#also the number of people who only know one of the franchises or the other... wow i'm so flattered you'd try reading a whole crossover for

[benevolenterrancy]

AND IT'S COMPLETED! Last chapter finally posted!

The Torchwood team manages to get themselves dumped into the middle of the Korean War and have to struggle their way through injuries, medical staff, time anomalies, demon hunters, and more general confusion than even they're used to dealing with on the regular in order to find a way home.

Meanwhile the MASH crew get a bunch of British spooks who just may win for being the weirdest patients they've ever had, and that's saying a lot.

[inhuman-obey-me]

So. The OM news.

Solmare announced on Wednesday that December will be the "final new content" for the two mobile games. Going along with that, Lesson 60 will also be the end of story content in Nightbringer.

Definitely quite some news to take in, and one that's gotten everyone into quite a tizzy, understandably.

First, a clarification: The games are NOT going into End-of-Service (not yet, anyway). Both the OG game and Nightbringer will continue on as-is, just without any new content in general starting in January. This means that we are still going to have access to all the content we've had up to this point, like the main story, Lonely Devil, Devilgrams, Time Chronicle, etc. The announcement also stated that "past events will continue to be periodically re-released," and while it's not completely clear what those re-releases are going to look like, it sounds like the apps themselves will still be around for a while.

Secondly, this is also not the end of the Obey Me franchise. The announcement specifically says, "We promise you that this will not be the end of the seven brothers, the Devildom, or of Obey Me!" It also mentions a "new era" with "new forms of content," and Solmare themselves tried to clarify this the day after too, with assurance that new projects ARE in the works. So this is not the end of our beloved boys (and Thirteen)!!

Now, we don't actually know what this "new era" is going to look like, or what specific kinds of new projects this is referring to. We have been specifically promised new in-person events and merchandise, but of course, that's not particularly promising news for tons of us in the fandom who are not in areas that usually get those events or those who cannot afford to buy the merch, which have sometimes been hard to access for those outside of Japan.

Based on a couple of the VAs' tweets, we do know that OM is specifically moving beyond "アプリゲーム" (app game) format, which means we should not expect a third mobile game anytime soon. (And honestly, thank fuck, because we think we speak for a lot of us in saying the community's trust would just be so broken at that point!) And given their involvement, there are some ideas we can probably safely strike out. But until we get more official information, anything else on this is pretty much just speculation at this point.

But hey, on this blog, we love to speculate and theorize and make wild guesses as to what's going to happen next in OM, don't we? So let's speculate!

Firstly, any kind of print format like light novels and further manga volumes wouldn't involve the VAs, so those are probably out. But we do have the manga volumes they already released, so one possibility could be making a proper anime off of the manga version of the main story! When the gag anime originally released, many people expressed interest in seeing the main story converted into an anime, so that could be an interesting avenue for them to pursue.

Another option would be for them to go down a more audio-focused route. Though we haven't gotten much Otaku FM content in quite a long time, they've only released a couple of characters for their ASMR project so far, and hopefully they will still continue it for the rest of the characters. It's possible that they could bring back Otaku FM or Boys in the House content, especially to promote other new content in this new era. And multiple of the OM voice actors are involved with the Ex and Bee, which seems to have somewhat low numbers so far but has been said to be good (though we haven't looked into it ourselves), so it could be possible for them to try out a similar audio drama format with OM, as a more established IP.

Also, while the VAs seem to be saying that app games (mobile) are done for now, that doesn't necessarily mean we couldn't get a PC or console game. This could open up a possibility of a more traditional route-based style of otome game, which could give the writers a better position at balancing romance with the larger world adventure elements, and then just extending it with things like DLCs, fan discs, etc. Hard to say if Solmare has the budget to pull off something like that, but it would probably be more up their alley as a game studio and still give their programmers things to do assuming they haven't all been laid off with the current state of the games industry.

And then, of course, we have more things like Overture, the "concert" they put on with new 3D models of the brothers. Even if they can't afford a full-fledged console game, they could definitely still use those models in other ways, but also in more Overture-like concerts. Though personally, we would prefer if they didn't -- no one got into OM to have an idol group game. There are a million idol games and franchises already, and while it's fine as extra content on the side we guess, they're not really strong contenders against all of the actual idol games already out there. But there's money in that genre, so who knows if whatever execs may continue pushing it that direction...

And finally, another possibility, though perhaps also not a very likely one, is a theater show. It's pretty common for animes and such to also have stage productions in Japan. Luke's and Diavolo's VAs in particular have also done theater, including musical theater, so it's not a foreign concept to some of the team. But given the limited geographical scope of something like that, this wouldn't really be good for anyone outside of, like, probably only Tokyo? Still, stranger things have happened, so it's not outside the realm of possibility.

Speculation and all aside...we've been here since basically the beginning, when OG Obey Me was released back in December 2019. The end of content in the games is bittersweet, and we'll certainly be sad after NB Lesson 60 is released. Despite all of its flaws, OM is what got us both back into writing and drawing after a very long time. We started this blog! Neither of us had ever done a fandom blog before! It's been something near and dear (if even frustratingly so) to us for the past five years, so we'll be watching for what's coming next! And in the meantime, we're still here with you all too, for however slowly we put our stuff out.

[bogleech]

For me the most disappointing thing about Palworld is the designs being so boring and bland that you'll never have cause to review them. We deserve better from a creature collecting game, especially one making this much money!

Yeah here's the most opinion I can possibly muster on any of them:

DUMUD: it's a big fat shark-like mudskipper and that's a good concept, it just doesn't really have the charm of any Pokemon it shares anything in common with.

WUMPO: resembles the fur-wearing "werewolf" pokemon that got cut from the first or second generation, crossed with Tangrowth. One of the more okay designs because those are two good pokemon.

SIBELYX: this is supposed to be their Gardevoir I guess and I think it's an owl? Or is it a moth? Well it ends up one of the slightly cooler looking ones a little less obviously derivative of specific pokemon. Maybe they were also going for a Dimitrescue knockoff with the hat

CAWGNITO: an alright one because plague doctors just generally look cool. However the simple formula of plague doctor + actual bird would have been far too obvious and underwhelming as a Pokemon. There's no novelty or twist to this.

HANGYU: this is the one that's a ghostly noose canonically used to execute people. It's a funny little send-up of the darker pokemon pokedex entries, though the design is uninspired compared to object-based creatures in Pokemon, Digimon or any other monster franchise I can think of.

LOVANDER: this is one that fucks people, and they possibly borrowed the topography of Salazzle's official model. I want to think they did intend it to be freaky and unwholesome looking with the rubbery goblin hands, but I suspect they intended something actually sexy by furry monsterfucker standards and just weren't good at it. Yes I know that likely does not stop people from being into it anyway.

TEAFANT: I was going to say this is the only pal that looks better than its closest equivalent Pokemon, because they would be Cufant, and I gave Cufant a pretty negative review back in the day.

......But actually, now I kind of like Cufant. A lot, come to think of it! Teafant is cute and competent in the most paint-by-numbers possible way. It's what almost anyone would draw in ten seconds if asked to make a cute marketable teacup elephant pokemon. Cufant is an awkward, messy design but it is comparatively cute in a goofy, dorky way that's rare among the Pals, and more importantly, it is unique. I don't think they used AI to generate any Palworld models (the tech isn't there yet) but I can see why people assume they used AI just to get the initial ideas, because it's very easy to find people who have more a more creative eye for character design. I'd say even if not ESPECIALLY people with zero experience in art would have made the Pals look more interesting.

[team7-headquarter]

ABOUT THE POLITICAL IMPLICATIONS OF THE LAND OF THE WAVES ARC, THE ACTIONS OF TEAM 7 AND WHY ITS ONE OF THE BEST ARCS OF THE ENTIRE FRANCHISE:

I'll never shut up about the Land of the Waves arc.

Here are the facts:

A corrupted man —who was believed to be the richest man in the world due his shipping and transportation business— decided he wanted to make his a small land made out of islands, better known as the Land of the Waves.

In Tazuna's words: "Nami No Kuni (the Land of the Waves) isn't a real prosperous land. Even our local lords are poor..."

The name of the corrupted man is Gato. He was affiliated with drug trafficking and contraband, as well as being a criminal who employed gangs and teams of shinobis to help him (through violence) to take over companies and countries alike. That's what he did to the Land of the Waves, taking hold of all the marine transportation and their shipping industry. Since the Land is made of a number of islands, Gato successfully isolated them. He was now the owner of the local economy and had the power to decide how people lived there.

Tazuna is an old man with no money at all who had been tasked to be the architect and overseer of the new bridge. If completed, it would mean that Gato no longer had absolute control over the Land of the Waves. It'd free them all, bring more movement to their economy and stop the crazy violence promoted by Gato's gangs.

To make sure we all understand the severity of the mission and the power of Gato, let's remember that he employed Zabuza Momochi.

Zabuza is one of the Seven Ninja Swordmen of the Hidden Mist. Kirigakure was known for one of the cruelest traditions regarding shinobis: they'd have to fight each other to death and only the survivors would be promoted. Zabuza put an end to it himself, killing an entire year of graduates. He was not even a student yet.

Zabuza also plotted a coup against the Mizukage, but he was betrayed. He became a rogue nin after that, taking money from men like Gato in order to keep living.

That's the first Team 7 mission.

Sakura, Naruto and Sasuke are staked to help Kakashi free a land of a corrupted businessman and in the process have to fight one of the most legendary shinobis they can encounter out there. We're talking about an entire small nation!!! We're talking about the insane irony of Zabuza being a rogue because he fought against the corruption of his own Hidden Village, and he lost and now he has to work for a man doing the same to others.

The first Team 7 lesson was not only to work as one, to value their teammates, but to question the world around them. Kakashi told them to not follow orders blindly and the narrative throws the Team on a mission to test it.

Kakashi accepted to continue the mission without telling the Hokage anything. He knew he had the jinchuriki and the last Uchiha with him, that it was a great risk, but he accepted because he wanted to help Tazuna and the Land of the Waves and he knew Tazuna had not enough money to pay for a class B mission. Hell, he was lucky Kakashi got a genin team. One of the best jonins of the Hidden Leaf could give his service under the disguise of a rank C. Kakashi was using a loophole to disobey orders and he complains the whole time in his head because he knows it's gonna be a mess of a mission, but he does it anyway.

Do you want to know why is my favorite arc?

The reality of the Land of the Waves is a perfect scenario to force Team 7 to wake up. Naruto and Sasuke sure know loneliness and misery, but they were also part of a very rich land and a powerful Hidden Village. Sakura didn't go through anything like Sasuke or Naruto, which is worse in the sense that she was more naive than them.

Their world falls apart when they meet Haku and Zabuza, when they realize this is not s fairytale of good heroes and bad villains, but people who had to become violent to survive.

Like Kakashi said, the only reason he and Zabuza are trying to kill each other is because they were paid to do so. Zabuza works for Gato, Kakashi for Konoha, that's it. Kakashi didn't want to kill Haku and Haku didn't want to kill any of them, but the Naruto world is old and messy, the customs and the means to survive are others.

Shinobis are no heroes. They're mercenaries, they act as the military force for the strongest nations. They are tools and weapons. It's not advanced in any sense, so many years after the Warrant Era and the world was just as cruel and wild. People with kekkei genkais were forced to practice that violence to protect themselves, like Haku, Sasuke and Neji. People with bad luck like Naruto and all the jinchurikis were the same. People like Sakura, who loved and cared for those others, devoted their lives to joining the fight, to try and protect the ones dear to them.

That's why the final conversation of Team 7 —the one after the events of the bridge that ended with Zabuza and Haku dead— went the way it did. The members of Team 7 weren't happy with the reality of the shinobi life. Naruto even ended up saying that he would make his own ninja way, basically denying such reality and promising to break the traditional ways that kept all shinobis chained to violence, fated to kill each other.

Just look at it:

Sakura: ... But still... Master Kakashi...

Kakashi: Hmm~~?

Sakura: ... I can't help wondering. Were those two right about what a ninja should be?

Kakashi: A Shinobi shouldn't be concerned with a reason for her own existence... It is important merely that we exist as a tool for our homeland to use in whatever way they need. That's as true for us in Konohagakure as it for any ninja anywhere else.

Naruto: Is that really what becoming a full-fledged ninja's gonna be about? I don't like the sound of it!

Sasuke: Do you really feel that way, master Kakashi?

Kakashi: Well... No. And that's why all we ninja live our lives with that ideal always bubbling beneath the surface of our minds, disturbing us. ... Like it did Zabuza ... And the boy.

Naruto: That's it. I've made up my mind! I am going to create my own nindo— my own ninja path. My own destiny!

This arc plants the seeds of what should be the rest of Naruto and Naruto Shippuden. Team 7 is frustrated and they don't agree with the tradition. None of them, not even Kakashi. Naruto promises to be the change, to make his own destiny.

Sadly, it doesn't happen. The manga changes its tone halfway through. Naruto ends up becoming part of such tradition and he ends up being the fated reincarnation, the chosen one. His destiny is not his exactly and his own ninja path gets lost in the way, replaced by a hollower desire to become Hokage. Naruto doesn't evolve to deeply question the order of his world or his society.

Instead, Sasuke occupies his place and the story turns him into an antagonist (someone who wants the direct opposite of the protagonist, someone who is on the way of the protagonist to reach his goal). The story radicalizes the dream that was so innocently spoken in this chapter. It also ends up chaining Kakashi to the same system, uses him as someone to fill the Hokage role until Naruto is old enough and then gives Naruto the hat, forgetting the themes set on the Land of the Waves arc.

What started as Team 7 fighting corruption and people sick with power while trying to help the victims of the system, understanding that their world is made of greys and not moral absolutes, ends up becoming a kids tale of ninjas = heroes and aliens = villains. All the complexities of politics get softened by Black Zetsu's manipulations and Kaguya's existence.

It wouldn't be a reach to say that the Land of the Waves belongs to a very different type of manga, one that never got its continuation.

[guess-that-ship]

Guess That Ship Tournament Season 13: Badly Describe Your Ship! Submissions CLOSED

The Concept: You "badly" describe your ship* to me, I pick out the submissions which I find most funny and compelling and pit them against each other without revealing who they are, people vote on them, and their identities gets revealed once they’re eliminated.

Submission Guidelines

*For the purpose of this tournament, relationships do not have to be romantic in nature. (I’m sometimes going to use “ship” as a shorthand, just know I mean “relationships” in general.)

Relationship can be between any number of characters.

Real people are accepted if they’ve been dead for more than 100 years.

Roleplay characters are accepted as long as the description only pertains to the characters and not the players.

Crossover ships are only allowed if the crossover is official.

OCs are accepted. (However, OC x Canon is not accepted. Please do not submit other people's OCs without their permission.)

No overtly NSFW submissions. (Mentioning they have sex or are a sex worker is fine, but try to avoid anything more than that.)

Two submissions per person. (Do not submit the same ship twice. I cannot enforce this on Google Forms without forcing you to log in. So just be champs and respect this rule.)

Failure to follow these guidelines may result in all of your submissions being disqualified for this season.

Summary Guidelines

Selection Process: I will read through the list of descriptions submitted without reading their names and pick the most funny and compelling submissions. Then, I will check the name to make sure there's no repeats.

Bring something unique to the table. Make sure to describe their relationship, not just summarize the events of the story.

The description of a badly-described ship is ideally one or two sentences long. Descriptions should not exceed 100 words.

Descriptions should be based on canon, not headcanon. (e.g. You can say “they love each other” instead of “they’re lovers” if their romantic nature is debatable.)

Avoid author commentary. (e.g. "They're canonically x," "I love them," "Play/watch/read this," etc.)

Use canonical pronouns.

Avoid identifying information or setting specific giveaways. (i.e. ninja village, space necromancers.)

When submitting OCs, please make sure to at least put a name somewhere. (e.g. "John and Bob by anonymous" or "OCs by Joey.")

The more popular your ship is the more vague the description should be.

I will be more lenient with submissions this season, given "badly" is subjective, but you should still keep these guidelines in mind when writing your summary.

Exclusions

Ships that were accepted in Season 7 onwards and ships that at least reached the semifinals in Season 1-6 are not allowed. For a complete list, please look here. (No need to look through the whole list, just Ctrl+F to find the ship you want.)

Any submissions from Harry Potter will also not be included.

Notes

I will not vet the ships/pairings for problematic content.

If you participate in this tournament, know that you run the risk of unintentionally voting for your nOTP. The mod does not take any responsibility for any distress that may cause you.

There will be a limit of one ship per media in the bracket. You may submit two ships from the same media, but keep in mind only one ship will be able to get in. (A series or franchise will generally count as one media, but they will be evaluated on a case by case basis.)

Submit your ships here! Submissions will be open until Sunday, October 6th at 9 PM EDT.

Please reblog this post to spread the word! The more submissions, the better!

[rarepairqueenmochi]

Monster High and East Asian Representation

Alright MH fans, we need to have a semi-serious conversation about how East Asian rep has been handled in the franchise. Representation itself has been a big point of conversation in the community, so it's important to talk about all of its aspects. The good, the bad, and the ill-conceived.

For context, I am an East Asian-American who has seen time and time again her culture be misrepresented, boiled down to stereotypes, and even mocked by other Asian cultures. Am I the all-time expert? Absolutely not, which is why I encourage other East Asian/Asian-American fans to give their comments about the franchise's handling of Asian characters.

Now then, we'll start with G1 since it probably has some of the most infamous pieces of representation

There is a lot to unpack with G1 Jinafire's design and personality. Not only the choice of golden skin, the misguided outfit choices, and emphasis on honor and discipline, but also the oriental riff often accompanying her in every backing scene. Highly encourage people to look into the Asian Dragon Lady stereotype, because unfortunately, that is what Jinafire is.

It is acknowledgeable that Jinafire's voice actress, Stephanie Sheh, is also Chinese, but there is still error with her character as a whole. Jinafire was personally one of the first Asian characters in media that I was introduced too, so it's upsetting to reflect on how negative her character design is.

Shibooya is... not great. The exchange program as a whole feels like a minefield of issues (though I don't have much liberty to discuss the other transfers), and this one especially rubbed me the wrong way. They gave the vampires of Shibooya yellow skin, and the doll is supposed to kimono-inspired while hardly even resembling one.

Harajuku style was right there and easily fit the fashions of Monster High. There are also a number of Japanese yokai that could've been featured within the short and would have likely been better representation than the vampires.

Kiyomi is okay, and certainly an improvement compared to the previous G1 characters. She's based off the Noppera-bo, aka the faceless ghost, and it's used decently in her design. However, her personality is boiled down into being shy, quiet, and reserved, which is a stereotype many Asian girls face under the name "Lotus Blossoms". She even has blossoms on her dress sleeves, and her outfit again is a loose interpretation of a kimono.

There are a number of modern Japanese outfit designs that could be used, and kimonos are often associated with modesty and respect. Kimonos are not meant to be revealing in any way, covering the body in full and being intricately wrapped. I personally take issue with the designers noting her chains meaning to resemble the sailor collar, which is used in middle school uniforms, not high school uniforms.

Kiyomi is, of course, hardly mentioned and refined to a movie role, in which she copies and mimics the personality/style of an European character.

Now onto G3!

Honestly, nothing really to critique here! Draculaura's been canonically been confirmed to be at least half-Taiwanese and speaks Mandarin. Now would it be nicer to get more appearances of her culture other than a couple throw-away lines? Yes it would, but there isn't anything really negative about this portrayal. I think it'd be interesting if Draculaura had a Taiwanese name she went by around her mother, or just casual moments of her eating scallion pancakes or aiyu jelly.

aaaaaand here's where we automatically fall back on representation. This may not seem that major to people, but considering this is the first Japanese character we get in G3, it's not great. Points for the writers looking past the most common yokai, but I don't know any person that wants to be represented by an animal.

I really do need people to realize how this is compared to the other characters. I wasn't initially reactive to Kuma's introduction until I realized they were making him a consistent character. Considering we don't have many other anthro/fully monstrous characters, and they chose to make him the Japanese representation doesn't seem right. Especially since they gave him the lead in the cultural appropriation vs. appreciation episode. An excellent episode, but it loses some sentiment coming from a literal bear.

Plus I would implore you all to rewatch Horrorscare and take a close look at the Japanese water dragon Pearl. And I'll remind you she exists in the same world as Jinafire.

now this is what I'm talking about! Not only has the skin issue been resolved, but the creators took a step in the right direction and made Jinafire more akin to Chinese dragons, who are often connected to storms and rain. Her outfit is also much more akin to street fashion in China. I still wish there was more to see with Jinafire's character, but she absolutely an improvement to her G1 iteration!

Well that's a lot to unpack there! Again, I am in no way the expert on East Asian representation and I'm going to miss some things. I encourage other fans to think about these characters and how you feel about them, and maybe even point out things I missed, good or bad! I did this simply out of my own feelings and wanted to see if anyone else felt the same.

[bharv]

On defined vs customisable protagonists

Taking a break from DATV for some musings on this. This isn't really an essay, just a ramble, and I'm trying to steer clear of spoilers and heavy critical stuff.

I'll discuss the Dragon Age franchise, the Mass Effect franchise, and Baldur's Gate 3, Pillars of Eternity and Cyberpunk 2077.

Basically, I want to talk a little about ways in which a game's set up can help and hinder us in understanding our protagonist, the pros and cons of voiced protags, and what works in my eyes and what doesn't. I hope this also helps people to think about how they draw characters as well!

Firstly I want to say that people will have different reasons to prefer a more defined protagonist or a more open one. Ultimately it comes down to expectations from roleplay in my eyes. There's not a right or wrong answer in which is "better" but I think there are things that help us to engage with both types.

Establishing what we know (and being consistent with it)

Essential to both types in my eyes is establishing what is known. I'm going to use Commander Shepard as my first example here. We are told instantly that Shepard is an experienced officer, has an expertise in one area, and is being considered for a significant promotion. This allows us to infer that they get the job done, and that they have to have a degree of competency (whether or not they are by the book or more loose with the rules) and that they take their job seriously. The game then gives us some good flavour choices around family values, historical trauma, what they look like and what kind of expert they are, but make no mistake; this is a veteran soldier and you are on that road with them. It's a masterpiece in creating just enough freedom for ownership of a character while telling a very distinct story; if you are paying attention at the start, you know exactly what kind of person Shep has to have been to be considered for this role, which makes for a really clear path through.

Hawke in DA2, which was almost certainly designed to mirror the success of Shepard, follows a similar path. We know that Hawke is a refugee, and has a family, and fought in a recent battle. I would argue where Hawke is weaker to people who enjoy customisation is in setting them against their family; your Shepard could be a wunderkind or be eighty years old, have any number of emotional resonances in their personal life. Hawke is much more definite in age range, relationships and social status, which gives less freedom in making them truly your own. However, DA2 is highly consistent with Hawke. Perhaps you can only really customise the face and the attitude, but that attitude ripples through all of your interactions and creates a very distinct character that is easy to become attached to.

Dragon Age Origins does a very different thing by threading through the origins into inferences throughout the story. The knowns are that you will be the Warden and you will have to save the world. How you get there offers enormous choice. You can be a self-serving politician trying to weasel your way back into power, or you can be a devout Andrastrian on a path to martyrdom. A lot of this choice comes from the choice that is allowed with a non-voiced protagonist in sheer range of responses, a pathway that games like BG3 and Pillars of Eternity have continued.

It is essential you are clear with your player early in what is known about the character, both to help them establish them in a world and avoid disappointing their expectations. If your character is a rookie, say it! If they are an expert, make it clear. You can do this through action too - it doesn't have to all be written out.

To voice or not to voice

To me, personally, Shepard is one of the only truly successful voiced customisable protagonists. I have others I like very much (V in Cyberpunk 2077 and Hawke in DA2) but they are much more a slightly editable character on a defined narrative journey. The moment you put a voice on a character you are deciding tone, meaning and intention, and if your written choice doesn't accurately reflect your tone, it breaks immersion. Shepard walks a careful line that is aided by them being "on the job" for much of the time. Formality helps! It creates boundaries that we instinctively understand from our world.

If you have a voiced protagonist, then you have to either record a ton of lines allowing for anger, diplomacy, fun, inquisition and dismissal, and if you don't do that? You probably should have just set up a more defined character and told their story, and been clear in that expectation from your establishing moments.

Oh, Lore

One thing I really liked in BG3 is the way you could toggle on and off lore friendly options during character creation. It gave you the chance to say actually no, I don't care, or make sure you were creating within that world if you did. But regardless, if you have established lore, you have to carry it through. If you have a ton of backgrounds for characters, you have to make sure that's meaningful. A Grey Warden should be able to sense Darkspawn in their first encounter; it's a huge part of their deal. A Qunari character, if you have not specified that they are Tal-Vashoth and strictly from one background, should be able to reflect positively on their religion and cultural upbringing or see things through a non-Andrastrian lens. This is where it can be easier, even if it is disappointing, to set stronger boundaries in the creation of characters. For the most part, people are okay with limitations if it gives them something to work with. In Inquisition there were complaints about how much or little the backgrounds really added to the experience of being the Herald of Andraste, but they did choose backgrounds where there might be a rough knowledge of what was occuring at the conclave. It's okay to leave some things for people to fill in the gaps, but consistency is key.

Learning as the character learns

One clever way to establish connection but allow for discovery is for the characters to learn as we do. The Dark Urge in BG3 is an obvious example of this, but I'd also add in The Watcher in Pillars of Eternity too, and even V from CP77. Whatever they thought they are, they are something more, and it allows us to keep all of what we thought we knew about our characters and find out more along the way. It allows the game to take us down a path of the present, not the past (even though all of them ARE discovering events of the past!) by making it about what a person sees themself as, what they want to be, and what they have been. It sidesteps invalidation of ideas by creating narratives that are inherently biased as they are memory, allowing us to take or question the information we are given as we are given it. It trusts an audience and the player to invest their own opinions in the burgeoning narrative.

To do this, you need to make sure that the player has a good grasp, again, of what they do know. Good grounding is essential here. Think of the prologue of Pillars of Eternity, where we can establish a character's whole value system, or the pre-heist time with V which allows us to establish an enormous amount of relationship building and relationship to the world around them. Take that time, or it will fall apart.

[ranchstoryblog]

Ranch Story Community Q&A Volume 3: Igusa Matsuyama Returns!

Igusa Matsuyama, the legendary artist behind the Story of Seasons series since the original 1996 game has once again agreed to a Q&A featuring questions from fans from around the world! A big thank you to all the members of the community who helped make this possible.

Some aspects of the text have been altered to match localization people are familiar with. (Japanese names to English names, for example: Bokujou Monogatari (牧場物��) was formerly localized as Harvest Moon and is now localized as Story of Seasons, etc). Images were not part of the original text and have been added as a visual aid. Though we translated as many questions as we could, we did not include questions involving personal information or regarding unannounced releases. Please understand.

If you would like to read our original correspondence (in Japanese), that will be provided in a separate post.

Additional cosplay photo provided by Foxface from our community Discord.

Translations: @artycharmy (correspondence, outline) Editing and Clean-up: Jerome, @artycharmy, and @regularcelery

——— Anonymous asks: What is the relationship between Jamie and the Harvest Goddess?

Igusa Matsuyama: Jamie was treated as a fairy or spirit. I'm sorry, but I'm not sure if there's any points that link them and the Goddess.

Editor's note: the term Matsuyama uses is "妖精."

Tomato asks: I would like to ask about what their inspiration was for the outfits designs in the original release of harvest moon another wonderful life. Since I got reminded of the girl clothing brand Mezzo Piano when looking at the I love Kuma/I love bears outfit.

Igusa Matsuyama: I remember the only thing I thought of was using Spring-like colours! (All designs were made with seasonal colours In mind) When I knew that Daachan, who was planned to be used in a lot of events, wouldn't actually play a big role in the game, I put him on the T-Shirt so he could at least get some attention as a mascot-like existence.

Pansy asks: If you were able to create your own game for the Story of Seasons franchise, with no rules or limitations whatsoever, what do you think it might look like?

Igusa Mastuyama: Since I love dogs, I'd like to try making a Story of Seasons that's set in a world just full of dogs. Though that dream of mine probably won't come true.

Anonymous asks: The look of Story of Seasons has changed a lot over the years! What would you say is more challenging to create - simple designs, where you have to work with very little space, or complicated designs, where you have to consider many little details?

Igusa Matsuyama: A long time ago there were a lot of things you weren't able to replicate in video games. There were constraints for things like the number of colours and patterns for hair styles and clothes. It was difficult to work around those constraints, but at the same time a lot of fun. Nowadays, it's the complete opposite. Now we can design anything with hardly any constraints. And unlike a long time ago, now I'm asked to make more complicated designs, like patterns and decorations. However, if it's a big request, sometimes I run into quite a lot of trouble when designing. They each have had their own difficulties.

Anonymous asks: Hello, Matsuyama! Thank you for bringing the worlds of Bokujou Monogatari to life for many years. Your art has had a huge influence on me!

One of my favorite candidates is “Rock” from “A Wonderful Life.” I’d love to know any particular influences for his character design from 21 years ago, and his new design for the remake.

Igusa Matsuyama: I was told that he was a young, wannabe playboy, so I somehow ended up with that sort of design. For the remake, I made his clothes a little looser without changing his design, so he'd look even more playful. I, too, wanted to avoid changing him as much as I could as there are other people among the staff that also like the original for his “Rockness”. So, he got that makeover after everybody shared and checked their opinions with each other.

Jerome asks: On page 130 of the "Special Comic" manga there's artwork of Super Famicom characters that have never been printed anywhere else. Do you or Marvelous still have these? It would be great to see them in more detail in the future some time.

Igusa Matsuyama: They're all characters that appeared in the SNES version of "Harvest Moon." Nina's parents, Ellen's mother, Ann's father, Maria's parents (The mayor couple). I'm sorry. My SNES illustrations have gone missing...

Raven Bloom, Ryan, and Moth ask: How did you feel when your designs for the men in A Wonderful Life were repurposed to be bachelors? What do you think of the changes made to the bachelors in the remake of A Wonderful Life? I miss the “Bruce Campbell” look Matthew used to have.

Igusa Matsuyama: Matthew (マシュー) is Masshu (マッシュ) in the Japanese A Wonderful Life (Editors note: Charmy made a careless mistake when translating the questions, sorry Matsuyama san 🫣) When I first heard this name, the first thing that came to mind was Evil Dead's protagonist, Ash. You're right. I designed him after Bruce Campbell. I still love Bruce Campbell today. When Wonderful Life was under production, I had heard they weren't going to make a girl version, so I designed him not as a love interest, but as a quirky character. Knowing that he'd appear in the remake as a marriage candidate, I redesigned him as a character that would be liked by many. I hope you can enjoy the game for its nostalgia, as well as for being a shiny, brand new release.

Salmon Axe and Anonymous ask: I personally adore Doraemon x SOS game. Are you interested in working directly with or collaborating with other franchises in the future? And is there a series outside Story of Seasons you would like to work with now as a guest artist? (Could it be Pokemon?)

Igusa Matsuyama: I've loved Doraemon manga since I was a kid! Working as a guest artist? Hmm, I'm happier being the main illustrator, so nothing in particular comes to mind. I enjoy a lot of games in my free time, such as Fallout, Far Cry and Border Lands.

Anonymous asks: Even though we never see his face, was there ever a concept of how Woofio would look without his costume?

Igusa Matsuyama: I designed Woofio as the being that is Woofio, so there's no design of him without his costume.

Idris asks: Your style has upgraded a lot over the time to match the trends. Do you think you will ever go for an old school look (early HM) for a SoS game again? What do you think is the secret to your art’s charm?

Igusa Matsuyama: What I'm particular about when designing for Story of Seasons is making characters with head/body proportions and an atmosphere that go well with that release. First, I listen to the client's request then think of a design according to that. These days, game visuals have gotten fancier and fancier, so there's not many opportunities for characters with short proportions to make an appearance. To me, what's important when designing is "playfulness." More so than "pretty" or "cool" and such, I get attached to the character, have fun making the character. I find joy in character creation itself.

MacGyver asks: Yasuhiro Wada has shared some interesting stories about how chaotic the original game's development was. Is there anything interesting you remember from around that time? 

Igusa Matsuyama: Now it's a memory I can look back on and laugh about, but I'm not sure how much I can talk about it so please forgive me. If Wada hadn't been there back then, then "Harvest Moon" wouldn't have become a thing.

Toyberb and Anonymous ask: There’s a lot of different cow designs now, which is your favorite to draw?

Igusa Matsuyama: I've loved drawing animals since I was a kid, so I love all of the cows. Although the easiest one to draw is the cow with the big nose.

Anonymous asks: Were there any games where you made designs for protagonists of genders that did not end up available to play as? (Like a girl protagonist for Save the Homeland/Hero of Leaf Valley or a nonbinary protagonist for any game before A Wonderful Life)

Igusa Matsuyama: There's so many designs that got scrapped, but as far as I recall, there's not really many where that character's setting itself was scrapped. (Excluding Thumbelina, mentioned below)

Koharu asks: Were there ever any character designs made for other older SNES characters like Ellen for 64? Some magazines had Marie with blue hair, like the SNES character, so it made me wonder if she (SNES Maria) was meant to also be there at some point.

Igusa Matsuyama: I'm not in the position to make settings or scenarios where characters from other games appear, so I can't say, but I like the idea of older characters making an appearance!

Amina/k0iisu asks: Hello! I really love Hiro’s design specifically. Could you tell me a few facts about him/his design that might not be well known information? Thank you so much! I love your art :D

Igusa Matsuyama: Thank you very much! Hiro is a future doctor, so I tried to make them look as much like a doctor as I could. Also, to make him look friendlier, I designed him as your average everyday boy you'd see in the neighbourhood. He doesn't have a flashy face or hairstyle, but he's one of my favourite designs, too. I wrote this in the guidebook too, but what I like about him is the Asian flair I added to his clothes and the spot of colour around his feet.

Bunbun asks: I'm excited for the Nendoroid that was announced of Claire! I hope there will be ones of HM64 designs too. Since you have a lot of figures on your blog, how does it feel to be able to add one of your own characters to your collection? Are there any of your other characters you hope will get figures of?

Igusa Matsuyama: A nendoroid of Claire! I'm looking forward to it too, but when is it going to be released? If it's possible, I'd like one of Woofio.

Editor's note: Preorders are open for Nendoroid Claire now!

Chickee asks: A purple-haired princess character was rumored to have existed in Harvest Moon 64, but she didn't make it to the published game. Did you create a design for this character?

Igusa Matsuyama: That's probably Princess Thumbelina. Wasn't she Incredibly small? What I designed didn't end up being used. Speaking of HM64 characters, I pushed for them to include a pet turtle, but in the end it only appeared as an ornament. For A Wonderful Life, I asked for a turtle to be included again and designed a tortoise with a scarf, but it didn't make it as a pet and appeared only as a wild turtle that walks around the pond. I'm waiting for the day they finally include a pet turtle in the game.

emery flower147 asks: omg  I saw the pics where the AWL girls are in a team and Muffy has a shotgun and stuff? Do you think any other characters would work in a cool team like that?

Igusa Matsuyama: For the Friends of Mineral Town guide book, I had the five girls, Popuri, Marie, Ran, Elly and Karen work hard as Harvest Sprites. Also, for the guide books, I drew Pete (The old male protagonist), Sarah (The GB version female protagonist), and Claire doing whatever I wanted them to. I don't know if you can call it cool or not, but it was fun being in charge of that.

Ixur asks: A lot of the PoOT character designs for the regular villagers seem more popular than the marriage candidates in my region. Is that something that's been noticed by you/Marvelous in Japan? Lars, Clemens, Beth, and Misaki for example.

Igusa Matsuyama: Marvelous doesn't really talk about that sort of thing so I'm not sure if they're aware of it or not. I don't do social media so I'm also not sure which characters are popular. I'm happy as long as the characters are liked. The design on Lars’s shirt is modeled after my beloved dog, so I’d be especially happy if you like his shirt too.

Anonymous asks: What do you think about people cosplaying your designs?

Igusa Matsuyama: It makes me very happy! I'm no good at sewing, so I really admire people who can make their own clothes. It's an honour having the designs I made be made into real clothes, and I think it's great to have fun acting out the characters.

Afro Fae asks: When creating designs for characters, how do you settle on a specific color palette? Do you take color meanings into account with a character's personality or do you go purely off of feeling?

Igusa Matsuyama: I keep in mind the overall colours the client asked for while designing. Sometimes I propose a new colour when I think there's one that fits better. I'm also careful when choosing colours and everyone's traits to make sure it's easy to tell which character is which when seen from a distance. However, in the cases of families and such, I do the opposite and give them all a common colour to give them a sense of kinship.

———

From all of us at Ranch Story, we'd like to thank Matsuyama from the bottom of our hearts for answering our questions again! Whether a fan has only just discovered the series or has grown up alongside it, so many people have loved these characters and worlds that Igusa Matsuyama brings to life, so it feels truly special to be able to have this opportunity. We'll end this article with Matsuyama's own words, as well as a parting gift.

Igusa Matsuyama: I'm so glad I could answer your questions again. I'm the one that should be saying thank you. It means the world to me knowing that everyone enjoys my illustrations! I added an illustration as thanks. I'll keep up the hard work!

[sugarybisous]

sharpay evans stood out as a character not only because of her pink and stylish wardrobe but because of her confidence and the way she wasn’t afraid of going after what she wanted and knew she deserved. she worked hard for her passions and for her goals, she was also a QUEEN of manifestation.

(don’t believe me? listen to the words she uses in this iconic musical number!)

do not settle, plan your dreams and go after them!

throughout the whole movie nobody can deny sharpay wasn’t ambitious. she knew EXACTLY what she wanted and never hesitated to go after it. keep this mindset. if you want something in life it’s already yours you just have to go out and grab it. make your mind limitless, dreams are supposed to be grand and huge, just because other people don’t understand them doesn’t mean it wasn’t meant for you it was put into your head for a reason. ♡︎

stand out from the crowd and don’t be afraid to be “extra”!

who wants to be like everybody else? sharpay stood out the moment she stepped on screen and her peers around her laughed at her for being “snobbish” when she was simply a girl who knew what she liked and wasn’t afraid to express herself. we live in a world where people will tell you what you have to be and what things you have to like based on your race,gender,ethnicity, pretty much anything but break out of the norm! be expressive! leave your own mark on the world. do NOT water yourself down to be more digestible for others.

you fell? get right back up.

thoughout the whole franchise sharpay’s hard work would be overlooked or messed with, despite that she continued to get up and start over all over again. no one is deserving of you loosing out on the things you want in life. whenever there is an obstacle you need to pull out your confidence and hold it HIGH. if you know you deserve an amazing life why are you letting little road blocks stop you? do not let anyone steal your hard earned spotlight.

have confidence!

it’s a non-negotiable. build yourself up, become “snobbish” in the way that you love EVERYTHING about yourself. become “selfish” in the way that you are constantly looking out after yourself and choose to put yourself first always. walk around like you are THAT girl because you are.

WADROBE & ACCESSORY BREAKDOWN:

sharpay was always dressed up. she was known for her signature color pink which she incorporated a lot but didn’t shy away from glamorizing in different colors as well. she was often seen wearing a handbag with almost every outfit or her dog in her other hand or both even! (she even dressed up her own dog) from mini skirts to high heels to a shimmery hair scarf on her head to huge sunglasses or her signature tiara, she loved bedazzled things and glitter and sparkle, she always accessorized with necklaces such as her signature s or star, bangles on her arms and some kind of hat or belt on her. with eye catching materials on her like fur or the black dress with flattering holes on the side. she also glamorized and made the things she owned to her prefference like a perfect example is her iconic locker, don’t be afraid to make things to your liking if it isn’t available! be creative and crafty! if it’s not made already, take matters into your own hands!

this was something i have been so excited to work on for a while now as i have lots of things in common with sharpay, everyone deserves to think they are amazing!

[weddingchicken]

reviewing the ranma 1/2 fanzine i made when i was 12 years old.

i just found ranma 1/2 fanzines which I made in 1999 when I was 12 years old. here's a review of the zines - and an attempt at analysing what was going through the head of my younger self.

as professional looking as the 'ranma 1/2 herald' looks, i made these fanzines by curating a combination of pictures I found on the internet, my own art, and my own writing, organised into magazine format - all of which I cut up and pasted by hand onto master sheets and then photocopied to yield the finished product.

what's odd (or one of the many things odd here) is that I had only managed to obtain and read the first few volumes of the ranma 1/2 manga at this point in my life (perhaps only the first three volumes). i had never watched an episode of the anime, and as far as i know it wasn't available in the uk at that time - certainly not on public television (we didn't have cable). furthermore, i didn't have any friends who were interested in ranma 1/2 or even knew what it was or who shared any of my other interests. nevertheless, i wrote the zines in a style as if they would one day be read by other people.

my enthusiasm for ranma, and subsequently the contents of these zines, was driven by my imagination, and what i could find through my relatively new access to the internet, which in turn encouraged my imagination. youtube didn't exist back then, but i remember reading summaries of anime episodes and consuming related media in whatever way i could, e.g. listening to audio files with snippets of the anime dialogue uploaded to ranma fan sites.

the information in my fanzines - the ranma 1/2 herald #1 and #2 - are heavily supplemented with my own creative additions to the ranma 1/2 universe, including what i now realise to be fanfiction - or attempts at roleplay - my own creative original characters and stories, and something of an obscured view of our own world.

parts of the zines are written in what I considered to be the voice and from the perspective of ranma 1/2 characters.

really not sure what was going on with the alignment of the page numbers on the contents page...

the zines contained fact files on characters and various other elements of the story. again, as much as i was fascinated by the franchise, i was working with very little information here. so i didn't let a little thing like not knowing many facts prevent me from writing these fact files.

much of the zines were taken up with displays of images i'd found online which i thought were just rad.

some good old school microsoft word clipart included

let's take a moment to appreciate this image of shampoo and mousse which i made on microsoft paint (i could create better art with physical media, but doing it digitally seemed exciting). i had not even read any manga where mousse was introduced by this stage, but i had read about him online.

other content included a ranma 1/2 alphabet: i matched a to z with characters, themes, and concepts from the franchise. highlights include:

Q is for questionable conduct, as many characters in Ranma are known to prance around shamelessly naked - most noticeable of these people is Ranma. (tsk, tsk) V is for VIOLENCE! Z is for zeal, a common problem with those characters who would like to win the girl, but Ranma just can'tbe [sic] bothered

my exploration of what windows 95 had to offer was not restricted to microsoft word clipart - i found the esoteric fonts of "windings" and "animals" fascinating. i felt like i was translating my writing into Egyptian hieroglyphics and back.

i also seemed to want to use the fanzine to promote my own original manga series. this is despite the fact that my original manga did not exist outside of my imagination. this didn't stop me including a summary article of the background story of my manga, which i called Kung Fu City. i also wrote about something called the Ultra Tokyo Files which, as far as i can surmise, was a planned sub-series of Kung Fu City. i do remember being very determined that i would create my own manga series called Kung Fu City when i was a child, and must have had fairly developed ideas about this, given what i wrote in the zines about my original universe, original characters, and original storylines. as you can see below, the principles of the Kung Fu City manga are 1) very little actual conversation; 2) non-stop sound effects and violence; 3) a debatable amount of humour (i don't know what I was getting at with point 3).

as you can see, i imagined Kung Fu City into history. i described it as having started in 1989, when i was two years old. what's more, i claimed that it was an influential factor in nunchaku being banned in the united kingdom! what a feat! so, through my zines, i seemed to be creating an alternative reality - not just an alternative ranma 1/2 universe, as many makers of fanfiction and fan comics do, but an alternative version of the "real world".

furthermore, i included a promotional segment from Kung Fu City in the zines - presented as if it was a preview of material from the part-way through the manga run. except, i created these panels specifically for the zines. there was no Kung Fu City before this or after this. just this.

i could really go on and on about the idiosyncrasies of my fanzines, but I will finish by bringing up the conversations i "had" with the characters. this includes the interview i "held" with ranma. as in, i wrote an article about me interviewing ranma saotome, the fictional character.

unfortunately, 12-year old me made the unusual editorial decision to print out my article on dark blue paper before photocopying it as black and white. as such, the interview article is difficult to read. if this post gets any interest and people want to read my conversation with Ranma (it was um...something) then i will make a post with the contents of this interview.

i also had a letters page where I encouraged my hoped-for readers to write in. but not to me. i asked them to address their letters to the characters of the kuno siblings - kodachi and tatewaki kuno. i went on to write letters from imaginary fans to the kunos, and wrote responses to the letters in the voice of kodachi or tatewaki.

a one sentence response from the imaginary character kodachi kuno (aka. the black rose) to a letter from a fan (also imaginary). i'm sure this was normal behaviour from a 12-year old.

i recognise this now as ranma 1/2 fanfiction. what's more, I think this was roleplay. i didn't have anyone else to roleplay ranma with, so i roleplayed with myself. no one else read my articles or any other aspects of my zines. i think i would have wanted to share my passion with someone else, i just didn't have anyone to do it with. so, if nothing else, i made these zines for my own enjoyment. z really was for zeal!

i was a lonely 12-year old wannabe weeaboo who supplemented my lack of money to spend on the ranma 1/2 franchise and lack of access to the fandom with my imagination and creativity. some of the world i conveyed in these zines was bizarre, but it was creative. and maybe now - 25 years later - someone else will finally read my zines.

[thankskenpenders]

And now for something new

So, here's something I was never planning on doing, but I just couldn't shake the idea... Thanks Ken Penders is gaining a sister blog featuring an entirely different comic franchise!

Introducing... Thanks Steve Ditko, a blog where I read the Earth-616 Spider-Man comics, starting all the way back in the '60s! It's gonna be much more casual and less thorough than how I run things here on TKP, though, which I'll explain in a sec.

If seeing me post weird bits from old Spider-Man comics sounds fun and you need no further info, then just head right on over to Thanks Steve Ditko. But for longtime TKP readers, I know you probably have questions...

Number one: Why?

Spider-Man's always been my favorite superhero, and with the Spider-Verse movies kicking ass and my excitement building for the new Insomniac game, I've been in a Spidey mood. Inevitably, a thought occurred to me: Maybe I should actually read the comics that everything else is built off of and see the wildly varying contributions of all the original creators, rather than filtering them through big budget adaptations. If I can power through One Piece and all these other manga with hundreds of chapters, it can't be that hard... right?

And, well, after a few issues I quickly realized that my options were to either clog up my other accounts with random Spider-Man panels for years, or to just make a side blog. And so the side blog was born.

Two: Will this blog replace Thanks Ken Penders?

NO!!!!!!!!!

Okay but prove it

To allow the two to exist side-by-side, Thanks Steve Ditko will have a different format than what Thanks Ken Penders developed. Rather than an in-depth guided tour that critically analyzes every story beat of every issue, TSD will just be a place for amusing panels and brief thoughts as I casually read the comics at my own pace.

If you've seen me make a few tweets about reading Spider-Man recently, I'm basically just moving that to a dedicated Tumblr. It's a place for me to dump these things so that it doesn't fill up my media tab on Twitter for the next decade. (You know, assuming Twitter is still around in a decade.) There will be many issues where I only post two panels that I thought were funny. There will be issues where I don't have anything to say at all. Maybe I'll reach a run that I just cannot get into, and I start skipping around more. Who knows!

This may sound similar to what I thought this blog would be before it blew up. Aside from the simple fact that there's already mountains of Spider-Man commentary out there and therefore less of a void for me to fill, one of the main steps I'll be taking to avoid repeating the past is not enabling an ask box on TSD. I do not need people to ask me to go into ten times more detail on everything. I do not need to write seven essay-length responses to questions about Spider-Man minutiae every day. I do not need a place for people to chide me for not covering certain scenes, issues, or ancillary series.

It also won't have any kind of update schedule. I'm trying to keep it very casual. I'm reading these comics at my own pace, and if I feel like sharing a moment or commenting on something while doing so? It goes there. That's it.

(On the subject of format changes, I'm also listing the issue, writer, and penciller in the body of every post. This is a thing I wish I'd done on TKP so that people didn't misattribute every weird Archie Sonic panel I post to Penders.)

Three: So when will TKP come back from hiatus? You said it'd come back after you finished SLARPG!

I don't know! Sorry. I have a couple things on the backburner right now for TKP, but I'm not sure when I'll get back to proper updates where I read more comics.

I wanted to bring TKP back this year, and that's still possible. The main hurdle is that I want to reread my own archive (again) as a refresher, which is, uh. A lot of posts. I've developed a high standard for myself on here, and I feel like I wouldn't be doing my job right if I forgot half the ongoing subplots and character arcs and didn't bring them up in my analysis. Especially when I'm discussing the work of an author as obsessed with continuity as Ian Flynn. Unfortunately, the nature of this blog means that every time I go on another long hiatus for Life Reasons I have even more comic continuity to catch up on than last time.

(This is a big part of why I'm making Thanks Steve Ditko an extremely casual blog instead of promising to become a Lore Expert on 60+ years of Marvel.)

Mostly I've just been very burnt out this year after having finally finished a video game that took almost eight years to make. I haven't really had the energy for any creative projects, including TKP. But I feel a little bit of a spark here with Spider-Man, so I'm chasing that feeling to try to get back into the swing of blogging about comics - no pun intended.

So, basically, bear with me on this as I start this low-energy side project. But hopefully folks will enjoy Thanks Steve Ditko as its own thing, too.

Look forward to goofy shit like this

[38sr]

I know this is gonna be a strange one, but I do have an industry question;

I've been looking for a job for the last 4 years post-grad, I've tried every bit of advice I've gotten over my 6 years in school and 4 years out. Is it too late for me?? Or more so what advice would you have at this point?? I'm starting to feel really negatively about this venture, and getting a day job has been just as difficult;;

Hello Sky! Hope it's okay to call you that. Ah post-grad job hunting.....I don't miss that period of my life at all. Before I begin, just want to preface that what I say going forward is strictly from my perspective/experience. I am not the absolute of the animation industry so if what I say doesn't align with you, you do not have to follow it haha. Alright, advice for post grad job hunting.... Well, I think I want to start off giving a bit of context for the animation landscape these past 4 years that has been rough for everyone (trust me it'll come back around to your question): 1.) COVID Pandemic

This one might be a confusing for some people because when COVID hit in 2020, the only facet of entertainment that was able to keep going was animation. If you remember, during this time streaming numbers went up because people were stuck at home, every studio was launching their own streaming platform (HBO Max, Disney+, Peacock, etc.) and celebrities were given animated shows because live-action had stopped dead in its tracks. This period allowed artists outside of California state to get hired because what's the point of capping the talent to the local area when we're already working remotely? In short, it was a boom. But an exponential boom rather than a gradual boom. You never wanna grow too fast because you'll crash out quicker (and harder) which leads us to our second factor.... 2.) Netflix's first ever round of layoffs in summer 2022, streaming actually isn't profitable?????

In short, this year is when Netflix's growth finally stopped and was the beginning of The Great Animation Contraction. Other studios who were looking to Netflix as a the new model of distributing/creating entertainment had realized Netflix wasn't invincible. As well as their business model. So naturally, they got scared and and take action (aka layoffs). I was affected by these layoffs while working at Marvel Studios and many artists got laid off at studios to save face from the mistake that was streaming (though at this point studios were still double downing on it). Also, around this time live-action was slowly restarting thanks to vaccines and social distancing protocols. So those celebrity studded animated productions dwindled down (and also they caused so much havoc for us animation workers because most of those celebrities had no animation production experience). Which now leads us to...

3.) Mergers everywhere! Yeah, uh, mergers fucking suck. People kept losing their jobs because companies kept absorbing into each other and multiplying their debts to ungodly dollars amounts! Apparently no one took a math class and understood if you multiply any number by zero you will always get a zero. These merger also caused more shows to get shelved and canned, making the job market even slimmer. And by then we get to 2023 and the....

4.) WGA, SAG and TAG Contract Negotiations By now, studios have realized that streaming is losing them money because it costs a butt load of money to not only create a streaming site, but also maintain it, update it, create new media for it, acquire established franchises for it, and maintain the current library. Streaming shows aren't being advertised like they used to on cable so shows don't last beyond one or two seasons. Worker contracts are becoming shorter and shorter (I had a co-worker who had a 3 month contract! Isn't that insane?). And what happens in the midst of this streaming meltdown?

WGA, SAG and TAG are gearing up for their contract negotiations. And as we know SAG (actors) and WGA (writers) did strike which good for them! But now there are no live-action jobs and once again, animation (TAG) is the only one running because our negotiations don't officially start until 2024. At this point, so many animated productions have been cancelled left and right for the sake of "saving money and cutting costs". And the effects were very much being felt in the animation work force. Some animation workers were starting to leave the state of California to more affordable cities, some getting day jobs as baristas, hell some leaving the industry all together. It didn't help that studios were kind of withholding production greenlights 'cause 1) they're greedy corporations 2) these strikes were putting pressure on them. And when we did enter 2024 for our contract negotiations, that contraction was at the tightest. The job market for animation had become so bone dry that you have director-level talent taking entry level jobs to stay afloat. But because of that new, emerging artists are blocked out from breaking in. Anytime a job listing would go up people would go in a frenzy and try every thing they could to get the job. That's how little shows were in production this year specifically. Of course, by now it is public that TAG has ratified the contract (meaning we will not strike). But up until then, studios were quite literally waiting with baited breath for the duration of negotiations. A ton of stuff was in development but nothing was getting a greenlight in fear of a strike. So many animation workers at this point have been laid off for at least 2 years, got priced out of LA county, or got so burned by the industry that they left for a more sustainable paycheck. At this point of the post you're probably thinking, "Why is she talking about all of this and not answering my question?"

And the reason for that is because I what to highlight you didn't miss your chance. You unfortunately graduated at a time where the circumstances were not good for breaking in for the past 4 years.

I'm not saying this to deter you from animation either. I just want to be transparent and honest about the current state of animation because it really has been bleak for the past 4 years. So it's not your fault but rather the industry was just in a seriously bad drought. Both emerging and veteran artists have been struggling to find work and when they do it didn't even last for 6 months. Hopefully, with the renewed contract studios will start greenlighting productions again so everyone isn't fighting for one job opening. But I can't tell 'cause I am not Raven Baxter haha. But what advice can I give during this tough time? Start developing your own projects. Things may be pretty dry right now but now is the time when you can create and develop your own original stuff that can be used in your portfolio. Short or long form, showing progress videos, just create. Because once you start working it's gonna be hard to find that personal project time (trust me I'm going through that right now haha). Also, you'd be surprised how just doing your own thing can garner the attention of someone who does have the power to hire you. How do you think I got to work on the shows I have in the animation industry? Almost all of my jobs happened because I was just creating my own thing and it just happened to match the sensibilities of a show produced by a Hollywood studio. And if I had any additional advice... it would probably be don't think that Hollywood is the only way you can tell your stories.

This one is more of....a recent revelation I've had after going through a pretty bad work experience but Hollywood isn't the only way you can be a storyteller. Whether it's comics, games, streaming, animation, or film....the Hollywood system isn't the end all be all. And by Hollywood system I'm referring to breaking into a big studio like Disney, Nick or something and trying to get your own movie/tv show to win an award or something. That system often works for a certain group of people and fails other groups. That's why I say develop and create your own thing because you might find something that fits your creative voice more than Disney or any other Hollywood studio. Maybe that's inconsiderate of me to say as someone who's been incredibly lucky to work in the animation industry for almost 8 years now....but I still wanna be honest that there are other avenues that isn't the Hollywood way. All in all, please don't give up or beat yourself up. The current state of animation within America was out your control and resulted in many artists struggling to find a job. You aren't too late. In fact, I would say now is your time to do your thing in preparation for when that hiring boom comes again (or you can just take another route to tell your stories). I hope that answered your question!

[blazehedgehog]

After watching SAGE's 2024 trailer, you ever get the feeling that most people want to be making indie games instead of fan games nowadays,? Every year there's been less and less fan works there.

This is the first year I've really felt it in any meaningful way.

There have been attempts for more than a decade to rename SAGE to drop the "Sonic" part. I've always pushed back against that and at this point the branding is too strong to give up, I think. People know about and come to SAGE because the brand is strong. Renaming it would be a death sentence.

Taking off my business hat, it's a bummer to see fangames in the minority here. Everybody wants to hop on that indie game gravy train and chase the success of Pizza Tower (seriously, count how many Pizza Tower clones are in the trailer this year) or Freedom Planet or Spark the Electric Jester or whatever.

And it's easy to congratulate people for striking out on their own and making original games. I was one of the many voices urging Sabrina to divorce Freedom Planet from the Sonic franchise and make it into an original game she could sell. So she ran a crowdfunding campaign (multiple, actually), was successful, and now we have two Freedom Planet games. And that's great!

But... does that mean all fangames should go away forever?

The example I lean on the hardest is comic books.

A lot of the guys who created the biggest super heroes aren't around anymore. They gave up control long ago or are straight up dead now. These books are effectively officialized fanfiction now, as are the $300,000,000 movies based on them. An ever-increasing number of people writing, drawing and directing these characters today were not alive when they were originally created.

But people still keep writing Batman stories, officially or otherwise. Because there are some stories you can only tell with Batman. Now, you could break off and make your own character that's similar to Batman, build up this history for him, and then finally tell your original story with that character. And maybe that's satisfying, to have built something of your own like that.

But for one: that's a lot of work. Batman is interesting because he has decades (almost a century now) of history behind him to play off of and work with. There are people out there who will tell you to just start writing your dream story and forget about building up to it first, but that's more about motivation and confidence than the idea that stories don't need historical context.

And two: that's already been done.

There's a good chance you know who Rob Liefeld is from his, uh, "distinctive" art style. He also created Deadpool, a katana-wielding mercenary assassin that dresses in red and black, whose real name is Wade Wilson. But before Deadpool, he created Deathstroke, a katana-wielding mercenary assassin that dresses in orange and black, whose real name is Slade Wilson.

Here is a guy who has built a career on copying his own work (and the work of others) over and over and over again.

Did it make Rob Liefeld rich and famous? Technically yes, but he kind of got rich because other people made better work using his characters, and he's famous for being kind of a hack.

So which is better?

Creative output you can do right here, right now, today, but is considered "fanfiction" or "fanart" or a "fangame", which may or may not lead to you being the person handling the official thing at some point down the road...

Or spending years of your life toiling to bring an original concept to life, and even if you struggle through all of the boredom and hardship of getting your original product out the door, it gets lost in the noise of now-million other creators trying to do the exact same thing. And then, at the end of your launch, after 2, 3, even 5 years of working and working and working, you've only made enough money to cover rent on your apartment for a month and a half.

Or, to put it another way:

Are you ditching fangame development because you have a legitimately great story you want to tell, or are you just doing it because you can't make money on a fangame?

Are you just creating another Bloodstrike?

As someone who has struggled to justify putting lots of hard work into a fangame myself, and have both made very popular fangames and some not-so-great original games, I don't know if I have a definitive answer for you. But I do wish there were more fangames at the fangaming event, and I will say, as always, if I could get paid a livable wage for making fangames, I would drop everything and do it in a heartbeat.

[cantsayidont]

Despite its protestations of progressive values, STAR TREK media has always explicitly presented (and, with only fleeting exceptions, consistently celebrated) the Federation as an expansionist imperial power, engaged in a large-scale project of colonialism.

The usual apologia/rationalization for this, both from the franchise itself and from its fans, is that the Federation is also a post-scarcity socialist utopia. However, that is expressly not the case in TOS, despite the attempts of the later series to insist otherwise.

Indeed, the plots of some of the most famous and acclaimed episodes of TOS are specifically about resource extraction and ensuring the Federation's access to crucial resources, including lithium (in "Mudd's Women"), pergium (in "The Devil in the Dark"), and dilithium (in "Mirror, Mirror," et al). We are told repeatedly that the Enterprise has a mandate to use force to secure these resources if gentler methods fail. Moreover, while the Federation has a strategic interest in these resources, it's clear at various points in TOS that their extraction and exploitation are, to a significant extent if not exclusively, overseen by private interests for profit. For instance, in "Mudd's Women," Harry Mudd remarks:

Well, girls, lithium miners. Don't you understand? Lonely, isolated, overworked, rich lithium miners! Girls, do you still want husbands, hmm? Evie, you won't be satisfied with a mere ship's captain. I'll get you a man who can buy you a whole planet. Maggie, you're going to be a countess. Ruth, I'll make you a duchess. And I, I'll be running this starship. Captain James Kirk, the next orders you're taking will be given by Harcourt Fenton Mudd!

In "The Devil in the Dark," Kirk ultimately takes a regulatory position — he will not permit the pergium miners to kill the Horta or continue to destroy her eggs — but at no point does he suggest that stopping the pergium production that threatens the Horta is a viable or even acceptable alternative. The accord he proposes is contingent on the Horta's agreement that she and her children will support the mining efforts on her planet, since Kirk emphasizes that "a dozen planets" are depending on the miners to supply needed pergium. (What would have happened to her if she hadn't agreed is not stated, but the episode strongly suggests that she would have been severely punished for noncompliance with Kirk's mediated solution: forcibly relocated to some kind of Horta reservation away from the main mining operations, perhaps.) When the Horta does agree to this proposal, Kirk assures Vanderberg, "you people are going to be embarrassingly rich," which once again suggests that while the miners may have contractual agreements to delivery pergium to Federation worlds, they are still a private, for-profit business, not a Federation department or nationalized entity.

Profit is also Ron Tracey's motivation for breaking the Prime Directive in "The Omega Glory": He believes that he's discovered a "fountain of youth" that he can own, monopolize, and exploit, and that the value of that resource will be enough to buy his way out of legal trouble for his regulatory violations.

We mostly don't see the Enterprise crew handle money except on away missions in other cultures or times, but there are a number of indications that the Federation in this era has not abandoned money: For instance, Harry Mudd's list of past offenses includes purchasing a space vessel "with counterfeit currency," while in "The Apple," Kirk rhetorically asks if Spock knows how much Starfleet has invested in him, which Spock begins to answer, "One hundred twenty-two thousand two hundred …" before Kirk cuts him off. More tellingly, in "I, Mudd," we have the following exchange:

KIRK: All right, Harry, explain. How did you get here? We left you in custody after that affair on the Rigel mining planet. MUDD: Yes, well, I organized a technical information service bringing modern industrial techniques to backward planets, making available certain valuable patents to struggling young civilizations throughout the galaxy. KIRK: Did you pay royalties to the owners of those patents? MUDD: Well, actually, Kirk, as a defender of the free enterprise system, I found myself in a rather ambiguous conflict as a matter of principle. SPOCK: He did not pay royalties. MUDD: Knowledge, sir, should be free to all. KIRK: Who caught you? MUDD: That, sir, is an outrageous assumption. KIRK: Yes. Who caught you? MUDD: I sold the Denebians all the rights to a Vulcan fuel synthesizer. KIRK: And the Denebians contacted the Vulcans.

Whether Deneb is a member of the Federation at this time is unclear, but Vulcan certainly is, and so we may assume that Vulcan and presumably the Federation itself are also part of "the free enterprise system."

The first indication that the Federation does not use money is in STAR TREK IV, and it's not obvious there if Kirk's remark that "They're still using money" is talking about money more broadly or just physical currency, which the Federation may have phased out even if it still uses credit or electronic transfers of monetary value. (Certainly, McCoy's attempt in STAR TREK III to charter a starship indicates that he had some means of paying for passage, since the captain of the ship specifically demands more money upon learning of the intended destination.)

If we accept at face value the assertion of TNG and DS9 that the Federation has genuinely abandoned the use of money, rather than simply going cashless, the most reasonable Watsonian explanation is that this has been a relatively recent development during the 70–80 years between the TOS cast movies and TNG, most likely related to the development of replication technology (which the Federation did not yet have in Kirk's time).

Of course, from a Doylist standpoint, we could chalk up some of this incidental dialogue to the franchise's evolving construction of its own setting, in the same manner as anomalous references to Vulcans as "Vulcanians." Roddenberry and his apologists might also insist that he always meant to depict a socialist utopia, but was prevented by the nattering nabobs of negativity (i.e., the network's BS&P); I'm very skeptical of such claims, but the writers were acutely aware that depicting what Earth is like in Kirk's time would be opening a can of worms, which is why we didn't actually see 23rd century Earth (even briefly) until the movies.

However, the focus on resource extraction and its ramifications is such a load-bearing story element in TOS that the revisionist assertion that the Federation was already a post-scarcity socialist utopia in Kirk's time (as both DISCOVERY and STRANGE NEW WORLDS have attempted to claim) would require really substantial retcons of the original show, perhaps to the extent of insisting that some of those events never took place at all, or happened radically differently than what's in the TOS episodes most STAR TREK fans have seen. For me, anyway, that crosses a line from willing suspension of disbelief to "don't trust your lying eyes," and suggests a frustrating and somewhat disturbing determination to insist that TOS is something much purer and nobler than it is rather than grapple with its actual conceptual flaws and ideological shortcomings.

[fuckyeaharthuriana]

Do you think The Great Arthurian Movie To Rule Them All will ever be made? I know many think that it's Excalibur but we do really need for this century a movie (or perhaps a 2/3 movie saga, but no more) that covers Arthur and his world from his dark begetting at Tintagel to his last travel to Morgan's realm Avalon.

Ohh how I would love it. Unfortunately, I do not think so. I AM SORRY THIS IS GOING TO BE SO LONG

It looks like the movie industry in general is not doing so good, and I do not see them investing in a movie saga on King Arthur after the past flops. I do maybe have more hopes for smaller movies (smaller in scope/plot) like "The Green Knight", so nothing that comprehensive but maybe themes used here and there.

But yeah, I feel like it could only happens if/when we first have a very big success now. Merlin BBC was very successful I feel and it kind of gave rise to a bunch of movies and attempts, but after Camelot Starz, Cursed, the Winter King, the 2017 Guy Ritchie movie - it looks like it is failure after failure.

It is a pretty harsh space nowadays. People have been "trained out" from going to the movies during the main years of the pandemic, with studios sending their movies to digital very early (and sometimes directly). And old small tv-trashy movies are in such small number, because the competition is so high - you cannot throw it on some tv channel and force people to watch it because now people choose. Movies, shows, videogames - it is harsh out there.

Regarding tv shows, I have a bit more trust, but the streaming model also killed the old build up. Now it is one season or you get the axe, and with the competition it has to be a very good show or a very big name attached to it, or someone who insists on insuring that they will have multiple seasons (thank you "The Dragon Prince: Mystery of Aaravos", I had no doubt it would have been axed on s2 without an agreement).

I do have small hopes for tv series and maybe a new Camelot musical movie still. Maybe my hopes are silly, but if Wicked is a success it would be another in a series of movie musicals that were successful or well received. And regarding tv show, if there is a popular enough novel or series of novel in the future maybe we will have one. They really dropped the ball with the Winter King.

BTW, I just wanted to say, these last few years are a on the side of the less-arthurian-media (movies and shows) years. These are the last arthurian movies, all from 2021-2020:

We have three moves in the Fate series, which is the one successful arthurian franchise, alongside Kaamelott movie (another successful arthurian franchise), then we have two animated movies that are just arthurian-themed, then "Arthur and Merlin" which is from a smaller studio, and finally "The Green Knight" which is the one big studio movie there and it was also a success (it made a few million more than what it spent).

2022-2024 no arthurian movies.

If we look from the 60s till now we usually have at least a movie a year with sometimes a year being skipped. The other longer time was 1985-1987 where we had no movies, so we only have these two gaps.

For series, I have more hopes. I actually also hope for a full arthurian anime too. We had a lot of arthurian popular stuff from Japan: Nanatsu no Taizai, the whole Fate franchise which has multiple movies and series, plus there have been two arthurian musicals in the past few years.

So who knows! Maybe the next big arthurian "full on Arthur story" might end up being an expanded Camelot musical movie, or an anime!

[guess-that-ship]

Guess That Ship Tournament Season 14: Submissions CLOSED!

The Concept: You describe your ship* to me, I pick out the submissions which I find most compelling and pit them against each other without revealing who they are, people vote on them, and their identities gets revealed once they’re eliminated.

Submission Guidelines

*For the purpose of this tournament, relationships do not have to be romantic in nature. (I’m sometimes going to use “ship” as a shorthand, just know I mean “relationships” in general.)

Relationship can be between any number of characters.

Real people are accepted if they’ve been dead for more than 100 years.

Roleplay characters are accepted as long as the description only pertains to the characters and not the players.

Crossover ships are only allowed if the crossover is official.

OCs are accepted. (However, OC x Canon is not accepted. Please do not submit other people's OCs without their permission.)

No overtly NSFW submissions. (Mentioning they have sex or are a sex worker is fine, but try to avoid anything more than that.)

Two submission per person. (Do not submit the same ship twice. I cannot enforce this on Google Forms without forcing you to log in. So just be champs and respect this rule.)

Failure to follow these guidelines may result in all of your submissions being disqualified for this season.

Summary Guidelines

Selection Process: I will read through the list of descriptions submitted without reading their names and pick the most compelling submissions. Then, I will check the name to make sure there's no repeats.

Keep it concise, but also bring something unique to the table. Make sure to describe their relationship, not just summarize the events of the story.

Previous submissions for reference. The ideal submission should be 1-2 paragraphs, but you can make it as short or long as you want. Please keep in mind the longer your submission, the less likely it is to get in.

Tips on what to avoid while writing a summary can be found here.

Descriptions should be based on canon, not headcanon. (e.g. You can say “they love each other” instead of “they’re lovers” if their romantic nature is debatable.)

Avoid author commentary. (e.g. "They're canonically x," "I love them," "Play/watch/read this," etc.)

Use canonical pronouns.

Avoid identifying information or setting specific giveaways. (i.e. ninja village, space necromancers.)

When submitting OCs, please make sure to at least put a name somewhere. (e.g. "John and Bob by anonymous" or "OCs by Joey.")

The more popular your ship is the more vague the description should be.

Exclusions

Generally, ships that have been accepted into previous seasons will not be accepted. For a complete list, please look here. (No need to look through the whole list, just Ctrl+F to find the ship you want.)

Any submissions from Harry Potter will also not be included.

Notes

I will not vet the ships/pairings for problematic content.

If you participate in this tournament, know that you run the risk of unintentionally voting for your nOTP. The mod does not take any responsibility for any distress that may cause you.

There will be a limit of one ship per media in the bracket. You may submit two ships from the same media, but keep in mind only one ship will be able to get in. (A series or franchise will generally count as one media, but they will be evaluated on a case by case basis.)

Submit your ships here! Submissions will be open until Sunday, January 5th at 9 PM EST.

Please reblog this post to spread the word! The more submissions, the better!