtrack is fun, and it's got a real good style to it. Demon's Souls (PlayStation 5, 2020): I love Demon's Souls and this is Demon's Souls. It plays exactly the same with some minor quality of life changes. I don't agree with many of the artistic changes, but there's no denying it looks incredible on a technical level. If you want to play Demon's Souls again or for the first time, this is a perfectly valid and fun way to do so. Groove Coaster: Wai Wai Party!!!! (Nintendo Switch, 2019): Groove Coaster is one of my favorite rhythm games, and they finally made an acceptable at-home version with Wai Wai Party. It's not a perfect replication of the arcade game control-wise, I have some issues with the song choices, and the pricing is frankly fucking ridiculous if you're not a Groove Coaster maniac like I am, but the same ultra satisfying gameplay is all there. You can even play it vertically in handheld mode! Flip Griiiiiiiip!

And we're done! Phew! Honestly didn't realize I played that many good games until I typed all this out. Thanks as always for reading this far. I'm gonna try and get back to regularly posting Breviews this year at the very least. Honestly don't know if I'll get anything else up on here, but we'll see. Here's to hoping 2021 is a little bit less of a nightmare!

[radramblog]

The Notorious K.R.B. (64)

At some point I plan to give grander thoughts on the Kirby franchise as a whole, considering that it probably has a game in my top 10 of all time. But for now, I’m talking about one of the games specifically, and blowing the title I came up with early in the process.

That’s not what my copy looks like, mine is in Japanese. Good thing this game doesn’t have dialogue!

Kirby 64: The Crystal Shards is a game I’ve been playing through, having finangled myself a cartridge of it recently. It feels like somewhat of a black sheep in the franchise, simultaneously both behind and ahead of its time in the franchise’s history. It feels somewhat like an experiment, the results of which wouldn’t come to fruition until much later.

The 6th main series entry for the pink puffball (and 12th game overall, fuck I forgot how many spinoffs this series has), Kirby 64 showed up relatively late in the titular console’s lifetime. Most platformer franchises- Mario, Sonic, and all their imitators- had already made the leap to 3D in the late 90s, with Kirby lagging behind at 2000- only a year and a half before the Gamecube’s release. Unlike all those other characters, however, Kirby wouldn’t take the full plunge into the Z-axis, rather dipping its toes in with a 2.5D game. The game has 3D worlds, which Kirby walks through along a straight path- camera angles changing as you progress and enemies occasionally popping in through the background. Despite how groundbreaking the third dimension was for gaming, one could argue that staying a largely flat platformer is somewhat bold in 2000, when I’m sure for some the style was getting tired. Of course, this was before the PS2/Gamecube/Xbox era, when it was clear 3D was here to stay as franchises like Crash Bandicoot and the 3D Zeldas continued to reign.

Kirby 64 can best be considered a sequel to Dream Land 3, the previous installment in the series, having gameplay most similar to that than Adventure or Super Star. Adventure introduced copy abilities, with a total of 25, and Super Star fleshed them out with fighting-game style movesets that would prove incredibly ahead of their time. Dream Land 3 only has 8 (+ the Love-Love Stick, actual name not making it up, the “ultimate ability”), which could be combined with the 6 Animal Friends for variations on their power. By comparison, 64 has 7 abilities (+ the final ability, Ribbon+Crystal), each with the very simplistic powers that the non-Super Star entries sported at this point- that is to say, one attack per ability. However, in 64, Kirby has 2 slots for abilities, allowing for each ability to combine with others (or themselves) into some really funky combinations, such as Refrigerator (Ice+Spark) or Stonecutter (…Stone+Cutter), many of which are needed to collect the 74 titular Crystal Shards. Much like the Dream Land games, the game’s true ending and final boss can’t be unlocked without getting them all. Though considering how good Miracle Matter’s music is, I’d be happy for it to be the grand finale.

There are a few things that make 64 significantly more awkward than its compatriots. Hitboxes aren’t super clear with the 3D models, made much worse with the various camera angles. A lot of abilities are either niche (e.g. Volcano) or incredibly awkward (e.g. Fire Sword), even compared to their previous iterations- Cutter, for example, throws part of Kirby himself rather than a boomerang, preventing you from using half your movement options during the mediocre attack.  Many of the crystal shards are hidden behind Ability-specific puzzles, like in previous games, but in those games it was usually something sensible- a rope you need to cut with Sword or Cutter, or a spiked corridor necessitating Burning’s invincibility frames. 64 replaces these largely by…objects and walls with the same colouration as the ability they’re weak to, or a pattern if a combo is required, meaning you’re hunting across colourful stages for particular combinations and patterns and it’s kinda distracting. And considering how  the third dimension is used, it’s not super clear why they bothered making it a 2.5D game at all. This is not to say that the game isn’t good, as I don’t think Kirby is ever bad, but it makes it look a bit worse than its compatriots.

The lessons from Kirby 64 would be spread throughout the next decade of the franchise’s history. The games wouldn’t return to 2.5D until the Wii’s Return to Dream Land, which used it much more and better, though this can be attributed to the franchise not having a main non-handheld entry between the two (Return to Dream Land started development during the Gamecube era, but, delays,). The future games wouldn’t really return to the complex combination mechanic of 64, with the series steadily transitioning towards Super Star’s style being the default (excluding Nightmare in Dream Land, which was a remake of Adventure) through the GBA and DS era. And while collectable elements would remain a series staple, I don’t believe any future game would have them restrict the final boss like in 64 or the Dream Land games again, the developers apparently having retired this design philosophy. I mean, Squeak Squad cut you off from the 7th world without the right items, but treasure collecting was a theme of that game, so. And power combining would also return in that game, albeit in an incredibly limited fashion (Bomb could be combined with Spark or Ice, and Sword could be combined with those and Ice), but it wouldn’t really be a feature again until the latest game, Star Allies, though that is again relatively limited.

Where does that leave Kirby 64? It’s somewhat of an interesting entry in the franchise’s long history, and its last direct sequel (a fact I only realised while writing this), ever. It could be argued that circumstance is why it looks so odd, a 2.5D, model-based game surrounded by 2D pixel art cuteness, and it doesn’t even have the fucking Kirby dance. But it is still a more than worthwhile experience, even with its more frustrating elements, and one I’m happy to have sit amongst its peers.

[awwrealmonsters]

Top 12 Breath of the Wild Monsters (Part 2 of 2)

(Part 1 -

#8 - The Lord of the Mountain

Out of all of the creatures on this list, this guy’s presence in the game felt the most unique, with the circumstances around his presence making for a genuinely fantastical and ethereal experience. The glowing markings on his body are a neat way to display the godly and ancient elements of the design, I love the soothing and pretty turquoise coloration, and the double faces are just strange enough to make you uncomfortable without being too creepy. I do wish that the rest of the body was more interesting though, as outside the coloration it’s a rather standard horse design. Maybe the owl influences in the face could have been incorporated more. Still overall a solid boy.

#7 - The Blights

The Blight designs are a big upgrade from Calamity Ganons’, as they refine what works about that design into a less busy and more sensible appearance. The ancient machinery aspects are better incorporated here as they are fairly minimal and well placed, as well as serving a narrative purpose as possessed machines. The silhouettes of these guys are very nice and the single eyes masks are quite intimidating. The sludge and machine colors still don’t mix very well here though, blending together too much and making it hard at times to tell what you are looking at. I said they’re LESS busy than Ganon, not that they aren’t busy. The coolness of these guys outweighs most of their flaws though.

#6 - Blupees

You might be surprised to see the very simple design of the Blupee ranked higher than the Lord of the Mountain, particularly since his simplicity was what I found the most issue with. But Simplicity isn’t always a negative and I think it really works here. Blupees are tiny and there can be quite a lot of them so the basic design works, with the slight owlish markings on it’s front adding just a nice little bit of detail. The color is still very nice and the face is quite cute when theirs only one of them. The antlers make the design resemble a jackalope which helps with the cryptid feel. Plus they are just really cute. While not #1 on this list, Blupees would certainly rank #1 on “best BotW creature to make into a plushie”.

#5 -The Rito

The decision to make the Rito a staple species in Botw is one I fully support. Adding an air-adjacent species to the water-adjacent Zora, Earth-adjacent Gorons, and (sorta) Fire-adjacent Gerudo  just makes sense. I love that the anatomy is absolutely a different species and not just humans with wings. With at least 10 distinctive designs I like that their was an extra effort to make each major character based off a different bird that would highlight aspects of their personality. Kass is a parrot and thus a bard with a big rounded beak that gives him a friendly air, the town elder is a bearded owl because of course he is, and a blue jay is a perfect fit for Revali as an insufferable asshole. The way they use big feathers as “fingers” is a nice compromise to keep the wings looking complete. Overall a lot of them just look very cool. My main complaint is that the “hair” in some of the designs isn’t incorporated super well, they should have stuck with using the feathers to make distinct head shapes rather than trying to emulate human hair.

#4 -Lizalfos

I’m surprised at myself for placing these folk higher than the Rito, but the amount of time I spent facing them in game made them really grow on me. The upgrade from standard lizard to a more chameleon design was a great decision on Nintendo’s part, with the curved back, curly tail, single horn, and those distinctive eyes making for a very memorable monster. The goofy eyes and mouth keep them from looking too intimidating but the way they move and how quick they can be still make them a viable threat. The camouflage ability is also pretty neat and I like all the regional variations. There’s really not anything I dislike about the design, they’re just a few I like more.

#3 -Koroks

This is just peak character design right here. With their tiny rounded tree bodies and silly leaf masks complete with dotted eyes and cut out mouths you immediately understand that these guys are 1-forest spirits and 2-childlike. Their fat little bodies and tiny limbs are both adorable and make you want to help them out. I love that their are so many different leaf designs as each gives off it’s own little personality while still retaining that lighthearted quality. Again this is a simple design, but it conveys everything it needs to. This strikes me as one of the more iconic Zelda designs and I wouldn’t be surprised if it was used as a mascot in future installments.

#2 -The Zora

Look. I get it. I know some people may be tired of the Zora since the internet went crazy for them when the game first came out. Everyone was designing Zora OCs or saying how much they wanted to sleep with Sidon. But. Have you considered. They were Right. Zora’s have been a staple in the Zelda series for a long time now and while the old designs have their charm they’ve never looked better than they do here. The noses have been replaced with head ridges that provide a nice color block between the faces and the adorable head tails, which also provide ‘eyebrow’ esque markings to allow for easier expression without sacrificing the aquatic feel. The fins around the hips serve some extra flair and built in modesty, and having most of the Zora adorn themselves in jewelry but not surely-not-built-for-water fabric is just good world building. The Zora come in more colors then ever before and most are pretty unique shades that are very easy on the eyes. While their isn’t quite as many variants as there are for the Rito, the special shark, whale, and manta ray influenced NPCs are all great and memorable designs. Also they are all huge, which is wonderful. The only thing I would change is to let Mipha have as strong shark influences as her brother. Give me my giant sharp toothed shark girlfriend Nintendo, you cowards!

#1 -Lynel

I went back and forth on the placement of most of the monsters on this list, but there was never any doubt about who the top stop belonged to. There is no comparing the feeling of seeing this thing for the first time, immediately thinking “oh shit” and then promptly getting absolutely wrecked. Intimidating doesn’t even begin to cover this absolutely jacked monstrosity. The pupil-less glowing eyes, big old ram horns, and giant arms all help to make Lynels look as scary as they do, with the lion mane helping to balance out the bottom heavy creature and add some wildness to the design. Lynels are big, sturdy, and have some of the coolest looking weapons in the game. All the variants have pretty good color pallets with the striped ones looking especially nice. I really appreciate the extra detail of giving them scars as well, to help with the seasoned warrior feel .I don’t really know what else to say, Lynels are just cool okay?

Thank you for reading, If you have a favorite BotW monster or think the list should be in a different order, feel free to share your thoughts, I’d love to discuss! :)