#also the central idea of this series is 'all of your favourite characters are acting completely out of character'

[lilydvoratrelundar]

sometimes comic writing is silly in that “they’re all shooting off one-liners while they punch each other” but the thing is when its done badly you NOTICE. the reaction isn’t "oh yeah i guess this is media for children but also this is spider-man.” when its done badly the response is a) about five seconds trying to understand what the joke is meant to be, b) a slightly baffled “is that meant to be... funny?” and then c) they would NOT say that they would NOT

[markwatkinsconsumerguide]

Consumer Guide / No.132 / Actress and singer, Sukie Smith, with Mark Watkins.

MW: What important decision in your personal life have you based largely upon intuition? What about professional life? How did these choices pan out?

SS: That's a really interesting question and my relationship and acknowledgement of intuition has just come back into focus. I’ve sort of denied it on and off for a few years and that is never a good thing. I think my intuition is always having a dialogue with me, but I have a willfulness and self-destruction that pushes it away ... I can’t ignore it, but I can deny it. I think intuition plays an everyday part in assessing the tone of a situation, safety, potential joy etc. but specifically tangible decisions.

Early on in my acting career I was offered a huge lead in a long running well respected series. I turned it down. They were disappointed, my agent was angry, my contemporaries thought I was insane. I loved the show, the cast, the directors, the part was amazing ... but I just didn’t feel that it was right ... six months later I met Mike Leigh and made Topsy Turvy with him which wouldn’t have been possible if I was committed to the series. So, I was justified. Haa.

In music, it's about a sensation around people, whether there is a connection, a teletherapy between you that means you can speak freely about music somehow...abstract...gentle. I have to trust someone implicitly and quickly to be able to communicate. I guess that's intuitive, knowing who to be private around and who is receptive to ideas. 

MW: How easy or difficult was it to obtain your Equity card and, fairly concisely, what was the process to get you there?

SS: I auditioned for a theatre who had an equity card. I played Tiger Lily in a production of Peter Pan which I thought was very glamorous. I had been to The Royal Central School Of Speech And Drama for three years and was taken on by a big agent. She helped me find a union card. In that production I was also a mermaid with a tail made out of a duvet singing a siren song behind a cardboard wave ... yes...very ridiculous.

MW: How did you get the part of Laura Branning in EASTENDERS? Describe your favorite scene…

SS:  I auditioned for Laura Branning in Eastenders in a distracted way because I had just signed to a record label and was about to release In Case of Emergency, so I didn't really acknowledge what a huge deal it was in terms of the amount of people who watch the show. I adored working with June Brown and Barbra Windsor, they were so lovely, they treated the whole cast like it was one big family, really invested in their characters, stories and performances. The director who cast me insisted my character never smiled: 0. 

My favourite scene? The first entrance of the character was brilliantly dramatic ... with the music starting just as I delivered my killer line. It was all astonishing and watching it a few months later was surreal... a David Lynch style twist of reality. 

(Here's a clip of another scene in Eastenders, Max confronts Rachel)

MW: You’ve done a cross-section of wonderful artistic performance things, and continue to create; do all these arrows in your quiver represent you not wanting to be pigeon-holed? OR would you have liked to be known specifically for one particular aspect? 

SS: Thank you for noticing. I wonder if our culture invites us to settle and stick with an identity as an artist (or as any defining notion) too soon, or at all and limits us because of it. I am very interested in musicians and artists who explore lots of disciplines. Because it's all the same isn't it, it's an outpouring. I cherish the exploratory paths I am on, there’s not an end goal…it's all about being investigative. I am curious about people's methods of thinking, so I made a podcast to ask them about it. I enjoy excavating a character from a text written by someone, so I make films etc.

Being an independent musician means it's necessary to do many many things, writing, demoing, recording, rehearsing, playing live, making videos, marketing. A LOT. I love collaborating with other musicians or artists, being part of someone else's world. Working on a Bolts Of Melody track for Adam Franklin or being involved with a live radio play written by Bill Drummond (KLF) and Johny Brown of The Band of Holy Joy or singing backing vocals for Micki Berenyi’s band Piroshka. Lots of examples ... what I really enjoy is being part of something which is unclassifiable. I was very proud of my first album being listed on iTunes as such. 

MW: I bought Maxinquaye on CD in 1995. Tell me about your involvement with Trickyreincarnated, and, reflecting back, any particular memories of the mid- 90’s which ushered in a range of new music, including Britpop… 

SS: I remember first seeing the video with Tricky and Martina Topley-Bird singing ‘Aftermath’ on some late-night video show and just feeling like time stopped. What the fuck was that .... so, so brilliant ... I lived in Camden then, right in the middle of everything. It was a time soaked in music, everything was about seeing a show, being on a guest list, reading about bands, meeting bands, recovering from seeing bands, going to clubs, being so excited about everything. I was out every night at something, Blue Note, Laurel Tree, Astoria, The Falcon, The White Horse, discovering Jungle, Bangra, Acid Jazz. Labels like Creation, Nude and Food putting on nights, watching some bands become huge, going to Knebworth, being back…just astonishing and happy making. Everyone was making music, I started to write songs on a bass a friend lent me , make demos etc. Living in a big, shared house everything feeling very, very creative. It was a beautiful and inspiring time.

The way I met and worked with Tricky is a set of coincidences and near misses. I had previously worked with an artist called Silent Strike (electronic composer) co-writing a couple of tracks on albums of his after he found my music online. We didn’t meet for the longest time, just exchanged tracks via the internet. Five or six years passed and then out of the blue, during covid, he asked if I would write lyrics and a melody for an e.p he was making. I was very depressed and freaked out during the pandemic and I nearly didn’t record anything ... anyway to cut a long story short, Silent Strike had been making tracks with Tricky who heard my song and Tricky invited me to Berlin to co-write and record Hell Is Round The Corner-Reincarnated.

I had said in an interview years and years before that the only people I wanted to work with were Lee Scratch Perry and Tricky ... so deep magic. He is astonishing, summoning up a track in a day just by force of will and extreme focus...I am very, very proud to have been involved with that track ...he is a very impressive human. 

MW: Tell me about your new album, The Glass Dress And A Ringing Bell…

SS: Previously releasing three albums as Madam, and recorded them with my band who rehearsed the songs and then recreated them in a studio environment, this is the first time I arrived at a studio with my ten songs fully written, a head full of ideas and some field recordings but a more experimental and instinctive way of approaching the songs. Nick Trepka and I would speak about the sonic atmosphere of a track and listen to any field recordings I might have, a storm in a harbour, a medical machine, wind in telephone wires etc. and start to build a track around my guitar and vocals. As soon as we started to commit to a direction for the song it became very clear to me what would work or not, it was very exciting and frustrating and heady and complex! I love the way this album sounds.

I included the Silent Strike collaboration Fixed Star and also a song written and produced by Gareth Moss who when he isn’t playing bass in Madam is a prolific songwriter / producer. This track was the first time we worked together from a long time ago when he was releasing music as Vyvyn Howl. There are contributions from Adam Franklin, some guitars and keys and John Robertson, some lead guitars and Jeff Townsin on drums on a couple of tracks. All other sounds on the eight songs recorded with Nick are played by me or him. My good friend Roxanne Ducharme is an award-winning animator and AI artist, and she is making a film for 'We Try Not To Think About It Now' to coincide with the release of the vinyl version of the record, released in September (2024). 

The Glass Dress and a Ringing Bell | Sukie Smith (bandcamp.com)

MW: What are you currently reading, listening to, watching?

SS: I am reading a biography about the British/Mexican surrealist painter Leonora Carrington.

On the radio, I am listening to podcasts about fashion or space mostly, right now about designer Elsa Schiaparelli. As for music, I just bought a turntable, so I am listening to my old records from when I first started buying music, Kate Bush, Bowie, The Mamas And The Papas , mostly 'The Ninth Wave' on the Hounds Of Love. New artists, I like music that Tricky releases on his False Idols label and also very early music, quarter tone...Indian folk songs, medieval vocal stuff.

I stream movies, I watched I Am Not A Witch recently, which is amazing TV, always a documentary, I speed watched Feud with Tom Holland playing Truman Capote just to see his outstanding performance (we worked together on Lawless Heart) oh and Ripley to see Andrew Scott who I was in a play with at the Royal Court ... a scandi noir Detective thing is always good isn’t.  

MW: Up next, in order, your Top 10 records... 

10 ‘Strange Weather’ by Keren Ann (from her 2011 album, 101)

9 ‘This Is Hardcore’ by Pulp (1998)

8 ‘Leader Of The Pack’ by The Shangri-Las (1964)

7 ‘Fancy’ by Bobbie Gentry (1969)

6 ‘Lose Yourself’ by Eminem (2002)

5 ‘Lust For Life’ by Iggy Pop (1977)

4 ‘I Put A Spell On You’ by Screamin' Jay Hawkins (1956)

3 ‘Prisencolinensinainciusol’ by Adriano Celentano (1972)

2 ‘Unfucktheworld’ by Angel Olsen (from her 2014 album, Burn Your Fire For No Witness)

1 ‘Strange Fruit’ by Billie Holiday (1939)

Absolutely impossible task .. : ) 

MW: What artwork would “we” find hanging in/around your home? 

SS: A huge painting by John Lee Bird, along with other paintings and prints of his, then early works of artists I have met when I ran a gallery in Hackney, including Serena Korda and Lee Triming & colour and black and white photographs by James Alexander. Anything that painter Rachael Robb has gifted me.

MW: Given the choice of anyone in the world, who would you invite for dinner? Pick as your (new) best friend? As your (new) love interest? 

SS: For dinner? I don't like eating in front of people, but for drinks maybe Mary Magdalene might have some wild stories.

Friendship? ...some beautiful wise dog, big like a bear.

Love? I am as loyal as a swan ...I could never love another. 

MW: Do you believe in God? Regardless of your belief/s, would you / do you PRAY in difficult moments? How do you feel about this, depending on whether you’re a believer / non-believer? 

SS: God by another name, or consciousness,I say thank you a lot. I don't know who to...I think my songs are a dialogue with my soul, so that's in the mix of belief / non-belief isn’t it ...this is a big subject for an interview.

When I was profoundly unwell in hospital, in and out of morphine reality, probably not going to survive, I saw another world. I wasn’t sure if it was opioid confusion or if I was seeing something other. Now I have recovered the atmosphere of that place is still vivid, like an echo or a memory of sound, a view through a mirror, through a window and yes prayers.

There is a song by Regina Spektor called ‘Laughing With’... (2009) that’s just about the size of it isn’t it ... no more suffering for anyone,no creature, plant anything. I pray for that. 

"No one laughs at God in a hospital No one laughs at God in a war No one's laughing at God When they're starving or freezing Or so very poor

No one laughs at God when the doctor calls After some routine tests No one's laughing at God When it's gotten real late Their kid's not back from that party yet

No one laughs at God when their airplane Starts to uncontrollably shake No one's laughing at God When they see the one they love Hand in hand with someone else And they hope that they're mistaken

No one laughs at God When the cops knock on their door And they say "We got some bad news, sir"

Artist | Sukiesmith.com | London

Sukie Smith (@madam_sukie_smith) • Instagram photos and videos

(c) Mark Watkins / July 2024

[crusherthedoctor]

Narcissistic evil lairs, huh? Which of Eggman's bases is your favorite? (Or favorites, plural, if you have strong feelings on more than one!)

We'd be here forever if I listed all of them, so I'll keep it to the biggest ones. :P

Death Egg: Iconic for a reason, and not just because of the plagiarism. It was the central focus of an ongoing saga, and since one of the games of that saga was S3&K, it was also the focus of arguably the greatest non-dialogue story in the series. You get a little taste of it in Sonic 2, but when you actually explore the full thing in S3&K? Worth the build-up, without question. The Act 1 background not moving an inch the entire time you go through the level really highlights just how gargantuan it is, and it all culminates with one of the best Sonic VS Eggman final battles of all time.

I believe that the best Eggman bases should say something about Eggman's character. In the Death Egg's case, it shows off his persistence, since not even crashing down to the same island twice could stop his determination to get it back up and running.

Egg Carrier: I used to be somewhat indifferent to this one because it felt like an anti-climax when coming after the Death Egg, but I've really grown to appreciate it over time, much like SA1 in general. A lot of that is because just like with the other stages in the game, there's a whole lot of set pieces that make it very memorable. The monorail system, the beach room... the bathroom...?

Although, I do wonder how it would have looked if it had more purples, like in the concept art...

Pyramid Base: I love Eggman, and I always had a childhood fascination with Ancient Egypt, so it's a win-win for me. This one encapsulates the sheer ruthlessness of his narcissism: He can't leave it at building his own monuments, oh no, he has to go and reface other monuments as well, history and culture be damned. Despicable and hilarious at the same time. That's our Eggman!

Also, the night time backdrop for Sand Ocean, with the moon and the illumination of the torches? So pretty, and makes the pyramid itself all the more striking.

Circus Park: For a game that shat on Eggman narrative-wise, it was generous enough to give him a bunch of cool and varied bases. Cryptic Castle is great, as is Lava Shelter, but I think my favourite one from the game has to be Circus Park because of how colorful it is, and because of the hilarity of seeing a level like this in Shadow's game of all places.

What's that, you want to find out about your traumatic past, using guns and swearing to do so? WELL FUCK YOU, Eggman wants to show you his theme park. ~DA-DA DA-DA-DA-DA DA-DA DA-DA, DA-DAAAAAA~

Seeing Eggman get excited over his own stuff is weirdly adorable too. :D And isn't it hilarious that THIS is the level where Shadow says his most infamous line?

The line is funny, but the background makes it funnier.

Eggmanland: Some criticisms with the actual gameplay aside (which are mostly Werehog-related), it can't be denied that it was awesome to see Eggman's dream come to life. After going back and forth on what he wanted Eggmanland to actually be, it seems he decided to combine all his ideas together, making for a part-theme park, part-city, part-volcano, all-business extravaganza. I also appreciate how it gets more straight-up industrial and hellish the further you go on.

I won't deny that I would have taken the concept an extra step further (I'd like to give examples, but that'd be spoiling a certain fic), and Dark Gaia stealing the limelight at the end is a downer. But for a first attempt at Eggmanland's vision, it's a good one.

Incredible Interstellar Amusement Park: And for a second attempt at Eggmanland's vision, this one is great too! It's so fun to see the different attractions, and Eggman's comments on them throughout the game are undeniably a highlight. So much personality, so much character, so much Eggman.

Which attraction is my favourite? Probably Aquarium Park. The red and blue contrast is beautiful.

Titanic Monarch: For the longest time, I wanted a giant Eggman robot so massive that it counted as its own level (aside from Panic Puppet, I guess). This zone fulfilled that dream, and gloriously so. Whether it's the outside or the inside, I LOVE that it manages to be dark and ominous, while boasting nearly every colour of the rainbow at the same time. And stained glass windows? Inside a giant robot? Absolute mad(egg)man.

Honorable mentions: - Scrap Brain for being the original Eggman lair, and thus worthy of respect. - Crystal Egg for the unique concept alone. - Egg Fleet for being just as iconic as the Death Egg at this point. - Pirates' Island for being an interesting take on a Not-Soleanna for Captain Whisker. - Press Garden for making a fun level out of a newspaper factory of all things, and because it's neat to see all the little ways Eggman apparently tries to undermine Sonic, like creating anti-Sonic propaganda in this case. - The Eggmanland/Robotropolis from the OVA because although we don't see much of it, the giant neon Eggman is a brilliant stylistic touch.

[theotherhufflepuff]

Simon Snow Trilogy Tarot Cards...

Ok so, a little while ago I saw this frankly stunning artwork by @vkelleyart and I started thinking about the Major Arcana archetypes and how characters from my favourite book series could fit into them.

So I made this list. It took a lot of thought and I’m still not 100% sure on some of them but I have explained my thought process for each card.

I don’t know how much crossover there is in the Venn diagram of “Simon Snow fans” and “tarot readers” but I’d love to hear your opinions and/or alternative suggestions (be respectful though, obviously). I’ve left “visual prompts” for most of the cards explaining what they looked like in my imagination and if anyone wants to draw any of these (or their own alternative version!) please tag me; it would make my day! I can’t draw for toffee so I am 1000% never gonna try to illustrate any of them myself.

List under the cut because it is loooong.

Spoilers ahead for the whole series!

0 The Fool - Shepard - Shepard just follows magickal creatures around and says “yes” to everything... he is the pure embodiment of the Fool archetype to me; care-free, innocent... prepared for everything and yet totally clueless. Visual prompt: Shepard about to (attempt to) step into the fog as he follows a fairy into the forest.

1 The Magician - Penelope - “Penelope Bunce is a fierce magician, I don’t mind saying” Baz, at least once in each book. Penny never worries about not having the power or words available to do whatever she wants; she is comfortable in her power and it is always there, ready to be wielded however she sees fit. Visual prompt: Penny wearing her Stevie Nicks cape, standing by a chalkboard in the classic “Magician” pose, ring clearly held aloft.

2 The High Priestess - Dr Mitali Bunce - Dr Bunce is possibly a more formidable magician than her daughter. Highly intelligent, straightforward and, let’s be honest, judgemental. But she does have all the answers. Visual prompt: Dr Bunce carrying around her laptop, phone sandwiched between her ear and her shoulder.

3 The Empress - Lucy Salisbury - Lucy exudes the nurturing, Earth Mother vibes that are central to the Empress archetype. She saw the best in everyone and all she wanted was to love Davy and live with him in their cottage with her chickens and their child. Visual prompt: Lucy, barefoot and pregnant, feeding the chickens outside of their cottage.

4 The Emperor - Lamb - This is one of the ones I’m not totally sure about. I went through a few different ideas but ultimately settled on Lamb as the “Vampire King of Las Vegas”. He is an imposing figure, ruling his city with an iron fist; if you are in his favour, Vegas is your playground, but cross him and you will suffer the consequences. Visual prompt: Lamb sits on an antique chair in his opulent suite at the Katherine, the lights of night time Vegas visible through the window behind him.

5 The Hierophant - The Mage - Again, this one took some thought and I’m sure some people will disagree with this interpretation... I’m not completely sold on it myself. The Mage was all about reforming the old traditions of the World of Mages and he amassed a following by doing so. But he turned out to be somewhat of a false prophet; abusing his power to oppress those he deemed “the enemy”. Visual prompt: The Mage in his Robin Hood costume, sitting at his desk at the top of the Weeping Tower, surrounded by his piles of banned books.

6 The Lovers - Simon and Baz - Obviously. As stated at the top of this post, I love @vkelleyart’s version of this card, but there are a lot of scenes across the series that could be used to illustrate this archetype. I personally always love to see the original “and then he kisses me” scene.

7 The Chariot - Fiona Pitch - I struggled with this one a bit and I don’t really think that this is the ideal version. But the image of Fiona, rolling up to Blackfriars bridge in her vintage sports car to rescue Baz from the Numpties really stuck with me so that’s what I went with, for lack of a better idea.

8 Strength - Ebb - Ebb is often dismissed and underestimated by other magicians but she is wicked powerful. But more than that, the Strength card is about inner strength, self control and the wisdom to know when to fight, and when to rest. Ebb is highly intuitive about the people - and goats - around her and is always careful not to talk about her twin brother, only conceding that she knows of his presence once a year and never giving in to the temptation to talk directly to him. Ebb saw the war coming and knew that she could probably end it all by herself with the power she had; but she also knew that she didn’t want that and she had the strength to say no, to eschew the expectations the rest of the World of Mages placed upon her and live quietly, instead. Visual prompt: Ebb in the hills behind the school with the goats, she wears a flower crown that the Dryad made her.

9 The Hermit - Agatha - the Hermit eschews the outside world in order to take an inner journey of self discovery, knowing that this is the only way to find real answers and achieve real growth. Agatha, jaded by the World of Mages, took herself off to California, leaving her wand at home. She didn’t know what she wanted but she knew it wasn’t magic. Visual prompt: Agatha sits on the beach at twilight by a small campfire, Lucy the Cavalier King Charles Spaniel by her side.

10 The Wheel of Fortune - The Crucible - The Crucible’s decisions, like the Wheel’s, are unpredictable and inevitable. Once it’s happened, you’re stuck with the consequences - sometimes bad (being stuck with a toff vampire who hates you) and sometimes good (getting the best room in Mummers house).

11 Justice - Natasha Grimm-Pitch - Natasha needed justice to find peace; her whole story is about justice. She was swift to act when the vampires attacked Watford, dispatching them without hesitation. When she came through the veil to find Baz and ask him to bring her murderer to justice, she knew that would also provide some closure for him, too, both for her death, and for his. Visual prompt: Natasha Grimm-Pitch appearing from beyond the veil, looking for Baz and finding Simon.

12 The Hanged One - Nicodemus - The Hanged One is about feeling stuck, but also about finding peace where you are when there’s nothing you can do about it. Nicodemus chose to cross over for eternal life, but he was stricken from the book; his (considerable) magic effectively taken from him and his fangs removed. He was stuck in between - not a full vampire, not a magician; he exists on the fringes of both communities. He got himself there and then he had to figure out how to get by, carve out a place for himself in order to survive. Visual prompt: Nicodemus sits in the tree in the garden of his mother’s house in South London, waiting for Ebb to come and sit on the empty bench beneath him.

13 Death - [scene on the Great Lawn] - Ok, so.. this might need some explaining. My immediate thought for this card was that it should be the Humdrum but Death is all about clearing out the old junk in your life that doesn’t serve you in order to make space for the new. And the Humdrum isn’t making space for anything. So I was thinking about times that has happened in the story and I thought about how the death of the Mage made room for real progress and an end to the war with the old families. Visual prompt: Penny and Baz (literally) run into a fleeing Agatha on the Great Lawn; the Weeping Tower looms in the background, the Mage and Simon visible through the blown-out stained glass windows.

14 Temperance - Simon and the Humdrum - Temperance is, as you might expect, about balance and harmony. Simon used so much magic at once that he couldn’t control it and it tore holes in the magickal atmosphere. Simon had to fill the Simon-shaped hole to restore equalibrium and stop the magickal firmament from collapsing altogether. Visual prompt: Simon kneeling in the Weeping Tower, pouring his magic into the Humdrum as he fades away.

15 The Devil - Smith Smith-Richards - The Devil is about feeling trapped by temptations in your life, often because we’re afraid of what we would do with the freedom we’d have if we let them go. Which got me thinking about Smith-Richards (that name never gets any less ridiculous) and all the magicians who were taken in by the temptation of “fixing” their magic. But it was a false promise and those magicians who narrowly escaped taking Smith-Richards’ spell were all freed from the idea of their magic being “broken” in the first place. Visual prompt: Smith-Richards (looking like the guy who would be cast to play Simon in the Netflix series) standing on a stage in the packed-out White Chapel, rapt audience hanging on his every word.

16 The Tower - The Humdrum - Originally I wanted to use the Weeping Tower for this card because the imagery is on point but the meaning doesn’t match. The Tower is about absolute destruction, the crumbling of something you thought core to your being. The Humdrum steals magic and renders magicians homeless because of it. The Tower is about having to start again from the ground up - just as the Grimms did when all the magic was drained from Hampshire. Visual prompt: The Humdrum, wearing Simon’s face, stands in the grounds of Pitch Manor, laughing. (I have always thought of the holes looking like a burn in a piece of paper - sort of glowing and smouldering at the edges as it eats away the atmosphere. I know the holes can’t actually be seen - the Normals would freak out - but that is imagery I would use here)

17 The Star - Lady Ruth’s candles - The Star is about hope and healing after the devastation of the Tower. Lady Ruth’s candles were a symbol of hope that kept her going when she thought she had lost her children. They provided comfort and, at the end when it became clear the Lucy was gone, the healing of knowing that her child had finally found his way home to his family. Visual prompt: Lady Ruth’s candles in front of a window, a bright star can be seen through the window.

18 The Moon - Agatha and Simon - So, the Moon is all about examining blurred lines between illusion and reality - nothing looks totally clear in the moonlight. It reminded me of how Simon never really seemed to have a clear view of his feelings for Agatha and what their relationship was. When he properly examined his feelings, he found that he didn’t love Agatha and was going through the motions because he thought it was what other people expected of him. Agatha was doing the same. It also brought to mind Simon, going out of his mind worrying about Baz when he was missing - as well as basically every other thought Simon ever has about Baz before Christmas Eve 2015 - and somehow mistaking it for hating him?? Simon is not stupid but sometimes he’s real dumb. Visual prompt: Agatha and Simon meet on the ramparts, both looking for Baz, and break up.

19 The Sun - Simon - This card is all about innocence, optimism and joy. Nothing about this series personifies this more than Simon flying above Shepard’s truck in America, feeling free and hopeful about the future for the first time in over a year. Visual prompt: Shepard’s truck drives through the vast empty desert, the sun beating down. Simon flies above the truck, joy on his face.

20 Judgement - Niamh and Agatha - Ok, this one was hard to figure out and this is maybe not the right solution, but I was very stuck. Judgement is about self improvement through self reflection. As a small twist on that theme; Niamh and Agatha challenge each other’s view of themselves and their interactions with the world around them. Visual prompt: Agatha and Niamh, sweating to death in Niamh’s “shitty Ford Fiesta” (I’m very salty about that line; my Ford Fiesta is lovely and it has aircon). Niamh is frowning, obviously.

21 The World - Simon, Baz, Penny and Shepard - The World is about completeness, the ending of a story, fulfilment and belonging. At the end of AWTWB, Simon has finally found his biological family, he is starting to accept that his boyfriend and his found family love him for who he is, magic or no, and he can finally start to imagine a future for himself. Baz has learned new information about his vampirism, Penny has found new confidence and Shepard is finally fully accepted into the group. Visual prompt: Baz, Penny and Shepard sit on Simon’s sofa (possibly still pink from Baz’s spell, possibly he spelled it navy blue again) Simon sits on the floor. They’re all eating leftover sandwiches and cake from Lady Ruth’s.

[radiosandrecordings]

I love TTRPGs as a storytelling medium. Not even for anything inherent to the gameplay of it, more just for the way in which they force people to tell stories and create characters. Because what I think TTRPGs like TAZ and RQG and Skyjacks do best is character, and character interaction.

Because built in to a TTRPG is a concept that I adore: That there is no one singular protagonist. 

Because every is not acting, not reading off a prewritten script someone else wrote. They are embodying a character. They are writing as they go. They are leading their own narrative and view themselves as the main character because only they truly know how their character works. If an actor reads a script they get the words on the page, but in a TTRPG the player is forced to construct the whole character in their head, their motivations and backstory and hundreds of things that will never make it into the show but inform the decisions that character makes. It’s beautiful. 

I’m going to take Skyjacks specifically as an example because I think it exemplifies most what I mean what I say ‘Every character is a protagonist’. In Skyjacks, the four player characters are: A nonbinary amnesiac fallen angel as old as time who may or may not have killed god, a 200 year old changeling, a teenage doctor turned necromancer who ran away to be a sky pirate, and a fifteen year old boy who has godlike abilities and can sometimes see the future. 

In literally any other story type it would be too much to have all of them in one show. They’re all ridiculous, over the top characters that could carry a seven book series with themselves as the protagonists on those small premises alone, not to mention the things they go through and how they change throughout the series.  But here it works!! Somehow!! And Skyjacks is one of the few shows I cannot choose a favourite in (RQG mentioned above being another) and it’s because of this! It’s because every character is a protagonist in their own right and it’s absolutely captivating! They’re all given equal storytime (There’s an exception but it’s a spoiler but Skyjacks fans know it was justified) wheras in a scripted piece, save something with two narrators or something, you’d normally be confined to one person who is The Big Fancy Protagonist. Take another popular podcast, The Magnus Archives. I love it! But there’s few characters I’d want to hear narrate the story other than the protagonist of it. With Skyjacks I could spend hours being told about each of them. But somehow they work cohesively. You’re never bored because in separate scenes they all stand up on their own and create compelling stories. But together? They thrive. 

And that’s the other thing I love. TTRPGs are the richest genre I’ve found in terms of the term ‘Found Family’. A group of characters (sometimes involving literal family, see The Taako Twins and many others) all brought together by an outside force and forming an unbreakable bond due to how their experiences have forced them to care about each other. They are family through choice. This is often due to simply A) TTRPGs often feel more personal than just reading off lines and acting, so understandably there’s less romance (or less intense romance) than in other things as the players, or a player and DM, don’t really want to spend time flirting with each other in characters that can often be viewed as extensions of themselves, especially because the players are often Friends Who Would Find It Weird, or siblings (Gable (PC) and Hildred (NPC) get their romance in Skyjacks but it’s just small humerus flirting and a kiss described by the DM, and in TAZ Taako (PC) and Kravitz (NPC played by the player’s brother) also have a romance, but it largely happens offscreen or through narration, not RP).

And thus there is this lack of romance. Romance is so often shoehorned into media to show how Deep and Meaningful a character’s connection to another is and TTRPG’s, foregoing this, have the chance to explore these beautiful and complex relationships between characters without the constrictions of ‘they’re doing it for romantic love’ in there. Zolf and Sasha have this kind of half brother-sister, half father-daughter relationship in RQG and I adore it and I feel like in the hands of any other genre it would have turned into ‘and then they get together because this is a story and this is how those end’. But it doesn’t and I’m so grateful it doesn’t because god I love exploring actual in depth, layered and beautiful dynamics that aren’t just romance. 

I also think TTRPGs often fall into these found family dynamics because they know they have to rely on character interaction and RP to make a good podcast. It’s an audio medium (Or video, but then it’s just the players holding up lil miniatures on a map) and as much as a fight in a TTRPG might be fun to play, it’s boring for a listener if not done well. So TTRPG podcasts have to create characters who are interesting to hear interact with each other. They are, as I said, all the protagonist at all times, because they’re all present. Not including times an actor can’t appear for an episode or something, there are no times the characters are not with each other. Sure there are side quests, and splitting the party, but they always gravitate towards each other. There’s no New Protagonist introduced for a new arc besides NPCs and they take a backseat usually (with exceptions like TAZ, which is STILL found family within those NPCs!). No protagonist gets left behind or killed off for pure shock value (and if they die, they’re placed by another, equally important PC). Your characters are your driving, central force because they are the story tellers and the world bends around them are their choices. There is no risk of them being forced into a plot that doesn’t fit the character because whatever the character does is what that character acts like because they are being crafted in real time from the only person that knows how to properly play them. 

This is long and rambles, but in summary: I love TTRPGS and the way they bring people together to tell a collaborative story. I think they are one of the best forms of storytelling because it is not just built off of one person’s experience and their ideas but of a whole group, usually friends who know and love each other and find fun in the creation of the story. I think that might be a large part of why it’s resonating with the current youth too. It is a storytelling medium that is so unique to itself and just... Incredibly beautiful 

[frumfrumfroo]

I see so many stupid takes on what a “revised” ST storyline would look like. Granted, almost all of these are still better than the dumpster fire that is TROS. But a lot of these still don’t make sense because a lot of people still miss what I think you articulate so well in many of your metas: that the ST is about the Skywalker family, the unresolved trauma, and with Ben Solo as the heir and person who should tie up all the loose ends (I can’t put it as elegantly as you do, but the whole thing you have repeatedly said about him living and having children, reconciliation of Anakin and the Skywalker “name” to society, repairing the unresolved issues Leia had with her father, etc etc). I just saw another stupid take where Rey is Obi Wan’s secret daughter who has been abandoned (wow way to go shitting on Obi Wan’s character) and therefore has anger issues, hates the Jedi and worships Vader, Ben is not force sensitive and grows up a diplomat learning from Leia, Finn is a Jedi randomly, Poe is a pilot for no reason I can think of or why he even exists, and Rey needs to be saved by Ben (how? Why? Why not by Finn if Finn is the Jedi and Ben is doing just fine in life.) Oh and the dyad is created by Obi and Anakin’s ghosts, and also Rey is asexual bc she is too angry—I support asexual character representation but not if it is a manifestation of maladaptive behaviors rather than a healthy state of being). I mean, all of that could be interesting, maybe in an Obi Wan family saga spinoff series, but I fail to see how this is about the Skywalkers or ties in thematically to the central characters of OT/PT. Like why should we care? I suppose if we learned that Leia did reconcile with her father, and the galaxy at large knew of Anakin’s redemption, and Ben didn’t grow up with this fear of fatalism, fine I can see perhaps that storyline “working” but again...it wouldn’t really be about the Skywalkers anymore, who in that version seem to all be well adjustsd, happy fufilled functional people. But why not then just call that story a complete new series instead of a sequel...(and btw that “version” has almost no mention of Luke, and most OG fans are interested in seeing where their original heros ended up etc etc). I fail to see why Rey even needs to be around in these “alternate” versions. Just make a completely new story set in SW world but not a “sequel” then, that would be fine. Anyway, every time I see stuff like this, I come to your blog to re-read your metas because you are one of the very few people who GETS the story. Please preach some more to the choir (if inspiration strikes). I need to be reminded that there actual people in the fandom who cares about Ben, the Skywalkers, thematic coherence, and GOOD STORYTELLLING. Anyway thank you so much for your detailed and insightful analyses. They are truly a delight and a balm. If it’s not too much trouble, could you by chance link to some of your own fave metas you’ve written, or that you think are the most important to understanding the ST and Ben etc? Do you recommend any other bloggers whose metas on Ben and ST you feel are good and enjoy? Thank you!

Thank-you so much, anon! 🥰

Yes, the problem with so many ‘fix-it’ ideas or ideas of what the ST ‘should’ have been is that they have nothing to do with the Skywalker Saga or its themes. If you just want to write about new characters in the GFFA and not meaningfully continue the same narrative about the family and the question the Skywalkers exist to ask, then it’s not part of the same story. Which is fine, but it’s not a sequel. You can’t unpick the end of RotJ and destroy the resolution of the original character arcs if you’re then going to make them glorified cameos to give your unrelated newbies a pep talk without providing a fuller and more complete statement of the original message and the original arcs. That’s an either/or choice. Either actually make a sequel and deal with the implications of that or don’t.

The most stark contrast between TLJ and TFA/TROS is that TLJ is written as a fully equal and living part of the story, it treats the characters as characters and takes for granted that it is part of the saga not just a tribute to it. There are elements that are meta, it does comment, but it doesn’t approach the OT heroes as icons frozen in amber incapable of change or allow its new characters to act like fans of the films rather than people who live in the universe. And this is why it’s so much better and so much more memorable. It’s an actual story which stands on its own two feet.

Probably my most key posts on SW’s themes and worldview are in the tags space crime and punishment and the legacy. My Ben tag covers a lot those two miss and also has reblogs from other people whose meta I would really recommend (especially benperorsolo). This is a round up I did mostly about Rey’s arc/place in the story, but it’s pre-tros and missing some links. Her tag has more on sw protagonists and why I think none of the ‘alternatives’ people offer for Rey Nobody and Reylo work.

I think I linked most of my individual favourite posts in this answer lol.

[pluviophile-bookworm]

High School Musical: The Musical: The Series: The Rewatch pt. 5

Technically, I shouldn't be doing this right now. But who are we kidding? I miss my Wildcats and this seems like the only thing I can do to see them again right now. So here goes

1x8: The contractually obligated emotional rollercoaster

This episode sure is a lot... I don't know if I'm ready. But it makes no sense to skip this one. I never skip through stuff I love, even when some parts are borderline traumatising. Plus I remember this episode having a bunch of hilarious moments that are definitely worth it.

'I'm really not sure what to say' — Me neither, Miss Jenn, me neither. I'm just sitting here watching this and I know I'm supposed to comment, but I just can't think of what to say. Sometimes the silence just speaks for itself.

'The Lucky Ducky Puppet Pavilion' — I can never overlook that line. Not when I know how much it took for Matt to deliver it. Fun fact: one of my cats is called Lucky, so when his siblings were about to be born, I briefly considered naming them Ducky, Puppet and Pavilion as a joke.

Ah, the El Rey. The place where Miss Jenn totally did not suffer a professional heartbreak. Things are about to get real here. And by real I mean... real dramatic.

I've got to say, I love the duality of Big Red (well, I do love everything about him so that was a no-brainer, but still): doesn't know how to hang a light, but sure does know how to light up a room; amazing with power tools, but took three weeks to make a paper-mache basketball because he kept gluing his fingers together (that last part is far more relatable than I care to admit). I just love him, ok?

The way Carlos acts about Miss Jenn's box of production notes... honestly, I totally get it. I feel like if there's one person at that point who cares about the show much more than anyone else, it's him. And I fully understand why that is. That poor boy has been lonely for too long, and this show is giving him the chance to be part of an accepting community for what feels like the first time in a long time. Just... give my boy Carlito all the hugs.

For a place that allegedly hasn't been used in so long, the El Rey is not nearly dusty enough. I mean, you should see my room if I forget to hoover for longer than a week. And we're talking about years here. There's allegedly mould in that place, but I don't even see dust. Oh well, maybe I would, if it weren't for that lighting — or lack thereof, more like.

'Whatever it says in Miss Jenn's audition file, I am me, and that is the only me I need to be.' — A beautiful sentiment, my dearest EJ. Now maybe hold on to it for a while... just a suggestion.

'Lacks emotional connection to the material' — well, I do have to agree. My first impression of EJ when I was watching the first couple of episodes for the first time was that he was 'too polished to be Troy'. Too much Technician, too little Performer. And I do love my Performers over my Technicians.

Wait, is that a Redlyn background moment I see? I mean, everything is super chaotic and fast-paced, and my two ginger babies are just sitting together on the side of it all. Bonding, I assume. Good for them.

Seb being the only one to know why Natalie is absent, along with the two of them sitting together in 1x1, makes me think... Natalie and Seb are totally besties! I mean, he's basically besties with everyone he ever talks to, so... what can I say, that boy is sunshine incarnate. He deserves all the love and appreciation.

'I know how to hang... out' — gosh, I love this one. And I can only hope everyone was laughing with him, not at him. Because there's nothing to laugh at. My boy got dragged into this whole crew stuff, it's not his fault he doesn't know everything. He's more of an on-stage person than a backstage person anyway. Maybe put him in the spotlight next time and prepare to get your socks knocked off.

No, Ash, your baking club is not at all irrelevant! Honestly, I have nothing but immense admiration for how Ashlyn manages to be in the top two students most dedicated to theatre and do all those other extracurriculars. And she probably has a 4.-something GPA, too. I don't know what the Caswells are feeding their children, but I need it this instant.

'I just don't know how to make things light up' — 'You walk into a room?' — I just... this is one of my favourite Redlyn moments in the history of Redlyn. See, the thing about Ashlyn's line here is the tone in which she says it. She doesn't mean it as a compliment, but as a statement of the absolute truth. You can hear that in her voice. And with good reason, too, because she isn't lying at all. My boy Reddy sure does light up a room by walking into it. Both of them do, really. They're soulmates, you know.

'This place is not creepy at all...' — Yeah, and things between Ricky and Nini are not totally awkward at all, either. I'm living for this.

'I can do Troy!' — Sure you can, Eej. Sure you can. Emotional connection to the material and all.

Ok, but this entire scene... Carlos marking Gabriella's lines completely flatly, EJ emoting like he's in a freaking telenovela and also chopping onions... Carlos' reaction to the latter... I'm living for all of this.

Big Red just suddenly appearing next to Miss Jenn has me rolling... and also kind of wishing he could appear like that next to me too. I mean, it's not like I've visualised that so many times... certainly not every time I have to pass by a stray dog, or give a blood sample, or talk to people, or whatever... why do you ask?

'I never really loved the name Nina anyway' — listen, I relate to the sentiment of not being super fond of your given name, but... what was that stuff in s2 about, then? I mean, I do understand that too, but the two just seem to clash a bit, I reckon. That's all.

Also, can we talk about Rini's chemistry and how it's sometimes there and sometimes nowhere to be found? I think I've figured it out. Every time the chemistry is there, they're talking about or doing things that are not necessarily inherently romantic. Reminiscing about kindergarten, how they gave each other their nicknames, 'the ribbon in your hair, the secrets that we shared, the way that you would stare at me across the room' (yeah, I went there, and for a good reason)... see, Ricky and Nini have that kind of thing going on where, however hard you try, you just can't be indifferent to the other person. It's obvious that they love each other so much, but whenever they try to make it romantic, something goes south. What I'm saying is, when you're really good friends with somebody and you try to force it into something 'more', or better said, something else (because romance is not inherently 'more' than friendship and you can pry that out of my cold dead aro hands), and the operating word here is 'force', things are bound to go wrong and even reach toxic territory. And Rini are living proof of that. Some people are just better as friends, and sometimes the entire 'I don't want to ruin our friendship' trope is very valid. I just want them to be best buddies, is that too much to ask?

Bless Steph for pushing Kourtney forward when Miss Jenn needed someone to sing! Honestly, it's moments like these that make me feel like the background characters are criminally underrated. I realise not every character can be equally central to the plot, but with this cast, I kind of want them to be. I have the feeling that most, if not all of the one-line characters in this show are people with just as much talent and potential as the main cast. They deserve recognition, you know.

Going off of the above, Dara Reneé is living proof of the point I just made. You know how Kourtney was supposed to be a one-scene wonder with two lines? And then Dara showed up and hiding her in the background was instantly out of the question. I wonder how many more hidden gems there are in the show, just sitting in the background, delivering their single line and waiting their turn in the semi-metaphorical wings.

'I just need a minute, or a vacation, it's not clear' — Me, all the time. Especially after I read chapter 11 of @redlyncentral's Let It Go. That ending broke me. And this line by Miss Jenn just reminded me of that feeling, even if what she's feeling right now might not be the exact same thing I went through with that chapter the other day. That being said, everyone go check out my lovely friend's writing right now, I promise you it's worth every second.

'We're going to take a... long five' — What, no 'thank you, five'? I was expecting that. But I guess everyone is a little bit too distraught for that now.

I have to hand it to Carlos — even when he's very obviously uncomfortable and lowkey scared of some people, he just goes up to them and calls them out. I wish I could ever be bold enough to do that.

Wow, not EJ thrashing Carlos' 'forest of boys' idea. Again. I don't get why everyone dislikes it so much, I think it's brilliant visual poetry and should have been given a chance. I said what I said.

You know, everyone has been calling the show out for saying HSM premiered in the cinema, not on telly like it did in real life; and I have been agreeing with that sentiment. But notice how Miss Jenn said 'the Utah premiere' and how there were family and friends in the audience? What if that was some sort of semi-private screening for cast, crew and their family members? It would make sense. And of course, it was held in Utah because that was where the show was filmed and where the majority of background actors, dancers and extras are from. Idk, but it makes sense to me. Note that I have very limited knowledge of how the period between post-production and the release of a movie works.

Isn't Ashlyn the best, though, always noticing when someone is not ok, hearing them out, helping them... I wish I could be half as good a friend as she is. She and Big Red are totally soulmates in that, too. And they deserve each other more than anyone else deserves them, honestly. I just love both of them so much, both as individuals and as a couple, and I cannot be made to shut up about that just yet.

I've got to say, the entire 'me, me, me, me, me, me, me, me, me' - 'you, you, you, you, you, you, you, you, you' thing was super funny. And it makes me love Rini — strictly as friends — even more. You know, I think I used to ship them during s1 because the script wanted me to. Exactly like I didn't notice Big Red until midway through the season because the script didn't want me to. Sometimes the script, the acting, the directing and other stuff has immense power over viewers' perception of a show's plot and characters. And that is, as I always point out, what rewatches are for — noticing things that may have escaped you the first time over.

Yeah, so Nini was Ricky's first crush. So what? Many people have had crushes on their best friend at some point or another. That doesn't necessarily mean they're better off as a couple than they are as friends. The opposite idea is just amatonormativity speaking. I mean, sometimes it's nice and it works out; I love me some well-written best-friends-to-lovers, but that's just not always the case and the media should stop pushing the idea that platonic relationships are in any way inferior to romantic ones.

I've got to say I really don't like it when someone interrupts two people's romantic moment (and Big Red is not exempt from my frustration in such cases even though I love him so much — just think of the In a Heartbeat scene), but honestly, bless Reddy for not letting Ricky and Nini kiss. I mean, I know full well they do kiss later on (and how!), but it's just nice to have semi-platonic Rini for a while. If and when we get season 3 (manifesting!), I really hope we get more of them putting some stuff behind them and just being best buddies.

Kourtney and Seb's friendship is honestly goals and I really wish we'd got some more of it. Just another thing to add to my season 3 wishlist. Along with, you know, an actual season 3.

EJ saying all those nice (and very true) things to Carlos has my heart (or, well, he's renting it temporarily from Redlyn and Seblos, but you know). And Carlos really was like 'A for effort, C for execution', and I adore him for that. But EJ is seriously growing. He's pretty much reached EJ 1.8 at this point, and I love to see it.

Say what you want about the Lucas Grabeel dream sequence, but I love, love, love it. Completely unironically. I mean, he's kind of my favourite OG cast member. And the 'I'm more of a Glinda' comment referencing Kate Reinders actually being one of the BWay Glindas? Here's a note from when I first watched 1x1: The drama teacher won’t stop spilling her coffee and I love her. Also, her actress was Glinda on Broadway, so I stan. See, I didn't even know Miss Jenn's name yet and I already loved her. But then she went and did some stuff in s2 and ruined all of that. Add 'proper Miss Jenn redemption' to my s3 wishlist, I guess. But I'm getting off-track (when am I not?)

I only just noticed that all of the iconic BWay leads mentioned in the song (sans Glinda, of course, but that wasn't even a proper part of the song) start with an E. I wonder if that was on purpose or a lucky accident...

'And you never know when you'll get a cameo...' — If anyone in the HSM franchise knows anything about making the most of a cameo, it's Lucas. I'm referring to his post-credits scene in Sharpay's Fabulous Adventure, of course. That is one of my absolute favourite scenes in the entire movie. Well, that and The Rest of My Life. I very unironically love that number.

Another thing on the list of things I very unironically love — the transitions both into and out of this scene. I just think they're neat.

Have I mentioned before how much I love it that Carlos' response every time someone asks where he has to be is 'Broadway'... it just reminds me a lot of Seb's 'Friendship!' — that's some soulmate stuff right there, if you ask me.

'I just... almost did something really stupid' — Yes, Nini, yes it was very stupid. And you're going to do it anyway. You wouldn't if I had any say in this, but I don't and so here we are. In a world where Rini are a romantic thing, Redlyn get 5 minutes of screentime in s1 and two major moments demoted to post-credits scenes, Seblos haven't even properly discussed their issues, and Portwell didn't even kiss on screen. I lowkey hate it here. Still, I feel like things are going in the right direction. If we get a season 3, that is — and we better be getting it, or I will riot and I know I won't be the only one.

No but... just imagine if Kourtney hadn't called YAC for Nini, but for herself. There's so much potential there... and I think Kourtney and Ashlyn deserved that spot every bit as much as Nini did, and then some. I said what I said.

Well, this was 1x8. This post is already way too long, plus I want to do a double feature of the last two whenever I get to rewatching them, so I'm ending this here. It was just as much of a journey as I remembered it being, and not nearly as negative as I had the feeling it would be. I absolutely loved it, you know. And with good reason too.

[pinnochiro]

pinn reviews - final fantasy xv

a long ramble about final fantasy fifteen that sort of looks like a review, as written by someone who finished the game fifteen minutes ago and needs to get these words out of his head. spoilers inbound.

i'm a pretty big fan of video games. i don't know what my first was, but it was probably either banjo and kazooie or mario kart 64, at my cousin's house when i was very small. i think that video games as a medium are so interesting, since the fact that video games are inherently interactive changes the way that they tell any story. it's a shame that despite loving video games so much, i'm absolutely terrible at them.

i'm absolute dogshit at video games. whenever i boot up something new, i always play on easy mode because. i'm that bad. unfortunately, this means that a lot of video games are simply. impossible for me to beat. that's fine, as at the moment i live with my good friend lizz, who is certifiably Good at Video Games, and so we've been playing video games together for a little bit now. typically this means that she will actually play the majority of the game while i sit with her and watch, but occasionally i'll have a go, but she'll end up with the controller as soon as a boss fight or puzzle or a mechanic i just can't seem to grasp shows up. we recently played through the entirety of the kingdom hearts series together, and this was an absolute blast of a time. i'm glad to say that i adore kingdom hearts now, and it's become one of my hyperfixations, which you might be able to tell from my icon. but we'd finished the kingdom hearts series, and we were left to move onto something else. we'd also played final fantasy 7 remake, so in my wisdom, i suggested that we play another final fantasy game.

we looked through the ff games that were already purchased on our consoles thanks to lizz's uncle, and eventually, we decided that we should play. all of them. however to start, we were going to play final fantasy xv, 15, and work our way backwards through the mainline, single-player games.

i'd heard that xv wasn't very good, but honestly, i was still quite curious. one person who i'd been following on twitter for years was pretty obsessed with the main party members, to the point where i knew their names and what-not even though i didn't have much of an idea what the game itself was about. i remember watching a video by supereyepatchwolf a few years ago about how the game sucked, but i couldn't remember much of the details, and i knew, based on my obsession with kingdom hearts, that xv had started as a different game called final fantasy versus xiiv. i don't know all the details about versus thirteen, but i do know that it was originally helmed by the creator of my beloved kingdom hearts, mr tetsuya nomura, and that after many years, the vast majority of the game was thrown out, nomura wasn't in charge any more, and the whole thing was rewritten and reworked, which sounds like a fairly rough development cycle. but so what, i don't care about gameplay. i want to play the video game with those cute guys that i see fanart of on twitter, and lizz seemed happy enough to play through it with me.

and so we started final fantasy xv. i've been told that since the game was practically dead on arrival, they threw in a bunch of new content and reworked a lot of the early game before i got my hands on it. so my gameplay started with a scene of the four guys fighting some demon dude on fire and they're all old and grotty. whatever, that cutscene ends and we're put into a combat tutorial. that's over and we're on the road in what looks to be central america, pushing a car.

our four leading lads are noctis, the prince of the lucis empire, his best friend prompto, his bodyguard, gladio, and his chef and other things, ignis. i do quite like the main four members of the party in xv. prompto is quite easily my favourite, voiced by robbie daymond of goro akechi fame and with a bunch of fun little animations and quips that make him very likeable. he gets extremely excited at the idea of riding chocobos and has what i considered the best scene of the game, where he and noctis meet on a motel rooftop and discuss prompto's imposter syndrome, since he's only part of noctis' official retinue as his best friend. noctis is a fairly typical main protagonist, he's in love with a woman he hasn't seen in eight years and needs to go marry her or something, i don't care. gladio is a tough macho man with a mullet who wears leather jackets and wields a greatsword, and is apparently only 22, which is at least 10 years younger than i assumed. ignis is a strategist and chef, who takes on the most authoritative role and constantly tells noctis to not drive his car at night. i was not a fan of ignis at the start, but he grew on me, especially with how hard the game hit me with his personal arc. the four boys are off, driving to noctis' wedding in a different country across the desert when their car breaks down. we then run into the first issue of the game.

cindy is a mechanic. she also has her ass and tits out constantly, like your sleazy uncle's shirt with a naked woman was instead semi-alive as a video game person. she fixes your car and acts fairly sexual and it's just like. why do we have to do this. aren't we over overtly sexualised women in video games who have no reason for the way they dress other than the character designer was horny? whatever, i like women as much as the next guy, but cindy's design just. makes me feel so uncomfortable.

anyways you get to do a little driving around with the boys, until you stay the night before catching the boat to your fiance. overnight, you find out that noctis' kingdom has been basically destroyed by an invading empire called niflheim, and practically everyone noctis knows, including his father, are dead. you learn that noctis and his bride to be are also assumed dead, with noctis hearing his own death announcement on the radio. the game has a bunch of added cutscenes that are actually footage from the three-hour-long prequel movie that came out after the game, are extremely hard to follow and honestly i had no idea what i was looking at. anyways, noctis' family is dead, so it's time to do some hunting sidequests.

that brings us to the combat, i suppose. rather than the turn-based or even active turn-based combat that the series is known for, xv opts for more modern action rpg-styled combat. i was, naturally, terrible at this, but i managed to get around it with the fact that. it is almost impossible to die in this video game, provided you have enough items. the game allows you so much time to heal yourself that there's practically no way to have your entire party wipe unless you're doing absolutely terrible, and even then, your party members will probably try and heal you themselves before that happens. lizz tells me that the combat is boring, you just push the same button over and over and then you win. i do appreciate that, for someone like me who is terrible at reading enemy movements, there is a giant button that pops up on screen that tells you when to push the block button, but even then i was prone to fucking it up. whether that's the bad game design or my terrible gaming abilities is up to you to decide. anyways, the game is fairly easy but has annoying combat, your teammates limit breaks will only land about 50% of the time (or never, if you are gladio) and i was still bad at it, so i didn't have all that much fun.

instead of an active levelling system, the game will only tally your character's level ups when you either make camp or visit a hotel. camping is, in my opinion, the only saving grace of this game. each time you make camp, you get to see the characters doing fun little camping activities together and just hanging out, ignis will cook up a new meal in a dramatic fashion and everyone will compliment him and eat it off their coleman's branded plates, it's just very fun. you also get to see what pictures prompto has taken, which is one of my favourite gameplay features. prompto's passion is photography, and while i support him in this wholeheartedly, his picture taking skills are, quite frankly, awful. the game will randomly take shots while you're on the move, which leaves you with a delightful selection of awkward poses, characters hidden behind bushes, pictures taken while someone is half-dead in combat, and snaps where the natural lighting absolutely makes it impossible to tell what's going on. it's hilarious and going through prompto's collection of photos each night is honestly the best part of the game. we managed to wind up with a few shots that, even despite being scripted events, turned out absolutely terrible, and i will cherish those forever.

anyways, since noctis' father and fiance are dead, that leaves him the king of lucis. the only important person to make it out of the capital alive tells you to drive to the middle of nowhere, where he randomly springs on you. hey. go into a bunch of these dungeons and absorb a bunch of swords, this is your destiny as king and how you will defeat the empire. noctis goes, uh, alright i guess, and you're set loose again to wander around for a bit collecting the 'royal arms'. this plot point wasn't explained well but hey, whatever, we're collecting the glowy swords and that's fine.

you're introduced at some point to ardyn, the main antagonist. he's old, kind of groady and wears a fedora. he's a dick to you and talks about his automobeeel. apparently my friend miri thinks he's hot, she is wrong.

i can't remember what happens specifically but you're told that your fiance is still alive and in fantasy venice, and she's talking to the gods on your behalf to borrow their powers. there's a mission where you follow some purple trees that are electric, and you do that i guess. i enjoyed riding the chocobos around, but couldn't care much for the plot at this point. ardyn leads you to a volcano, where you fight a giant lava god. he tries to step on you and i, a denizen of the internet and with an active fear of foot fetishists, was extremely uncomfortable. noctis becomes friends with foot man and a lightning god who lived in those trees, and ardyn steals your car.

very upset by this, noctis and his gang risk everything to sneak into a military base and steal it back. because this is a video game, this works out fine.

there's a little mining city which is all about Girl Power, because all the Women run the Mining Industry like Girl Bosses, and you hang around there for a bit. because all the women are so Empowered, they wear bikinis all the time with overalls over the top. gladio decides he needs to fuck off for a bit, i have no idea what he does since i haven't played the dlc, and then he comes back with another scar. you hang out with his sixteen year old sister, who has a crush on the engaged and 20-year old noctis, and then you drive her to a lighthouse. when she's in your party, she can't really fight, but she gets a pink chocobo and i thought that was very cute. we turned out own chocobo white and lizz named him 'jones' after a mount she has in ffxiv.

eventually, you have a long boat ride over to fantasy venice. this is the part where the game stops being 'fun with a few issues in combat and a rushed and poorly told story.' the open world, which was a main feature with a bunch of little areas to find where noctis can fish, little hunting sidequests and random photo spots where prompto takes touristy photos, is now gone, and it will not return for the entire rest of the game. you can 'go back in time', but the open world was the most enjoyable part of the game, and it kind of really sucks that the main story doesn't let you have any more freedom like that.

after arriving in fantasy venice, you have a talk with fantasy hillary clinton and beg her to let your girlfriend summon a god into the middle of her city. hillary agrees, and you don't get to meet up with your fiance, because even if the game is constantly telling you how much noctis loves her, there is. barely any interactions between the two in the entire game. from what i can tell, they met when noctis was a child and they haven't seen each other in ten years but are still fantasy dog pen-pals. noctis marrying her was supposed to make an alliance or something like that, but her brother has betrayed her to the army. noctis' girlfriend is also an oracle, which means she can heal people, i guess? everyone talks about how important she is and she's constantly telling people that she needs to use her powers to help noctis but she's practically a non-entity.

as can be expected of most female love interests in a game primarily focused on men, noctis' fiance is killed while summoning a god for noctis to befriend. noct gets very mad about this, and turns super saiyan and kills the god back, but his girlfriend is dead and that's super sad you guys. there's a beautiful prerendered cutscene where she says goodbye to noctis but since we barely know her, and we've only been told over and over that they're in love without anything to actually well, show this, it didn't have much of an impact. fantasy venice is destroyed, and ignis is blinded while trying to help calm the giant raging god.

iggy's blindness and how the game makes you account for this and grow to care for him was one of the highlights, in my opinion, as well as crushingly depressing. while i'm not disabled and have no right to say if this was 'good disabled representation' or anything like that, i believe that the game handles it decently enough. the group falls apart as noctis is upset about his girlfriend, gladio is extremely mad that noctis won't care for ignis, and prompto just wants everyone to get along. there's a mission where gladio constantly yells at you passive aggressive things to noctis about how he's a cunt for running, which is obnoxious, but the character arc itself is fairly strong. when you make camp, ignis can't cook anymore, so everyone eats cup noodles in a depressing ass cutscene. ignis remains in your party for the rest of the game despite his disability, and he doesn't magically regain his sight like other fantasy media would do, which at the very least i think is good. i'm not sure what the opinion of actual disabled people is of the character, considering how often disabled characters are either turned into misery porn to make the abled audience be glad that isn't them and if ignis' arc falls into this trap, but i hope that it wasn't handled too poorly, as that would just be another terrible mark in this game's list of bad moves.

the characters eventually make it to the evil empire's capital, which is abandoned and filled with daemons. the characters learn that ardyn is super evil and taught the king of the empire how to turn humans into daemons, which has now happened to the entire city. the 'magitek suits', presumed to be enchanted armour that fights as the empire's infantry, actually house the souls of the human-turned daemons. honestly i like this as a plot point but the game handles it pretty terribly. there could have been more lead up to this, the explanation is pretty lacking, and prompto's Big Plot Twist is. terribly handled. turns out that prompto was born in the empire and was going to be one of those empty soldier daemons, but he was rescued by people belonging to noctis' empire. not that the game tells you that. instead, prompto goes 'turns out i'm one of ... them' and Does Not Elaborate. The game doesn't tell you shit, not about prompto's past, not about how he feels about this, not about how anyone else feels about this either because the other party members just go 'oh that sucks, good thing you're not evil' and the scene ends. robbie daymond tries so hard to sell these terrible, terrible lines, and it almost entirely fails, i'm so sorry prompto. fortunately because i'm a nosy ass, i read prompto's wikia page and knew the plot twist ahead of time, because i don't think i would have even registered it if i didn't.

anyways everyone in the evil empire is dead and ardyn starts talking about how he's immortal and an ancient king of noctis' country but the gods thought he sucked because he's too evil. i missed most of this because the cats got the zoomies and were dashing across the couch right in the middle of his speech so i can't tell you anything else. noctis tries to get a big magic crystal to fight him and instead. gets schlorped inside.

TEN YEARS LATER

yes then ten years actually pass while noctis is asleep. the game shows this by switching the head on noctis' character model to have a beard, but that's it, no changes in animations or whatever. the sky is permanently night and only one human civilisation remains, the rest destroyed by daemons. as a plot point, this ends up feeling. extremely worthless. why was noctis asleep for ten whole goddamn years? so we can wake up and go 'damn it sucks out here'. but it's barely even a like, incentive to fix everything, because you have a long talk with a former child you were friends with where he talks about how humanity is still going fine and everyone's okay and the world has moved on without you. it feels. pointless. when you meet up with your party members, they are exactly as you left them, only with slightly different character models. there is no change in the voice performance, the character's movements or how they talk to show that they've been without you for ten years. they barely mention it. i'm just. so confused as to why they decided that a ten year timeskip was the way to go? since nothing really changes, couldn't you have made it like, two years? one year? six months?? have the characters react a little more? something??? at least if it was only a year or so i wouldn't have to deal with the fact that noctis looks like norman reedus with his shitty facial hair now.

anyways after that there's a bunch of long and boring boss fights. you fight some dead kings for some reason, your party members get a little bit to talk about how cool they are and how much they love noctis, and then you meet up with ardyn. there's another boring boss fight and god this was only a few hours ago but it's already gone from my head. you summon the gods and the old kings to beat the shit out of him after you both go super saiyan again? there's incredible music but it feels barely earned and just kind of eh. anyways, noctis dies, which was the price of using the crystal of light or whatever the fuck. his ghost marries his fiance's ghost finally, and they smile as they look at one of prompto's pictures. you can pick any picture you want to go here, and then the credits roll, showing all of the pictures you saved of prompto's shots. showing me all the pictures at the end is honestly lovely, but it really only served to remind me of how much more fun the game was in the first half. and that's the end, of final fantasy xv.

so what did i think of the story? it's terribly cobbled together and struggles to get you to feel anything and play out all the plot beats. you feel awful for the countless employees who spent years working on the beautiful cutscenes only to have them be in this game, which sucks and the story barely gets through. there were parts that i enjoyed, mostly the thing about the daemons being people, but honestly the rest of it is a mess. it's hard to follow at the best of times and just awkward and terribly written at the worst. the ending is cheap, and it doesn't feel like you've actually accomplished anything. i left that game feeling numb and empty, sad that i'd wasted so much time to end up with such a colossal failure of a conclusion.

i had fun with the game when it was my four little guys running around doing sidequests and camping together. after the midway point of the game, there's none of that, and you're bogged down into a plot that just pushes you from point a to point b and boring overlong bossfight to boring overlong bossfight. the character moments between your party are a lot of fun, but the second you hit fantasy venice, everything is pretty much on rails and you can't do anything except what the game tells you explicitly to do.

should you play this game? no lol. if anything i've mentioned about the story interests you, you'll be better off watching a lore video or reading the wiki. if you do want to play it after all that, just don't proceed after the myrthril refining quest, it's pretty much all downhill from there. will i play the dlc? unlikely, i think lizz and i will just watch a cutscene movie of those.

this game left me feeling empty and numb and not in a fun way. i wanted, so, so hard to like this game, and it all crashed around me in a beautifully overproduced and confusingly written cascade. i love you prompto, but even your cute little freckly face and terrible photography can't save this trainwreck of a game.

tl;dr - final fantasy xv sucks. i hope that 13, our next ff game, will be better.

[maggiecheungs]

2020 ~everything~ wrap

i finally have time to do all of the tag games that people have tagged me in over the past month or so! i cannot for the life of me remember who tagged me in which one, so i’m just putting ~everything~ in one huge post. if i tag you anywhere then consider it a standing invitation to do whichever of these you haven’t done :) in fact, this is me issuing a standing invite to any of my followers who wants to do it :) also, thank you all!

Creator Wrap: Favourite Works

Rules: It’s time to love yourselves! Choose your 5 (or so) favorite works you created in the past year (fics, art, edits, etc.) and link them below to reflect on the amazing things you brought into the world in 2020. Tag as many writers/artists/etc. as you want (fan or original) so we can spread the love and link each other to awesome works!

this collection of philosophy quotes paired with thai bl series, (and its sequel) which is possibly my favourite thing i’ve ever made. for, uh, nerd reasons.

these gifted text post memes i made still make me laugh sometimes

this fic about green from 2gether, which i wrote in the notes app on my phone and published the same day. not my absolute best writing but i am very fond of it <3

i have a bunch fof friend zone dangerous area edits/shitposts which i like, but i’m particularly fond of my fzda as satire headlines (which now has a sequel!)

i also love my crisgood-walmart-lesbian post. i might send it in to gmmtv to try and convince them to do a crisgood-bffs spin-off

+ bonus: since i wrote this list i made this gifset (my first ever!) of jennie panhan in the shipper and i love her too much not to include her on here

+ extra nerdy bonus: this niche meme about Chinese philosophy, which still makes me crack up whenever I think about it

Favourite Creators/Follow Forever

i’ve completely lost track of who’s following who from which blog, so this is just going to be a haphazard, non-exhaustive list of people who i adore/admire/am vaguely intimidated by, mutuality be damned. maybe we talk all the time! maybe we’ve never interacted! maybe i am constantly there in ur tags... lurking... 👀... but if you’re on this list you have made me smile at least once this year and i love you for that alone <3

@wjmild kylie!! you make gifs of arm & tay & lee (separately or in various combinations) & the shipper & and kapook & random fluke pusit cameos & school rangers so i don’t have to <3 ilysm

@janeramida vianey, you have such impeccable taste in general, but your sizzy gifset in particular is so gorgeous it lives in my mind rent free

@applelapis bri, this post was a callout and i want you to know that it haunts me at night as i lie awake staring at the ceiling :((((( i hope you are happy

@gigiesarocha cata, i love it when you show up on my dash bc you have!! such taste!! also, every time you gif gigie i gain five years of life <3 pls continue doing the Good Work

@pvrrish​ eleni, i remeber legit thinking that this was an official poster when i first saw it, it’s so beautiful

@ahysopae​ juliette your khaithird fic is so good and it literally changed the way i think about khai (not an easy feat)

@kurosawadachi angel, whenever i think about grace’s speech i remember your gifset and get literal chills

@doctorbahnjit alexa, you have no right to be as funny as you are. your friend zone edits give me life

@khaotungthanawat sam, you’re probably sick of getting tagged in these lists by random strangers, but i just had to bc your gifsets are Pure Art

@tanwirapong roa, all your gifsets are so ✨iconic✨

faiza @asianmelodrama and rahul @petekaos! yours were the first two thai drama blogs i followed and for ages i lowkey thought of you as my fandom parents.

and some more blogs that make me happy: @curlykytta / @lee-thanat  / @fck-inspector-m / @pangwave / @tichawongtipkanon / @tawanv @kimmonv (violet istg i have spent more time this year trying to figure out how many blogs you have than i have spent admiring your gifsets. & i spend a lot of time admiring your gifsets) / @taytawan / @1akorn and @yihwas (and your radiant lovechild @lakornladies ofc) / @teh-ohaew / @vihokratanas (mel your gifsets are just so gorgeous) / @tootiredtoosadtooangry / @headcompletelyempty / @demiromanticmickey​ / and there are definitely more but my brain is a sieve so apologies if i’ve forgotten anyone!! i love you all!! 

2020 HIGHLIGHTS ✨

rules: list your top 10 shows (bl or not) you watched in 2020 (doesn’t necessarily have to be shows that came out in 2020 though!)

1. 2GETHER & STILL2GETHER

my first thai drama, and even after all the amazing shows i’ve watched this year, it still has a special place in my heart. watching 2gether was the first time i’d ever seen a queer romcom that just... was. for me, by the simple fact of its being, 2gether was revolutionary. and then still2gether came along and took all the best things about the first season and gave us something beautiful and quiet and lovely and just proved to me, once and for all, that queer happiness doesn’t need to justify its own existence. there can be gay cuddles on the beach for no other reason than that we want them. 

2. UNTIL WE MEET AGAIN

i don’t really have the words for this one but. it makes my heart so very soft.

3. FRIEND ZONE 2: DANGEROUS AREA

season one was mindless fun because everyone was an absolute trashfire and it was hella cathartic to watch, but season 2... wow. i love it for so many reasons: it has messy and authentic queer rep; the characterisation is excellent and i somehow care about all of the characters; amazing women taking centre stage(!); a wlw relationship with lesbian, ace and bipolar rep; multiple interesting plotlines; actual character development; arm weerayut as a chaos gremlin... absolutely one of my favourites of 2020.

4. CHERRY MAGIC

i don’t think i need to explain this one, which is fortunate, because i have no idea how exactly i’d describe the happy-warm-fuzzy-queer-seen-loving-affirmed-profound feeling that rises in my chest whenever i think about it. 

5. THE GIFTED: GRADUATION

confession: i liked season 2 more than season 1 (with the exception of the ending, which we don’t talk about). season 1 was enjoyable and interesting, but for me it was season 2 which made me love this series. it did some incredibly interesting and complicated things (even if it didn’t quite nail the landing): it pushed characters to the breaking point and wove so many layers into the story and questioned its own underlying themes. plus, watching it alongside everyone in the fandom made it 200% better. i love all of you and i love this show. egg girl 5eva.

6. THE SHIPPER

i 100% understand why so many people didn’t like this show, or found it problematic, but through some fluke it absolutely worked for me (even the ending). one day i will write an essay explaining my rationale, but for now i’ll just say that it’s one of my favourite shows about adolescence and queerness and identity and compassion and friendship and love that i’ve ever watched. 

7. YYY

this series is absolutely off its rocker, and it somehow managed to be one of the most affirming shows i’ve watched. it shouldn’t have worked by it did, and i love it so much.

8. 3 WILL BE FREE

absolutely iconic. amazing plot, stunning visuals, great characters, canon polyamory, jennie being incredible... what a series.

9. MANNER OF DEATH

i love the fact that this show exists; i love the mix of crime and romance; i love maxtul’s acting; i love the central relationship; i love bun. i know we’re not even halfway through yet, but this show is doing something special and i’m so grateful that i get to watch it unfold in real time. 

10. CHIHAYAFURU (SEASON 3)

odd one out on my list, but I had to include it. chihayafuru is my all-time favourite anime and it finally got a third season, which is somehow even better than the first two. mashima taichi is one of my favourite characters of all time and his storyline hits me on such a profound level. plus, in the years since i first say this show i’ve fallen in love with classical japanese literature (particularly heian poetry) so i had newfound appreciation for the karuta matches (aka i cried every time someone recited one of my favourite poems)

other favourites: together with me, he’s coming to me, sotus and sotus s, my dear loser: edge of 17, why r u, theory of love, wake up chanee!, gameboys, pearl next door, uta koi (anime), three kingdoms (2010), blood and water (netflix). (itsay would almost certainly be on my list if i’d had time to watch it. same with dark blue kiss, which i had to pause so i could do my assignments)

Final Thoughts

well, it’s been... a year (i don’t think anyone needs a reminder of the details) but writing this post has reminded me of all the amazing shows and people I discovered over the course of it.

thank you to everyone for being so lovely and creative and funny and quirky and kind and passionate. you’re all incredibly awesome people and i wish all of you the very best xx

[omegangrins]

A Rant on the End of Tremors 7: Shrieker Island

As the main man said,

Throwing caution to the wind because this blew up elsewhere.

If you can do it with Justice League, fuck it, let's do it for every shitty movie we've got.

While we're at it, can we change the ending of the 7th Tremors movie so *MAJOR FUCKING SPOILERS* Burt Gummer doesn't die or at least bring Jamie Kennedy back, or Marvel style recast Jon Heder, so he dies saving his son instead of a random-ass person who could have easily saved themselves. Or cut the forced montage of Burt clips at the end so his death is at least ambiguous. Seriously beyond pissed about that one. THAT is no way for him to go.

I would also like to point out that the next Tremors *HAS* to be titled Tremors 8: Ouroboros and bring everyone back for Burt's funeral . Otherwise, what's the fucking point?

I have feelings about it, people. *FEELINGS!!!*

One of my favourite childhood memories is picking out Tremors 2 from the local gas station's movie rentals and forcing my parents to watch it. I was probably 5-6 at the time.

Let's say that it's been a lifelong love affair ever since. It took me another 10 years before I even watched the 1st. Probably why I hold good sequels in such high regard.

I didn't even know about the 1st until it played as a trailer in front of 2 and never thought to watch until years later. That's a testament to its filmmaking if I ever knew one.

So seriously, that's how they chose to kill off one of the most well known and prolific characters in a movie/TV series known around the globe? With an unnecessaryily needed death and a montage of clips from all the other movies that are obviously better than this one.

And I'm saying that as someone who defends Chibnall/13th Doctor...

...and I'm fucking fuming because THIS is how you *actually* destroy something people love and hold dear to their hearts. It's like the ending of Game of Thrones. His shitty ass death has made it a loooooot harder to rewatch. And they are one of my favourite series!!! Not flawless but fun. But I will defend every other movie and all the episodes except this. Honestly I'll still defend 7/8ths of this one as well.

Like I said, it's easily fixed too. Fucking vice versa swap out Jon Heder for Jamie Kennedy, who the movies have been building up for the last two, and have Burt save his son in front of his old flame. Boom, you won't even need the montage of clips cause you can just have Travis and his mom reminisce about Burt instead. Show not tell. I don't even care he died by Graboid (although in all honesty, I've allways wanted El Blanco to take him down or Burt kills himself from the PTSD. It would have AT LEAST MADE SENSE. Hell, the best would be a heart attack to callback Val's "Yeah, Burt, the way you worry, you're gonna have a heart attack before you get a chance to survive World War Three.". But none of us ever get the best death.). And it's not even about Burt sacrificing himself to save a nobody. Cause that could work too. BUT YOU NEED TO BUILD THAT SHIT UP. Not just fucking drop it like it's hot.

Like I said too, the first 7/8ths ain't bad but it's an entirely different story than a swansong for a hero.

It's all about some billionaire scientist/cowboy hunter dude who likes to get his jollies off hunting the biggest and the baddest who ends up inviting people to this island so they can hunt down Super-Graboids he designed for shits and giggles. But then some Shrieker-fy....

And the pretentious douches come and die one by beautiful one while Burt tries to save them anyway and it's all spectacularly dumb fun until it comes crashing down in the final 10 minutes. Fuck, they should just cut the last 10 minutes. Then it's a perfect little Tremors ditty.

#RELEASETHE7THTREMORSWITH10MINUTESFROMTHEENDCUT

This isn't even about Jon Heder either. He's just doing his job. Hell, do what /u/VoiceofRonHoward pointed out.

"It is clear that Jon's character was just pasted in over Jamie's, the artifacts of the father-son relationship are all over it. They should have gone full Marvel and just replaced Jamie with Jon and acted like nothing happened."

CAUSE FUCK YES!! The only time a story sucks is when they don't commit. Commitment makes all the difference. Now, I'm pissed double-pissed they didn't do that instead since Heder and Kennedy are similar in terms of white-boy-ness.

Even Michael Gross agrees:

"Yes, yes. Now I can't presume to speak for Jamie [Kennedy]. My understanding was they asked him and he said no. And so that's why they went with somebody else. So I had nothing to do with that decision. I just heard the stories. I missed him for that reason. You begin a relationship with the character, and you want to continue it....

...As you build a relationship with this son, we had two, it would've been nice to have three, but that was the hand I was dealt."

One of my favourite bits of Tremors lore comes from the 5th too so it's not like I hate sequel changes out of hand:

"This is a warrior dance. Our ancestors hunting the lnkanyamba and the Impundulu.

"What's that?

"Impundulu. It's what you call the Ass Blaster.

"Ass Blaster.

"Yes.

"Yes.

"Hey, you know, you make Ass Blaster sound good.

Primitive cultures fighting Graboids, Shriekers and Assblasters. I just love that thought.

Hilariously, my meta opening to the 8th movie would be a flashback to 10,000 years ago and a Neanderthal-like Burt Gummer teaching others how to drive Graboids off cliffs like they did with mammoths.

Thank you for giving me the space to rant. Cause fuuuuuuhhhhhhhhuuccck!!!

Here's Michael Gross' own words from his AMA that prove the people making Shrieker Island didn't know their shit.

"The Tremors series is one very close to my heart and I want you to know how appreciated your continued effort is for your core fan base.

My only question would be were there ever any studio decisions made for Burt that you refused to comply with? Or was everybody pretty much always on the same page on what to do with the character?

Thanks again for your dedication.

- Josh"

"Thanks for the kind words, Josh. As regards the first four films, with Wilson and Maddock as the writers, we were very much on the same page. 5,6, and 7 were a bit different, because there was a 13-year hiatus between 4 and 5, and we had to refresh our memories while "reinventing" the franchise for a new audience. I will give you one example: in an early draft of Shrieker Island, a new writer wrote a draft where Burt threatened to shoot one of the bad dudes, and I had to tell him—this is true—"Burt never intentionally points his gun at another human being."

And his own thoughts on Burt's "death" and how to bring it all back together again.

Universal and the director [came] to me with this idea, and they said, 'This could be emotionally very powerful, if we have to say goodbye to this man after 30 years. And I hemmed and hawed, and I thought about it a little bit. And I said, 'You're absolutely right about the emotional gut punch this can be.' And I said, 'You're going to hurt a lot of people's feelings.' And I said, 'But I thought this franchise was over after four. So I could certainly live with it being over after seven.'

"What we negotiated -- well, it wasn't really a negotiation, we all agreed on this -- is that we kind of left the door open. >!Because although Burt is gone, we never see a corpse. We never see his remains. Everybody assumes he's gone. Is he buried somewhere? Is he unconscious somewhere? We never see Burt dead. We see Burt gone. We see Burt not returning. What does that mean? Has he been knocked out? Does he have amnesia somewhere? Does he wander off? Is he in a kind of coma? So yes, the way it ends is pretty profound."

"As regards to the end of Tremors 7, let me just say that while people ASSUME Burt is gone, we never see his remains, do we? Just sayin.'

"The only reason he has become the main character is that everyone else in the original cast moved on to other things. I NEVER thought of him as the central figure, but it just worked out that Michael Gross, like Burt Gummer, was a "survivor." :0) "

"No one would like to see it more than I!!! One of my greatest regrets is that so many other cast members fell away over time. Reba was on to other things, Kevin said no to a second, Fred said no to a third. I would LOVE one last go with all of them, but it is not up to me. :0( "

"There are no guarantees, but for those who wonder aloud if this is the final film, I will say what I have said before: SALES drive sequels, Show biz is 5% show and 95% business, so if this latest addition to the Tremors franchise, sells well, [Universal] will follow the money, and Universal Pictures Home Entertainment may will be back for more."

/u/ActorMichaelGross, the bell has been rung and the song sung. Get the producers on this ASAP!!

I was also the first person to discover the symbolic foreshadowing of Stumpy's end with Earl's sleeping bag in the original movie.

Let's just say, I really *really* love these movies. So if anyone knows anyone, hook me up to the producers of this series and I'll Justin Lin in the Fast and Furious out of this shit.

Since I don't think it's good to critique without proposing either, I say we can make up for this fuck up with the next movie. We'll call it Tremors 8: Ouroboros. After the snake which eats its own tail.

We find out Burt faked his death to get the Proudfoot Corporation to let down their guard and when everyone from the previous series comes back for Burt's fake funeral they give him ever loving shit for being such a paranoid whack-job that he would fake his death to fool a government agency. Why would he do this? He found an old photo of Hiram Gummer with a Graboid warning on the back and asks himself why this valley, why these things, why allways me? And we find out, it's not Burt. It's that lifestyles of extremes will end up in places of extremes. Burt and the Graboids are survivors of different species. Sure the Proudfoot Corporation IS using Mixmaster to combine Graboids, Shriekers, and Ass-Blasters into one super creature for the military but it pales in comparison to Burt looking at his life and wondering in shame how many ancient giants like himself he has killed. And with that, he actually dies, and we keep the ball rolling with the rest of the characters trying to stop what they allways thought was just another one of Burt's crazy conspiracies.

That's why it's Ouroboros. Everything comes back around. We could end/start the movie with Grady, Earl, and Jodi opening a Monster World in Perfection Valley a la Desert Jack's Graboid Adventure. I don't know. I'm fucking trying harder than the people they paid to do this already.

It ain't perfect but I'm building on sand here so changes are gonna get made.

Like if the makers of Tremors notice this,

Then DM me because fucking A you guys need some help.

[punchdrunkdoc]

Updated K-drama list (4)

This list is getting looooong,  because I’m well and truly addicted to these shows and can’t stop watching them. 

I think its because each show is so self-contained - one series, 16-20 episodes and its done. A clear beginning, middle and a satisfying end. That, together with all the tropes in play (SO MANY TROPES!!) makes each show feel like a novel come to life. And when I start a good novel, I have to finish it in one go. This usually results in me staying up till 2am because I NEED TO KNOW HOW IT ENDS. And it’s the same with these shows. I’m getting very little sleep, but I’m having a hell of a good time!

FAVOURITES

1. Crash Landing on You

He’s from North Korea. She’s from South Korea. They never should have met, but they’ll change each other’s lives.

This was my first K-drama, and its still my favourite. The full cast of characters is great, the lead romance is ANGSTALICIOUS and its genuinely, laugh out loud funny (when its not making you cry or swoon).

Male lead: Officially the best boyfriend ever. With added dimples.

Tear-jerk factor: 4/5

2. Healer

The lives, and pasts, of a hot shot reporter, a spunky young tabloid journalist and a mysterious thief-for-hire intersect.

This was so addictive - the plot was tight and engaging, and this is one of the few shows I’ve watched where there didn’t seem to be a lot of filler. I loved the central 3 characters, and the romance was amazing. I especially loved that the male lead started off such a brooding loner, but he became super-affectionate as soon as he admitted his feelings. So many good hugs and lots of face-cradling in this one.

Male lead: Effortlessly beats up 2 henchmen while comforting his girl over the phone. What more do you need?

Tear-jerk factor: 1/5

3. Itaewon Class

A young man’s life is forever altered when he runs afoul of a powerful family.

This felt like a big step up in quality from everything else in this list, in terms of the production, soundtrack (which was brilliant), the lack of annoying sound effects, and just the overall ‘real world’ feel of the show. All of the characters were fleshed out and 3-dimensional, and they all had their ‘moment’ to shine. The story itself was gripping and so well done - some of the twists and reveals had me gasping! And what can I say about the 2 leads? I love them, both separately, and together. He is so wise beyond his years, and his journey will break your heart and inspire you. She is borderline sociopathic, but I adore her.

Male lead: Tenacious, principled, kind, innocent, caring, driven, loyal…and he can cook!

Tear-jerk factor: 2/5

4. Descendants of the Sun

A special forces Captain meets a capable and beautiful trauma surgeon. They feel an instant bond, but their jobs and philosophy on life get in the way, threatening to tear them apart.

Halfway through this show, I seriously thought this might overtake CLOY as my No. 1 fav. I absolutely LOVE the male lead character, and the romance was beautiful…but it didn’t quite nail the angst and the last minute was a bit twee which dropped it down the rankings a bit.

Male lead: A cocky, charming, absolute BADASS with the most adorable, cheeky smile.

Tear-jerk factor: 2/5

5. Love in the Moonlight / Moonlight Drawn by Clouds

A young woman poses as a eunuch in the Royal Palace and falls in love with the Crown Prince

I wanted to try something different so I opted for this period piece and OH MY GOD am I glad I did. The start had a really light comedic tone (and a lot of modern anachronisms - high fives everywhere!) and I loved all the identity-concealing hi-jinks. But then the romance kicked into gear and the DELICIOUS angst started flowing, and I became obsessed with it. It's like loads of bits of my favourite regency historical romances were mashed up and transported to the Joseon Dynasty. I loved it so much!

Male lead: Manages to look amazingly handsome despite all the period headgear, kicks ass with a sword, and doesn't allow himself to be manipulated by the corrupt officials surrounding him, which was refreshing. Also acts like an adorable goofball when he's in love.

Tear-jerk factor: 2/5

6. My Holo Love

A lonely woman falls for a holographic AI and then meets his creator...

I love the concept of this show (I’m a big sci-fi nerd), and it was beautifully shot. The lead relationship is well developed and it doesnt fall into a typical love triangle. I’ve come to realise it utilises a lot of K-drama tropes (face-blindness! shared childhood trauma!), but it does it really well, imho.

Male lead: Tortured loner genius. My catnip.

Tear-jerk factor: 2/5

7. Goblin

A 900yr old immortal guardian finally meets the ‘bride’ who will end his existence

Once I got over the slight ick-factor of the age difference between the two characters at the beginning, I really fell for this show and it’s world. It had me in tears. And I especially loved the secondary character of the Grim Reaper.

Male lead: Surprising innocent and funny for a 900 year old

Tear-Jerk factor: 5/5

8. What’s Wrong with Secretary Kim

An personal assistant decides to quits her job in order to get a life. Her boss has other ideas.

I loved the female lead in this - I’m a sucker for uber-competent people, and the actress is STUNNING. Her boss is self-centred, entitled and vain...but over time, somehow that just becomes endearing! Possibly because he’s played by Park Seo Joon, who can do no wrong in my book! The central romance is super cute - I can rewatch their scenes again and again. 

Male lead: Like I said, somehow makes vanity and narcissism endearing. Also not afraid to get his shirt off and flash his 6-pack. Bonus.

Tear-Jerk factor: 0/5

9. Legend of the Blue Sea

A mermaid comes onto land to find the man she loves

The (literal) fish-out-of-water scenes in the first half of this show were hilarious - the actress is a comic genius! The romance was nicely done, and there wasn’t a lot of extraneous plot or too many characters. I couldn’t stop watching this one!

Male lead: Cocky, arrogant conman with a soft mushy centre

Tear-Jerk factor: 1/5

10. Fight for my Way

Two life-long friends decide to go after their dreams

I fast-forwarded large chunks of this (I wasn’t interested in the secondary couple at all), but it still made my favourite list because I love the leads - both as separate characters and as a couple. This is one of the best friends-to-lovers stories I’ve seen, mainly because you truly buy that these 2 have known each other their entire lives (their  bickering and teasing feels so natural). And then when they take the next step, they’re so affectionate and refreshingly open with their feelings.

Male lead: The third Park Seo Joon character on this list! I love his contradictions. He’s goofy and childish…but can really turn on the sexy charm; he’s a badass MMA fighter…who loves when his girlfriend sticks up for him and protects him.

Tear-jerk factor: 0.5/5

11. Suspicious Partner

A young, hardworking lawyer has her life turned upside down when she is put on trial for murder.

This has been officially bumped up to my favourites list - partly because I’m now a massive Ji Chang Wook fan, and partly because I’ve rewatched scenes with better subtitles and its made it 10x better. Its still overly long, but the serial killer plot had some nice twists and it was central to the story, so it didn’t feel extraneous like some of these types of plots do. I really enjoyed the central romance - the 2 characters sparked off each other well and I loved their evolution from sort-of enemies to lovers. This is another show where I can endlessly rewatch their scenes together.

Male lead: Its Ji Chang Wook! He’s so good at playing serious guys who are secretly big dorks.

Tear Jerk factor: 0.5/5

NOTABLE MENTIONS

These are shows which I completed and really enjoyed but they had flaws which kept them out of the favourites list.

1. The K2

An ex-mercenary takes a job as a bodyguard protecting the illegitimate daughter of a politician. A sort-of Snow White retelling.

This started off really well, with some amazing fight sequences (hello, shower room scene!). However, the back half became too bogged down in double crosses and manipulations, and it focussed too much on the politicians. The writers did well to give these characters some layers, but they were all essentially doing bad things for the wrong reasons, and I just didn’t care about them. The show was much better when it was following K2’s journey. The romance also started off well, but was a bit underdeveloped (mainly because they barely interacted).

2. I Am Not a Robot

A man who is allergic to human contact finds companionship with a robot…or does he?

I honestly thought I wouldn’t make it passed a couple of episodes of this - the concept was just too ridiculous. But I’m glad I persevered, because it developed some real depth and some proper good angst towards the end and I LOVED the central relationship.

3. Extraordinary You

A high school student discovers she's a supporting character in a comic book

The plot of this was so unique, and the way the comic story played out interspersed with the characters 'real lives' was really well done. Plus the central couple were so adorable. It dragged in the middle section (several versions of the same conversations were had, and the same exposition was spelled out multiple ways for no apparent reason) which kept it out of my favourite list, but it redeemed itself with some good angst at the end, and it had a really lovely ‘epilogue'.

4. My Love from the Star

Alien stranded on earth meets an actress soon before he’s due to be rescued.

I finally gave this another chance, and I’m glad I did. The female lead got a LOT less irritating, and I enjoyed the present-day romance and all the flashes back to the past. However, the ending was really abrupt and disappointing (which kept it out of my favourite list). There should have been 1 less filler episode in the middle, and a decent, fleshed out finale instead.

5. Weightlifting Fairy Kim Bok-Joo

A young talented weightlifter experiences first love

Honestly, I wasn’t sold on this at first; the female lead was a bit much (lot of gurning and over-acting) and there was a weird disconnect between how she was described (big, overweight, manly, unfeminine) and how she actually looked (thin and beautiful!). But the back half of this show saved it; her relationship with Joon-Hyung was sooooo cute. He is adorable, and they were both so supportive of each other’s dreams. I finished this with a big smile on my face.

6. Because this is my First Life

A rational-to-a-fault software designer and an aspiring screenwriter come up with an unconventional way to solve their housing problem

When I started this, I thought it was going to be all light and fluffy (the main character's job in the beginning was to insert the product placement in Korean dramas - hello, Red Ginseng! - which I found hilarious and meta) but it had a surprisingly melancholic tone throughout and touched on issues of workplace harassment and gender roles. I didn't warm to the male lead until right at the end (which was probably partly intentional - he's very remote and closed off) but overall I found the story quite lovely. Plus it had a really great central female friendship and their conversations actually passed the Bechdel test!

7. Strong Girl Bong-Soon

A woman with inherited super-strength gets a job as a bodyguard for an eccentric young CEO

The lead couple in this are AD-OR-ABLE and I loved their relationship. But there was a weird tone issue in this show. The romance is super cute...but there’s a whole dark sub plot involving multiple women being held captive by a psychopath. I ended up fast forwarding most of that, and just concentrated on the romance.

THE OTHERS...

I finished these shows and liked parts of them, but they ultimately didn’t set my world on fire.

1. Her Private Life

A talented art curator tries to keep her professional persona separate from her fangirl obsession with a pop idol.

This was cute and I loved the central relationship - he was so supportive of her, and their interactions were refreshingly mature and their banter felt really natural. Ultimately, it was a bit forgettable (I’m not dying to rewatch any of it), and the last minute tacked-on childhood trauma subplot was really unnecessary.

2. Touch Your Heart

Star actress rocked by scandal works at a law firm to prepare for her comeback role

This starred the secondary couple from Goblin and I really like them, even though they are playing very different characters in this (more opposites attract, than doomed lovers). At first I found this too ‘cutesy’, but I’ve since realised the sound effects/graphics are a K-drama thing and not unique to this show, so I’m not as down on it as I was. I still had to fast forward a lot of the secondary romances which I wasn’t invested in.

3. Hyde, Jekyll and Me

A woman becomes involved in the lives of 2 men, who share one body

This stars Hyun Bin from CLOY and he is sooo watchable, especially as the slick-haired, glasses-wearing, uptight Seo-Jin. And the show started well...but quickly went off the rails into a convoluted, dragged-out revenge plot.

4. Melting Me Softly

Two people are accidentally cryogenically frozen for 20 years. They have to navigate the modern world and their new lives together.

Another good concept, but it ultimately descended into little more than a light work-place romance. Had a couple of good kissing scenes, but it was overall a bit forgettable.

And the DNF:

My Secret Romance

I started watching this because I was looking for something a little less PG - the characters have a one night stand in the first episode! But I couldn’t get passed the bad acting and cheap production.

Master’s Sun

I liked the premise but the 2 leads weren’t very attractive (at least in comparison to the insanely beautiful actors/actresses in the shows listed above). Call me superficial, but I couldn’t see myself spending 17 hours watching them and willing them to kiss.

[cryptocism]

I think your perception of canon vs fanon Tim is really interesting, and I think your right about a lot of things, but one of the things I've always loved most about Tim was his character arc, especially through his ongoing (and into RR). Like, I think your spot-on that Tim-as-Robin's strengths were his thoughtfulness and empathy and observant nature, but I think one aspect of his character was his gradual degradation into someone a lot colder and more calculating (1/2)

(2/3, oops) and I don't think that just comes from fanon characterization. Like here we have a character who is so monumentally compassionate and loving, and whose loved ones pretty much all die, so I don't think the transition in personality comes (just) from fandom, but also writers responding to this sort of trauma for the character. And Tim, in-universe, I think decides that the best way to keep the people around him safe is by sacrificing some of that kindness and becoming a little darker(3/4) in order to save his loved ones (e.g Bruce, Tam, Steph). And I do think that that change in character also pivots the catalyst for its drama. Like where before he was just a normal kid who stepped up because he felt he needed to, parents in tact, regular life, etc, later Tim is full-on traumatized vigilante. So where the drama before was found in Tim negotiating being a normal teen with being Robin, it became a negotiation between his good nature and the darkness he felt he needed to (4/4) embody. Or even the darker person he felt himself becoming. I think one of my favorite Tim moments is in RR where he's beaten Ra's for the first time doing his tortured genius hacker thing, but Ra's attacks, and Tim realizes that he can only beat him by trusting his friends and family, rather than any of the cold brilliance he's developed. And he reads that Ra's is thinking of him as just another broody Bruce, and Tim tells him "I'm not Batman, I have friends," and wins with their help.

You’re right! And I actually love that aspect of his character arc too. I think Tim’s inner conflict with the more cold/calculating part of himself is also pretty central to his character, it obviously got a lot more focus in the RR series, but even before everyone Tim knew died he struggled with his ‘inner darkness’. Like when the Titans get sent to the future and Tim finds out he grew up to be his own worst nightmare, or any of the tons of conversations he has where he clarifies that Being Like Batman is 100% what he’s trying to avoid.

I probably should’ve clarified, my issue isn’t with the “tortured” part of the tortured genius trope, (emotional conflict is great and something the entire batfam has oodles of) it’s more the “genius” bit.

tim is smart! obviously, he’s smart. but pushing that aspect of his character until he’s a child-prodigy-genius boy who can hack anything if you give him a laptop and a stick of gum gets sort of... i can’t think of the word rn, um. Like he basically stops being a believably real person? For me, anyway.

like i said my favourite tim is Regular Kid Trying His Best. that doesn’t mean he can’t go through dark shit or be a darker character, just that his goals and motivations and problem solving ideas come from creative places that I as a reader can trace the logic of.

the example you brought up is actually really good for this! tim is able to subvert ra’s (and the reader’s) expectations, because tim is an empathetic person who has a knack for reading people, and he knew ra’s (and the reader) was under the impression that tim was fully entrenched in being a solo act, not trusting anyone, being Like Batman. and then theres the banger ass line “im not batman i have friends” like WHAT??? HELL YEAH! WHAT!

and that’s the kind of shit any person could do, if they were observant and careful and just this side of thrill-seeking. it’s unexpected but it still Makes Sense.

when tim is able to solve all his problems with the push of a button or a late night and a computer, he’s just not a believable character anymore, he’s a plot device to get the mystery from point A to point B.

so yeah its more the fact that pushing his whole ‘genius’ thing ends up flattening his character for me. so when he’s valedictorian or proclaimed the ‘computer guy’ or whatever it rings a little hollow.

also i am a little bit tired of the ‘sleep deprived coffee addict’ thing, for similar reasons in that it renders him one-dimensional.

[fuse2dx]

November ‘20

Cross Code

Cross Code is a game that is trying so very, very hard. The story is based around your character being an avatar within an MMORPG, and its this kind of game-within-a-game setup that is used as a cheeky way to skirt the fourth wall and have its characters make snide remarks at certain design decisions, while also going full steam ahead with them regardless of the fact. Don’t think we didn’t notice, dev team! It plays out as a 2D top-down action RPG, but clearly has aspirations that extend far beyond this framework. Each of its environments is thoroughly layered with subtle verticality, with parkour-esque platforming having you constantly working backwards from your intended destination, and requiring meticulous attention to detail in order to find where it is you’re able to begin your elaborate series of jumps from. There’s a huge array of materials to gather and channel through traders and to craft into gear, and the combat they benefit is both precise and complex, requiring plenty of on-the-fly thinking as well as tight execution. As well as these set-piece battles, the game’s dungeons are full of puzzles that though smart in construction, are tough enough in isolation, and frankly brutal in their relentless frequency. One particularly ill-advised chapter has a series of three such dungeons in quick succession, and perfectly illustrates that just because you can, does not mean that you should. 

On a more positive note, one thing the game does have in spades is charm. The sprite work is admirable; even though characters are a touch on the tiny side to be too effective on their own, their portraits and dialogue provide a solid emotive connection to them and the story that builds up around them. In all, it is a game that can be a lot of fun, and plenty rewarding - but the entire thing is overly long and far too regularly punishing. It’s tapped into a number of 16-bit action-RPG ideas well, but has perhaps unintentionally also managed to become the most masochistic presentation of these ideas to date.

Crimzon Clover: World Explosion

A game I’ve technically owned for years now, however the lack of a Windows PC has held me back from playing it - with this debut on the Switch finally granting me the opportunity though to get hands on. Although I’d gleaned plenty from watching super players decimate it before now, even my feeble credit feeding through the game’s five stages has given me plenty of additional appreciation for just how good it is. 

It looks brilliant, with chunky, detailed enemies animated beautifully as they move about the screen. The music pounds along to an energetic beat, and the game keeps a solid pace all while plenty of bullets swarm around you in creative and considered patterns. Turning the tides with Break Mode is an incredibly satisfying way to take control of hairier moments, and while I can’t speak for every intricacy of its scoring system, I know that it’s developed by a team that demonstrably understands the value of these. What I can more reliably add to that discussion is that you’re unlikely to find yourself reliant on any one hook to find your fun though; even the most pedestrian appreciator of the genre should find plenty to enjoy. Thoroughly deserving of its regular appearance alongside the biggest names in the genre.

Holovista

There’s often a reasonable amount of scepticism that comes from some folks when you talk of gaming on a mobile phone. Flipping the conversation though, and instead to talk of one of my favourite advantages of the format, it’s great that a developer can lean on the familiarity and the personal connection that you have to the device you’re playing on. As a device that lives by your side 24/7 and increasingly encroaches further into every aspect of your being, Holovista leverages this connection amazingly, spinning its story in a series of interfaces that mimic how your phone acts when you use it yourself. Taking pictures and interacting with people in particular are key interfaces, and that are done in a way that neatly puts you right into the shoes of their character. 

It begins with said character taking an interview for a new job that is hoped to herald a new tide of good fortune, and promptly introduces the circle of friends that are there to help with this and that celebrate alongside. As you learn more about the job, things slowly begin to get a bit weird, and then take a turn that is something akin to Black Mirror meets nightmarish introspection. Though not overtly unpleasant, there are some memorably unsettling moments along the way. Sensibly, it does have content warnings that offer some sound advice for those it might not sit so well with, but self-care does end up being a central takeaway from the game as a whole as well as for its cast. On the back of circumstances we’ll generically chalk up to this year’s being what it is, this ended up feeling like a lovely little palate cleanser -  a considered refresh, thoroughly original, and a very worthy afternoon’s entertainment. 

The Legend of Zelda: Link’s Awakening

One thing that’s always been great about Link’s Awakening came as a result of the technical limitations imposed by the Gameboy - that the Zelda format needed all the fat trimmed, while the mixture of puzzles and action were to be distilled down into their most potent and compact form. Even with the (entirely optional) extras they’ve slipped in with this remake, this still shines through in its design now, where it couldn’t be any further removed from the risks of overly long, dragged out pacing. A small overworld it may be, but it’s full of variety, secrets, and memorable moments. Dungeons are similarly economical with its good ideas - giving you new tools, laying out smart ways to break you into their use, and then letting you get on with things. 

While the remastered music is also utterly charming, the real upsell here is the total visual do-over; its tilt-shifted cartoon aesthetic pushing each and every scene to look like a shiny, hyper-cute diorama. For all of the different visual styles that the series has dabbled with in the past, this one definitely feels like the right match for the light-hearted whimsy that comes through from the story and the characters. That’s not to say that it’s flawless either - the blurring at the screen’s edges can be overly intense at times, and the overall presentation does cause the performance to stutter and feel a little sluggish at times. I point at these things only given the bar is raised so - something unavoidable when you already know a game is a stone-cold classic from the off. 

Astro’s Playroom

Coming pre-installed on your shiny new (and hopefully not scalped) Playstation 5 console, Playroom begins as a humble introduction to the capabilities of the Dual Sense controller. Touch control, haptic feedback, adaptive triggers and the like are introduced and may well generate some cooing and low-key positivity, however this enthusiasm is elevated by a mighty factor when the game truly begins and everything is put so deftly into practice.

It’s not a complex or particularly challenging title as far as 3D platformers go, with frequent checkpoints and no life counter in sight. Any mould-breaking to be done comes instead from the diversity in how you control various sideshows, with the entire kitchen sink’s worth of interface options being showcased as you climb into a monkey suit, blast off a rocket ship, bounce around as a pinball, and so on. All of these demonstrate ingenuity that could’ve easily gone awry, yet are quickly understood, and grounded in a level of both tactile and in-game feedback that maintains a natural feeling. The game’s worlds serve as virtual tours through colourful, fantasy depictions of hardware components that demonstrates an excellent level of both pride and playfulness, with fellow bots littering both the through-fare and the unbeaten paths, dressed up and enacting smart homage to generations of games and their characters, all while Playstation-themed collectables are doled out in tandem alongside smart, well-natured puns. It arguably borders on propaganda at times, such is the intense positivity. That said, the more extensive your tenure is with Sony’s platforms, the more likely it’ll dull your better judgement to this, instead letting slip a grin at what is essentially the grandest love letter to all things Playstation, and the warmest, most celebratory pack-in for a new console Sony could have ever hoped for. 

The showcasing of new features and hardware aside, it’s also a subtle and unofficial coronation of Astrobot as Sony’s newest (and best) mascot. There’s been plenty of candidates in the past who’ve half-heartedly assumed to own the position, but it’s the silent, cheerful charm which makes Astro that much more of an endearing figurehead. G'wan the little guy.

No More Heroes 2: Desperate Struggle

For someone that loves Suda51 and adored No More Heroes, my reaction to No More Heroes 2 on its original release was comparatively tepid. With a third game due next year, this re-release felt like the right time to revisit it and see it through, and although I found some things to enjoy, I certainly found plenty to remind me why I had bounced off it previously.

Roaming about in Santa Destroy between missions is gone, instead replaced with a short check list of destinations. While not a fan of the change myself, this isn’t necessarily a bad thing - though it does give a misleading impression of tightened focus that is very quickly lost as it lays out a spread of half-baked, and frankly clumsy mini-games. As well as being your prime source for money and upgrades, these do a lot to artificially increase the length of the game, and put simply, they’re just not fun enough to warrant this level of prominence. Even the main story has frequent moments where it veers away from the core 3D hack and slash gameplay, and again, these do more harm than good to the game’s flow.

The fighting underpinning it all has undoubtably been done better since by any number of titles, and though imperfect, it is still serviceable and enjoyable for the most part. Boss battles definitely hold the lion’s share of the game’s highlights, but there’s a few that also stick out with some poorly executed designs that tars its lasting impression. Shades do remain of the ridiculous, irreverent charm of the first game, although they are certainly more infrequent, and a more modern lens also brings into question just how sincerely we should take the sending up of Travis, when cast upon a backdrop of frequent fanservice. Not the best sequel then, but let’s hope 3 gets things back on track.  

[marinsawakening]

What are some general themes of mp100? (I'm considering watching it). Also, who would you say is your favorite character?

MP100′s themes are by and large so wholesome it’s honestly great. The central theme is the importance of kindness and interpersonal relationships; MP100 is centered around the idea that people need each other, and that we should help each other and value the help we get. A lot of the antagonists in the series are people who either reject the notion of interpersonal relationships, or did not receive help/support from people around them when they needed it, or both. The majority of the conflicts are solved not by big battles (although those certainly happen and are great), but by coming to an understanding about why the antagonist is behaving the way they are, and working to resolve those internal issues with understanding and kindness. 

By and large, I think that MP100 is very good at balancing the need for understanding/kindness with the need to hold people accountable for their actions, and it really puts its main character through the wringer at times to test his resolve to these things; although kindness/understanding are generally portrayed as the right solution, that doesn’t necessarily mean they’re the easy ones.

Other major themes are coming of age/growing up and the capacity for change. MP100 is, at the end of the day, a coming of age story for Mob, about him learning to accept himself and him growing up. But aside from that, it’s also in a sense a ‘coming of age’ story for pretty much all of the characters, including the adults. MP100 really emphasizes the fact that everyone has the capacity for change (hence why like 90% of its major arcs are redemption arcs), and that nobody is ever really done ‘growing’. The deutagorist of the series, Reigen, is an adult whose main function in the story is to provide an adult perspective on the theme of ‘growing up’, both in the fact that he has a lot of emotional growth to do, but also in having him contrast with the other adults in the series, who by and large do not act like proper adults and instead have a tendency to act incredibly childishly. The show emphasizes that adult responsibilities are different from children’s responsibilities, and shows the different ways in which children and adults who need to ‘grow up’ can and should be treated. 

(By and large, I think MP100 does very well at executing these themes; the only arc I really take issue with is the World Domination Arc, but that’s less because of the way it was executed and more in the way it was framed, which is the only way I can put it without going on a massive tangent. Though it should be noted that I actually skipped the Mogami Arc because I really don’t need that extra dose of depression right now.)

I’d say those are probably the two/three major themes of MP100, though it also has some other minor themes. If you decide to watch MP100, I encourage you to read the manga as well, because it’s really good and actually finished, whereas the anime thusfar has only partly adapted the story. 

My favourite character is probably Shou! I love Tsubomi, Mezato, and Reigen a lot too, but I do think I’d probably have to give Shou the top spot because I really, really relate to him. Although I do have qualms with the way ONE handled his character (@ writers it’s not a good idea to cast the victim of an abuser as a supporting character for said abuser), he’s also probably the most well-written portrayal of a child with this particular flavor of trauma I’ve come across. Without too much spoilers, Shou’s father is a shitbag. While he recognizes that what happened to him was wrong, he’s still only a child and can’t really fully comprehend the ways in which it was wrong, which results in him, for example, thinking its both his responsibility and destiny to stop his supervillain father. Although he acts mature, it’s clear that he still has a childish understanding of the world, which you can see in the way he doesn’t comprehend that children do not have a responsibility to fix the mistakes of adults, his black and white worldview, the way he projects his own problems/emotions on other people with very little evidence to do so, and his desire to, despite everything, fix his family. 

Usually, when it comes to children who’ve taken on too much responsibility/traumatized children, writers tend to either make them extremely helpless/childish in an almost denigrating way, or write them as what are essentially mini-adults; even when this doesn’t happen, there’s still often something of a lack of understanding that children can know that what’s happening to them is wrong, but still not fully comprehend it because, well, they’re children, and other unique stuff that comes with writing a traumatized child. ONE, however, is very good at writing children, and manages to strike a perfect balance of unhealthy maturity and childishness with Shou, and I really, really appreciate it. (Even if I still wish he wasn’t a supporting character for his father god DAMNIT ONE -)

[cannot-decide-on-a-fandom]

Do you think Hori dropped certain secondary characters because he was afraid they would overshadow Izuku (and his relationship with Bakugo)? I'm mainly thinking of Iida/Ochako and Kirishima, but it could apply to several characters. Also completely agree on Todoroki, I think the whole arc about his family is hurting more than helping his character.

That is a very interesting question. I do want to preface, I doubt anything like that is intentional. I can’t say for sure of course, but when I write something, even if I’m in a section with characters I dislike, I will happily write it if it works for the story. I highly doubt Horikoshi would deliberately sacrifice quality purely due to Izuku being the central aspect.

However, I definitely think that’s at least a side effect of what he did, whether that was the idea or not. The way that fandoms often work in my experience is once people have a favourite character, that often doesn’t change no matter how sidelined they get. People tend to get attached easily, which includes myself. The result of that is that if the focus returns back to Izuku, after people have already become more interested in side characters, the effect often isn’t “yeah, I think I like the main character more again” but rather “why can’t the others we love get recognition.”

It’s a double edged sword, because yes, the story will always culminate with Midoriya and Bakugo. Focusing on them is good in not leading people on with characters who will ultimately not be as important, but most people are drawn to all their personalities while being very aware that Deku is indeed the main character, with Bakugo being the deuteragonist. So it’s more disappointing when even during the times side characters could get spotlight on them they still don’t. People are generally smart in how stories are structured. No one would have the understanding that if it was more of an ensemble cast it’d mean Deku is no longer who the story will end with, and acting like he needs to be the only one in the focus simply results in everyone else being flat, while Deku becomes irritating to some people with how he’s the only one who’s still getting development. It’s the opposite with side characters and Deku. Side characters don’t get any proper fleshing out or only get anything once before being ignored again, while Deku keeps getting fleshed out in ways that are overworked.

And it definitely has resulted in me at least having to re-evaluate the main cast. At first I considered Deku, Bakugo, Todoroki, Iida, and Ochako to all be main characters. Now, the only ones I can consider that are the first 3. And I don’t think it’s a coincidence that all 3 have 3 of the strongest quirks in the class. They’ve all become each other’s rivals partially due to all of their abilities being so powerful. Side characters only tend to get growth a lot of the time, at least recently, either because a) it’s necessary for the plot or Deku’s growth, or b) because otherwise we’d forget they exist.

But in my opinion, a protagonist in a story like this is only as good as the story could be without them. I’ve been reading a lot of jump stories recently, and pretty much all of them which share any similarities with MHA, as much as I love the protagonists, I can imagine a different but still interesting story, not just set in that world (like vigilantes) but revolving around the rest of the characters we all already know. I can imagine Act Age following Chiyoko, I can see Jujutsu Kaisen simply following the Jujutsu Sorcerers even without Itadori, I can imagine black clover being interesting following the rest of the cast even if Asta wasn’t there, Haikyuu could pretty much be written from the perspective of any other team and I’d still love it. I know most people will not know most of those series, but the point is, I love the protag of all of those franchises, but the rest of the cast is fleshed out so much too.

With Deku, whatever Horikoshi is attempting in making Deku not just the main character but also the only one worth developing past a single arc is counterproductive because of that. I can’t picture a story without him still about the other characters we know, at least not one based on the actual evidence in the plot or one that could last as a show and not simply an arc, and the reason is because this is purely Deku’s series as of late. Yes, I can come up with plots about the other characters, but those would be 100% based on personal opinions, and not evidence in the actual franchise. 90% of the plot wouldn’t make any sense without Deku as the lead.

Characters definitely have been sidelined for his growth, and unfortunately it achieves the exact opposite of what it’s meaning to.

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Wow, I can’t shut up. I am so sorry if this answer is WAY too long, I know you probably didn’t expect this. But I found your question interesting. I hope it’s okay though. And thank you very much for the ask. Always feel free to send more.

[beatriceeagle]

Where do you think teen wolf jumped the shark? Also, non-specific, but do you have a favourite (and least favourite) TV finale? Thanks!

I heard a TV writer once discuss shark-jumping in terms of suspension of disbelief. “You get one buy,” is how he put it. On Psych, we’ll buy into the idea that Shawn does wacky hijinks in pursuit of convincing the police that he’s a psychic, because that is the show’s central premise. But if you try to add one more unbelievable thing on top of that (say, werewolves) the high-wire act fails. You’ve asked the audience to believe too many things, and now their faith in the show has collapsed.

But as even that writer acknowledged, it doesn’t usually work that cleanly. Shows rarely jump the shark all at once. Even seemingly obvious cases like, I don’t know, Bones, usually show some cracks in their foundations before they do whatever massive thing it is that completely fucks over their show. And often, it’s not a case of so much doing something that breaks the suspension of disbelief as it is breaking your contract with the audience. We agreed, implicitly, that we were going to be this kind of show—but now we’re this kind of show, instead.

The weird thing about that is that, in theory, that doesn’t have to be a bad thing. The Good Place broke its contract with its audience at the end of season one in a pretty major way: A lot of the twist of the first season of that show only works if you assume that it’s the kind of show that doesn’t have twists. (And despite it being one of the best first seasons of a comedy in years and years, I know people who felt betrayed by that twist!) Agents of SHIELD, as I wrote about earlier today, broke its contract with its audience massively at the end of its first season—it spent 18 episodes establishing a world, and character dynamics, and operating procedures, and then not gradually, but all at once, said, “Okay, none of that is what we’re doing anymore”—and became a much better show for it. Sometimes, you just have to say, “Screw the old world order,” and let people come along or not.

So anyway, when I ask, “When did Teen Wolf jump the shark?” I’m asking both, “When did it stop being the show it agreed to be at the outset?” and also, a little bit, “When did it get bad?” And there are two assumptions built into those questions: 1) That Teen Wolf at some point stopped being the show that viewers first signed on for, and 2) That Teen Wolf was ever good.

And, okay, I don’t think that Teen Wolf was a bad show, clearly, because I have watched seasons one through three… a lot. There is something compulsively watchable and fitfully well-observed, about that show. The scenes between Scott and his mom, or Stiles and his dad, or of just Allison, alone, are often shockingly well-observed on a human level. There is some great, almost melodic dialogue, performed by really good actors.

But also, I mean, it’s really silly. The first season is paced atrociously. There are all of these over-the-top cinematic sequences of lacrosse. The mythology is incoherent, even before they start piling stuff onto it. And it doesn’t seem to have a central theme until well into its third season, at which point its central theme is extremely ethically questionable.

But I think the thing is, that’s the show that viewers signed on for! They signed on for this silly, heartfelt, overly cinematic, occasionally weirdly insightful, sometimes very funny werewolf show, that couldn’t pace a 12-episode story arc to save its life. And there was no one moment where that show transitioned into being a different thing. It would be really easy to point to Allison’s death, but honestly, I think her death was fairly in keeping with the kind of show Teen Wolf had been up to that point; one thing that the show had always handled pretty well was teenage heartbreak, and although the ramifications of Allison’s death were handled weirdly, when they did pop up, they tended to be some of the better bits of late-season Teen Wolf.

I will say that season 3B was a huge tonal shift from previous seasons. It’s significantly darker than anything that came before it—not just at the end, but all the way through. It’s not really goofy the way that previous seasons were. On the other hand, 3B is a really good season of Teen Wolf. In many ways it’s the show firing at all cylinders. They’ve got their formula down. (Teen Wolf at its best is a villain + a secondary villain who’s hunting the main villain and making trouble for the good guys in the process + a handful of emotional throughlines.) They’ve got a genuine atmosphere going. They’ve got a tremendous central performance from Dylan O’Brien. And the plot completely tracks!

The problem is that 3B leads into season 4, which maintains the tonal shift—it is literally, physically darker, as all of the ensuing seasons are—but is also bad. There are moments of season 4 that I like, but it’s also the point in time when Teen Wolf gives up on the “two villains” model in favor of the “five hundred villains” model, and also introduces a bunch of new characters, which it is absolutely not capable of dealing with. Also, at around this point, Teen Wolf stopped plotting logically and started plotting thematically. What I mean is that, for instance, in season four, suddenly Lydia, Stiles, and Scott all have massive, encroaching financial issues. Of these, Stiles’ are the only ones that are connected to any previous plot point on the show itself. Lydia’s are, if I’m remembering correctly, introduced mid-season for like two episodes. But more to the point: These financial issues don’t go anywhere. There’s like a running bit with a duffel bag of money from the Hale vault, or whatever, but it’s ultimately meaningless, because the financial issues are not there to either move the plot forward or elucidate character. They’re supposed to be a thematic counterpoint to the hired assassins who have shown up in Beacon Hills.

That kind of theme-based plotting is a) not Teen Wolf, and b) completely outside of Teen Wolf’s skill set, and as soon as the show started working that way, it immediately became an incomprehensible mess. I reviewed every episode of season 5A, and I still could not tell you what the fuck was happening in that season.

But that can all be walked back. I’ve watched shows that got bad—sometimes in ways that made them feel completely unfamiliar to themselves—and then got good again. (For example, Community‘s season four finale is a shark-jumping moment if I’ve ever seen one, and season five, though it had Harmon back at the helm, still didn’t feel like Community in some vital way—but season six is my second-favorite season of the show, and keeps trying to sneak its way into being my favorite.) The moment that I think of as being the point of no return, for Teen Wolf, is when they wrote Kira off. When Allison died, at least it felt meaningful, and like it was part of the natural progression of the show saying something. When Derek and Isaac left, it was due to the actors understandably moving on, and came about in ways that felt like natural exit points for the characters. But Kira’s exit was just Teen Wolf flailing, getting rid of characters who felt like likeable, old-style Teen Wolf (and who the show had put three seasons of development into) while filling up the cast with a bunch of mostly bland next-generation people. After a season with no Danny and no Coach, writing Kira out was really Teen Wolf just intentionally burning its bridges.

And actually, if you go back, it all starts even earlier than 3B. I think the cracks in Teen Wolf’s foundation start in 3A (a season I’m generally fond of!) with the introduction of the capital-M Mythology: the True Alpha stuff, which ended up really fucking with its ethics and the way that Scott functioned on the show long-term; and also Lydia’s banshee stuff and the Nemeton stuff, which ended up just being incredibly confusing. Season 3B is remarkable, in hindsight, for how comparably well it deals with those elements, when they all ended up being a huge drag on the show, in the long run.

So my short answer is that Teen Wolf jumped the shark in season 4, but my longer answer is that it was a process, starting in season 3A, and not really ending until season 5.

My favorite TV finale is, I think, the Lost finale, although the Community finale is certainly high up there. (Controversial, I know, but I will stand by this opinion til the end of time.) My least favorite, though I know it’s practically a cliche, is the How I Met Your Mother finale. When my sister was helping me brainstorm to figure out my answer to this question, she noted that a unifying factor among many terrible series finales is that they undo major aspects of the show that preceded them, and she is completely correct. This is the same reason that, even though it’s unusual for people to stay with their high school sweethearts, Harry/Ginny and Ron/Hermione had to be together in the Harry Potter epilogue; if you want to make that point, you had a whole series to make it. Trying to be clever and pull a fast one with the ending is just irritating.

Send me meta prompts to distract me from my migraine!