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nitrateglow · 4 years ago

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Favorite films discovered in 2020

Well, this year sucked. I did see some good movies though. Some even made after I was born!

Perfect Blue (dir. Satoshi Kon, 1997)

I watch a lot of thrillers and horror movies, but precious few actually unsettle me in any lasting way. This cannot be said of Perfect Blue, which gave me one of the most visceral cinematic experiences of my life. Beyond the brief flashes of bloodletting (you will never look at a screwdriver the same way again), the scariest thing about Perfect Blue might be how the protagonist has both her life and her sense of self threatened by the villains. The movie’s prescience regarding public persona is also incredibly eerie, especially in our age of social media. While anime is seen as a very niche interest (albeit one that has become more mainstream in recent years), I would highly recommend this movie to thriller fans, whether they typically watch anime or not. It’s right up there with the best of Hitchcock or De Palma.

The Good, the Bad, and the Ugly (dir. Sergio Leone, 1966)

Nothing is better than when an iconic movie lives up to the hype. Clint Eastwood, Eli Wallach, and Lee Van Cleef play off of one another perfectly. I was impressed by Wallach as Tuco in particular: his character initially seems like a one-dimensional greedy criminal, but the performance is packed with wonderful moments of humanity. Do I really need to say anything about the direction? Or about the wonderful storyline, which takes on an almost mythic feel in its grandeur? Or that soundtrack?

Die Niebelungen (both movies) (dir. Fritz Lang, 1924)

I did NOT expect to love these movies as much as I did. That they would be dazzlingly gorgeous I never doubted: the medieval world of the story is brought to vivid life through the geometrical mise en scene and detailed costuming. However, the plot itself is so, so riveting, never losing steam over the course of the four hours it takes to watch both movies. The first half is heroic fantasy; the second half involves a revenge plot of almost Shakespearean proportions. This might actually be my favorite silent Fritz Lang movie now.

Muppet Treasure Island (dir. Brian Henson, 1996)

I understand that people have different tastes and all, but how does this movie have such a mixed reception? It’s absolutely hilarious. How could anybody get through the scene with “THA BLACK SPOT AGGHHHHHHH” and not declare this a masterpiece of comedy? And I risk being excommunicated from the Muppet fandom for saying it, but I like this one more than The Great Muppet Caper. It’s probably now my second favorite Muppet movie.

Belle de Jour (dir. Luis Bunuel, 1967)

I confess I’m not terribly fond of “but was it real???” movies. They tend to feel gimmicky more often than not. Belle de Jour is an exception. This is about more than a repressed housewife getting her kicks working as a daytime prostitute. The film delves into victim blaming, trauma, class, and identity-- sure, this sounds academic and dry when I put it that way, but what I’m trying to say is that these are very complicated characters and the blurring of fantasy and reality becomes thought-provoking rather than trite due to that complexity.

Secondhand Lions (dir. Tim McCanlies, 2003)

The term “family movie” is often used as a synonym for “children’s movie.” However, there is an important distinction: children’s movies only appeal to kids, while family movies retain their appeal as one grows up. Secondhand Lions is perhaps a perfect family movie, with a great deal more nuance than one might expect regarding the need for storytelling and its purpose in creating meaning for one’s life. It’s also amazingly cast: Haley Joel Osment is excellent as the juvenile lead, and Michael Caine and Robert Duvall steal the show as Osment’s eccentric uncles.

The Pawnbroker (dir. Sidney Lumet, 1964)

Controversial in its day for depicting frontal nudity, The Pawnbroker shocks today for different reasons. As the top review of the film on IMDB says, we’re used to victims of great atrocities being presented as sympathetic, good people in fiction. Here, Rod Steiger’s Sol Nazerman subverts such a trope: his suffering at the hands of the Nazis has made him a hard, closed-off person, dismissive of his second wife (herself also a survivor of the Holocaust), cold to his friendly assistant, and bitter towards himself. The movie follows Nazerman’s postwar life, vividly presenting his inner pain in a way that is almost too much to bear. Gotta say, Steiger gives one of the best performances I have ever seen in a movie here: he’s so three-dimensional and complex. The emotions on his face are registered with Falconetti-level brilliance.

The Apartment (dir. Billy Wilder, 1960)

While not the most depressing Christmas movie ever, The Apartment certainly puts a good injection of cynicism into the season. I have rarely seen a movie so adept at blending comedy, romance, and satire without feeling tone-deaf. There are a lot of things to praise about The Apartment, but I want to give a special shoutout to the dialogue. “Witty” dialogue that sounds natural is hard to come by-- so often, it just feels smart-assy and strained. Not here.

Anatomy of a Murder (dir. Otto Preminger, 1959)

I’m not big into courtroom dramas, but Anatomy of a Murder is a big exception. Its morally ambiguous characters elevate it from being a mere “whodunit” (or I guess in the case of this movie, “whydunit”), because if there’s something you’re not going to get with this movie, it’s a clear answer as to what happened on the night of the crime. Jimmy Stewart gives one of his least characteristic performances as the cynical lawyer, and is absolutely brilliant.

Oldboy (dir. Park Chan-Wook, 2003)

Oldboy reminded me a great deal of John Webster’s 17th century tragedy The Duchess of Malfi. Both are gruesome, frightening, and heartbreaking works of art, straddling the line between sensationalism and intelligence, proving the two are not mutually exclusive. It’s both entertaining and difficult to watch. The thought of revisiting it terrifies me but I feel there is so much more to appreciate about the sheer craft on display.

Family Plot (dir. Alfred Hitchcock, 1976)

Family Plot is an enjoyable comedy; you guys are just mean. I know in an ideal world, Hitchcock’s swan song would be a great thriller masterpiece in the vein of Vertigo or Psycho. Family Plot is instead a silly send-up of Hitchcock’s favorite tropes, lampooning everything from the dangerous blonde archetype (with not one but two characters) to complicated MacGuffin plots. You’ll probably demand my film buff card be revoked for my opinion, but to hell with it-- this is my favorite of Hitchcock’s post-Psycho movies.

My Best Girl (dir. Sam Taylor, 1927)

Mary Pickford’s farewell to silent film also happens to be among her best movies. It’s a simple, charming romantic comedy starring her future husband, Charles “Buddy” Rogers. Pickford also gets to play an adult character here, rather than the little girl parts her public demanded she essay even well into her thirties. She and Rogers are sweet together without being diabetes-inducing, and the comedy is often laugh out loud funny. It even mocks a few tropes that anyone who watches enough old movies will recognize and probably dislike-- such as “break his heart to save him!!” (my personal most loathed 1920s/1930s trope).

Parasite (dir. Bong Joon-ho, 2019)

This feels like such a zeitgeist movie. It’s about the gap between the rich and the poor, it’s ironic, it’s depressing, it’s unpredictable as hell. I don’t like terms like “modern classic,” because by its very definition, a classic can only be deemed as such after a long passage of time, but I have a good feeling Parasite will be considered one of the definitive films of the 2010s in the years to come.

Indiscreet (dir. Stanley Donen, 1958)

Indiscreet often gets criticized for not being Notorious more or less, which is a shame. It’s not SUPPOSED to be-- it’s cinematic souffle and both Ingrid Bergman and Cary Grant elevate that light material with their perfect chemistry and comedic timing. It’s also refreshing to see a rom-com with characters over 40 as the leads-- and the movie does not try to make them seem younger or less mature, making the zany moments all the more hilarious. It’s worth seeing for Cary Grant’s jig (picture above) alone.

The Taking of Pelham One Two Three (dir. Joseph Sargent, 1974)

This movie embodies so much of what I love about 70s cinema: it’s gritty, irreverent, and hard-hitting. It’s both hilarious and suspenseful-- I was tense all throughout the run time. I heard there was a remake and it just seems... so, so pointless when you already have this gem perfect as it is.

They All Laughed (dir. Peter Bogdonavich, 1981)

Bogdonavich’s lesser known homage to 1930s screwball comedy is also a weirdly autumnal movie. Among the last gasps of the New Hollywood movement, it is also marks the final time Audrey Hepburn would star in a theatrical release. The gentle comedy, excellent ensemble cast (John Ritter is the standout), and the mature but short-lived romance between Hepburn and Ben Gazarra’s characters make this a memorably bittersweet gem.

The Palm Beach Story (dir. Preston Sturges, 1942)

Absolutely hilarious. I was watching this with my parents in the room. My mom tends to like old movies while my dad doesn’t, but both of them were laughing aloud at this one. Not much else to say about it, other than I love Joel McCrea the more movies I see him in-- though it’s weird seeing him in comedies since I’m so used to him as a back-breaking man on the edge in The Most Dangerous Game!

Nothing Sacred (dir. William Wellman, 1937)

I tend to associate William Wellman with the pre-code era, so I’ve tried delving more into his post-code work. Nothing Sacred is easily my favorite of those films thus far, mainly for Carole Lombard but also because the story still feels pretty fresh due to the jabs it takes at celebrity worship and moral hypocrisy. For a satire, it’s still very warm towards its characters, even when they’re misbehaving or deluding themselves, so it’s oddly a feel-good film too.

Applause (dir. Rouben Mamoulian, 1929)

I love watching early sound movies, but my inner history nerd tends to enjoy them more than the part of me that, well, craves good, well-made movies. Most early sound films are pure awkward, but there’s always an exception and Applause is one of them. While the plot’s backstage melodrama is nothing special, the way the story is told is super sophisticated and expressive for this period of cinema history, and Helen Morgan makes the figure of the discarded burlesque queen seem truly human and tragic rather than merely sentimental.

Topaz (dir. Alfred Hitchcock, 1969)

Another late Hitchcock everyone but me seems to hate. After suffering through Torn Curtain, I expected Hitchcock’s other cold war thriller was going to be dull as dishwater, but instead I found an understated espionage movie standing in stark contrast to the more popular spy movies of the period. It’ll never be top Hitchcock, of course-- still it was stylish and enjoyable, with some truly haunting moments. I think it deserves more appreciation than it’s been given.

What were your favorite cinematic discoveries in 2020?

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thelocalmuffin · 4 years ago

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Hey everyone, as you know, I have Gnosia brainrot, so if you aren't really interested in hearing my thoughts on it, I put a readmore on this post. This is not spoiler free, unfortunately, but I will try to avoid as much as I can but I do recommend giving it a chance. It's twenty five dollars and has an extremely high replay value.

Overall thoughts:

Gnosia is a visual novel/strategy game that relies on tact, deduction skills, and stealth. It tells the engaging story of a crew being infected with Gnosia after a mission goes horribly wrong. Gnosia is a parasite that wants to destroy the crew. You are one of these crew members, trying to help your comrade, Setsu as you end up solving the mysteries of the Gnosia together. To do that, you must become close with the crew, but at the same time, be wary. They may be your enemy.

This is honestly one of the best games I've ever played. It's all I ever wanted in a game and that's not even an exaggeration. There is a lot of heart and love for each element of the game, and it shows. This isn't just some triple A title, but a rare treat that many will enjoy, if given the chance. Fans of visual novels will like the story and art, people who like strategy games will like the deductive skills they need to use since this game will not hold your hand.

Gameplay

Excellent, engaging gameplay that keeps you on your toes, regardless its repetitive ways.

There's a leveling up system to help with your skills and though the game is trickier at first, as most games are, you will soon find out when your crewmates are acting far too out of character, you can start catching lies, and point out contradictions. Though, to my personal delight, unlike most visual novels, that's not enough. You need to build up your charisma and pair up with the right people to win, regardless of which side you've been assigned. As I mentioned, this game will not hold your hand. It does not question your intelligence, though, and you will feel satisfied when your crewmates actually start to take your side.

Unfortunately, if you do struggle with repetition, I do suggest to take the game slow so you don't get burn out. There are loops that will sometimes take forever for a story plot to be addressed, but if you talk to others, you will learn little tidbits about them and there are some loops that are just a regular game without any new information. Don't get too discouraged, it will pick up its pace if you give it a bit of time.

Writing

This is what I'm going to gush most about. Writing is sturdy and fulfilling. and I honestly recommend anyone writing a timeloop/paradox story to take some notes from this story because it does it correctly.

You will not feel unsatisfied when you finish the game. Every question is answered and there is next to no contradictions in the plot, which is almost unheard in this genre. You get the answers you seek, but enough to make you have questions that aren't necessary to have answered, but would like just a morsel more of details on. I only played once before making this review, so there's a possibility that these small details are addressed.

For those who like darker visual novels, you will enjoy the plots they explore but not feel like they push the limits just to see what they can get away with, like Danganrompa is so guilty of. Murder, backstabbing, and little girls being creepy is all part of the package, but it doesn't feel like it's out of place.

Though, there was something that really surprised me they explored, especially with the game's official T rating. They do explore sexual assault/sexual themes. I know the rating says suggestive themes, but honestly, I think they should have gone with a sexual themes warning instead and slapped an M rating. I'm trying to not get into too many spoilers in this, but let's just say some characters are motivated by sex and lust. Hell, I'd argue it's an important plot point that isn't unwelcomed. I just think an accurate ESRB rating would have been appreciated especially to those trigged by that content.

I do love the writing, but I do need to bring up a glaring flaw. Some of the characters do fall flat. I really felt like a few characters were barely explored, like Gina and Chipie, and honestly, it's a shame. There was something there, I could tell, but they just didn't add enough with them. For as long as the game is, they really could have fleshed out all of fifteen characters equally. Keep in mind I have only played one run, so perhaps I haven't spent enough time with them, but I did beat the game, so I was expecting a bit more.

I do wish they explored the characters a bit more and added a few more things to learn about these characters. Yes, I know this would have made the game longer than it already is, but it would have helped with some of the repetition issues and made them more whole.

About the romance scenes I keep seeing critique on: the only canon option is Setsu that's confirmed and honestly...it's a bit of a shame. I do like Setsu a lot and ended up accepting their confession, but I wonder what would have happened if they allowed other romanceable options?

With that being said...I think they did most of it correctly by not adding in love interests. It would have detracted from the suspense of Gnosia, and I'm not going to lie...Remnan got me a few times when he was Gnosia because I did think there was a possibility of a romance. (Yes, you are allowed to call me out on that.)

I'm going to go off on my favorite part of the game's writing: there is no worship the protagonist trope. You know how delightful that is in a world where other games have characters exist to pander to the protagonist and the player's very existence? No? Well, I’m going to tell you why.

Characters react to you as one of their own: not a sore thumb that needs to be worshipped (i.e like Fire Emblem does), but rather, you are one of them and you are as suspicious as anyone else on board. Sure, characters like Setsu will give you natural praise, but that's because you are their friend and that is what close friends do.

With that being said, there's great representation with Raqio and Setsu, and they/them pronouns are used accurately and not in a demeaning way. With that...they do screw up a bit with Raqio. It's not perfect, and it's a bit of a shame, because they were so close to getting that down. With that being said, it's the best I've seen in media in a really long time.

Soundtrack

I will admit that the soundtrack was the weakest part of the game to me. It's not bad by any stretch of the means, but I think a few more songs would have really helped bring more mood into it and help the repetition issues. It does feel a bit out of place, and honestly, part of me wonders if that was the point? I am a huge fan of video game soundtracks, so I will admit, I was a bit bummed, though it's not bad enough to where it's a deal breaker. I think some will enjoy it, but I did start playing with the volume down about half way through.

Style

I have to talk about this since it does apply to the writing. I have one word to describe the artwork. Breathtaking. It looks so perfect for the setting. It's a bit surreal, but it's perfect for the story it is trying to tell. It's got gorgeous backgrounds. Not to mention the designs for each character. The designs for each character have sci-fi tropes that many will love but with enough uniqueness to stand out. Style and substance work hand in hand in this game and that is a rarity for me.

Overall thoughts

Overall rating 9.8/10, mainly because the soundtrack does take away from the scene for a bit. Variety in music would have really helped it be that much more engrossing. This is what visual novels should be, and honestly, sci-fi writers should take some notes, too. It's a timeless game that has immersive gameplay, a legendary story that doesn't hold back, and for a game about paradoxes and timeloops, it feels complete. With the very small flaws it has that I pointed out, I think it will appeal to the right audience and I encourage everyone to play it. It's twenty five dollars on the switch, and I hope it it gets a PC release because it would do really well on there.

Any thoughts of your own I didn't mention? Just want to go off on the game with me? Let's talk! Thanks for reading, much love, and see you all soon.

#gnosia #gnosia review #muffin reviews #muffin writes

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super-famicom-star-inactive · 4 years ago

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Friday Special #14

March 19th, 2021

Hello friendos, and welcome back to another Friday Special!

So with the recent announcement of Pokemon Brilliant Diamond and Shining Pearl for the Nintendo Switch as well as Pokemon Legends: Arceus, for this episode, we’ll be taking a look into the original titles of Pokemon Diamond, Pearl and Platinum for the DS and how they forever changed the Pokemon world.

The year is 2004.

The Pokemon movie Destiny Deoxys was just released in Japan and it’s the newest Pokemon movie to be released at that time. The Pokemon anime would still be in Gen 3 (Ruby, Sapphire, and Emerald) for a few more years.

The film features a new Pokemon that was never seen before: Munchlax, who was the first revealed Pokemon for the next Generation, Gen 4 (Diamond, Pearl, Platinum, Heartgold, and Soulsilver).

Munchlax wasn’t the only Pokemon teased before Gen 4′s release, however.

That following year in 2005, Lucario and the Mystery of Mew was released and it prominently featured several new Pokemon to the gaming public such as Lucario, Weavile, Mime Jr., and Bonsly. This now was five new Pokemon revealed to the gaming public.

Then came 2006, the crunch year.

Pokémon Ranger and the Temple of the Sea was released and it introduced more new Pokemon in the forms of Mantyke, Buizel, Chatot and the Legendary Manaphy. Also revealed that year were the first of Gen 4 Legendaries Dialga and Palkia for the new games’ box art.

In the end, Pokemon Diamond and Pearl were officially released in Japan on September 28, 2006, in North America on April 22, 2007, in Australia on June 21, 2007 and in Europe on June 27, 2007. Diamond and Pearl would also be the very first Pokemon games to be released in South Korea on Valentine’s Day in 2008, setting the precedent for future Pokemon games to be released in the region.

Diamond and Pearl were the first Pokemon games not only to begin a new Generation but also on a brand-new console, the Nintendo DS. In order to capitalize on the new system of choice and its capabilities, Diamond and Pearl were the very first Pokemon games to utilize 2.5D graphics (the effect can best be seen in various objects like buildings and the train in the Great Marsh in Pastoria City). Speaking of sprites, new and never-before-seen trainer sprites were added as well to ever-growing list of types of trainers. The list of Pokemon expanded as well, thanks to the addition of 107 new Pokemon exclusive to the Sinnoh region.

As the introduction goes for both games, you are greeted by Professor Rowan and you have the choice of either going as Lucas or Dawn, though the player does have the option to create their name for their chosen character. Their rival, Barry, also can be named by the player like in previous versions.

The game starts with your character watching a broadcast about Johto’s Lake of Rage and its elusive Red Gyarados. You then meet up at Barry’s house, who is also your best friend in addition to being your rival, and the pair go off to Lake Verity to search for Legendary Pokemon. There, you are greeted by Professor Rowan once more along with his assistant and they accidentally leave behind their briefcase and before the pair can retrieve it and return it properly, they are attacked by two random Starly and the player has to pick one out of three Pokemon to fight them with and succeed. Once the battle is concluded, the assistant comes back to retrieve the suitcase, aware of the Pokemon being used and leaves the pair with their new chosen companions. Back home, the player’s mother gives them a pair of Running Shoes to traverse faster across the land and instructs them to meet with the Pokemon Professor in Sandgem Town. Upon arriving, Prof. Rowan bestows upon you the Pokedex, sending you on a quest to retrieve data for the Pokedex of every Pokemon in Sinnoh.

Thus, the Adventure begins.

In the games, you face Battles, attain Gym Badges and work your way to defeating the Elite Four as well as the Pokemon League Champion. Along the way, you have to defeat Team Galactic, an evil organization who want to erase the entire universe in order to create a new, more perfect universe, and they need the power of the Legendaries in order to accomplish this massive and frightening goal. By defeating them, your home region of Sinnoh, and the universe at large, will be safe.

Some of the features to make a comeback in a newer fashion was the day/night system first introduced in Gen 2 (Gold, Silver, and Crystal), Pokemon Contests from Gen 3 (Ruby, Sapphire, Emerald, Leaf-Green and Fire-Red) and even a new battle system which allowed for a more versatile set of moves for a Pokemon but ran into trouble with older fans as the attacks were now labeled as either physical or special instead of just by type alone.

The pair of games were met with commercial and critical success upon release with particular praise being given to the soundtrack, story, the inclusion of Wi-Fi, the voice chat function. Unfortunately, it landed criticism with the graphics with IGN being quoted as saying “everything still has that Game Boy look to it” (Which in retrospect made the games more appealing as they still appeared timeless without looking too dated). Famitsu gave it a 35 out of 40.

With this massive success, there was a growing need to continue the Generation.

In response, Game Freak created Pokemon Platinum, an enhanced version of the Diamond and Pearl.

Pokemon Platinum was released in Japan and Taiwan on September 13, 2008, in North America on March 22, 2009, in Australia on May 14, 2009, and in South Korea on July 2, 2009. Like its predecessors, it also received high praise, and was both commercially and critically successful.

There were a few notable differences between the original Diamond and Pearl versions and Platinum:

On the TV in Twinleaf Town, instead of a special about the Red Gyarados, the special instead talks about Prof. Rowan’s arrival back to Sinnoh from Kanto.

The outfits of the main characters change to be more suited to a colder environment.

Instead of recovering a suitcase in the forest and fighting Starly, you meet up with Prof. Rowan and receive your Pokemon at that time.

The sprites of important Trainers (like Gym Leaders or the Pokemon League) have their own individual animations like the Pokemon do.

Instead of facing either Dialga/Palkia depending on the version, your Legendary Battle will be with Giratina instead and it will be down in the Distortion World (more on that in a moment).

Platinum also expanded on previously introduced features such as:

Allowing up to 20 people at one time in the Wi-Fi Plaza (it was only a few people before)

Allowing your starter Pokemon to be admitted into Amity Square in Hearthrome City (in Diamond and Pearl, only a select number of “cute” Pokemon were considered)

Players can now challenge other Trainers in certain Pokemon Centers (first game in the mainline series to do this)

Faster animations with HM Moves such as Surf and during Battles

to name a few.

In regards to new Pokemon, 59 Pokemon were added to the Sinnoh Pokedex, rounding the number of entries to 210, including Legendary Pokemon. Legendary Pokemon like Shaymin were also added and other Pokemon like Rotom were enhanced either with new abilities or new forms.

So about that Distortion World bit from earlier...

For those unfamiliar, the Distortion World is only available in Platinum and it was how the player fought Giratina. The Distortion World level in particular was considered impressive at the time for the Pokemon community as it utilized 2.5D graphics that almost looked 3D.

How did they do this?

They allowed the character to move up walls in order to complete the current level as there were multiple levels.

Here is a video of the entire Distortion World walkthrough (the video is a little gritty as it was published way back in January of 2009 and it’s the original Japanese version):

youtube

At this time, this was considered insane for Pokemon in 2008/9 and it was one of Platinum’s biggest selling points. Although it may look a little dated with today’s newer titles, this the was bridge that connected GBA-styled graphics to more modern 3D ones.

So with that, Generation 4 was well underway and these games, as well as the ones that followed by the names of Heartgold and Soulsilver (a topic for another time), are still remembered fondly by fans to this day.

Thoughts From The Head

When I first got into Pokemon, I got into Pearl, making me a Gen 4 kid. I have very fond memories playing this game with my friends back in elementary school as they either had Pearl like I did or Diamond. When Platinum dropped, it was the hottest game to get on DS and I remember everyone and their mother clamoring to get a copy of it. I never did because I was broke at the time, so I wound up having enough to get a copy of Soulsilver, which I just rediscovered the Pokewalker (remember those?).

I remember the Distortion World bit like it was yesterday. A friend of mine had gotten far enough in the game to get to that point and I remember all of us crowding around behind him and glued to the screen as he traversed into this strange, new world.

We were blown away to say the least.

We also utilized the crap out of those Action Replay devices (which I used to max out both the Sinnoh and the International Pokedexes as well as the inventory), making the Champion Fight with Cynthia almost a breeze with the maxed out Rare Candies we had to boost the levels to Level 100 for the entire party. Now a couple friends of mine had managed to even hack the Platinum game to not get the special event Pokemon like Shaymin and Arceus without the special event in question, they were even able to clone Pokemon as well as steal other Trainers’ Pokemon outright with no issues (still not sure how they pulled those off).

Thanks to the announcements of the Gen 4 remasters and a mutual of mine playing Pokemon Diamond for a YouTube stream via Desmune emulator, I rediscovered my Pearl game and now I’m currently playing my second run! As of this post, I am about to take on Fantine of Hearthrome City so wish me luck!

Here’s the photos of my copy of Pearl!

I was in the process of leveling up my Chatot so she ain’t looking too good right now.

So do y’all think about all of this? Share your thoughts in the comments!

Thank you for reading!

#my voice!#gaming #irl #pokemon #pokemon diamond and pearl #pokemon platinum #gif #video #Friday Special

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moved-attre · 4 years ago

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Here is my review of Cyberpunk 2077! It is a bullet point list of what I liked, and did not like about the game. I mean no offense in my writing, and am, of course, willing to be educated if I am wrong about anything! But please do not send me anonymous hate. I know many fans and haters of this game can be very, uh... So take it all with a grain of salt, and form your own opinions.

This is very long and likely boring so if you manage to make it to the end, I will be very impressed! Also, I may ramble or repeat myself, sorry. There’s more bad points than good, since the game is very glitchy and I couldn’t not mention the glitches I have experienced.

Obviously, this contains major spoilers! 👁👄👁

I’ll start off by saying, this is a game where you will likely not get what you expected. If you expected Cyberpunk 2077 to be a game filled with features that were never before seen, to revolutionise the gaming industry as we know it and become the most iconic video game ever made... You will not get that. If you expected it to be the worst, most irredeemable video game ever created that you’ll hate... You will not get that, either. If you expected a game that is a fairly standard RPG with some impressive graphics when played on a high spec PC, albeit with some bad glitches and a wonky story with lots of potential, then you’ve got it!

Pros:

The majority of the voice acting, such as in V, Johnny and Viktor, was very good and emotional. Viktor in particular made me tear up! And the way V manages to sound almost like Johnny with the subtle accent change was amazing!

The character’s such as Takemura, Jackie, the LIs, Johnny, Viktor, Misty (I could go on) and even many random NPCs were interesting! I wanted to know them and loved their relevant missions. The best ones were unromanceable, of course, but that’s what imagination is for.

THE ALDECALDOS! I love them! A found family, and I wish there was more to do with them other than Panam’s missions and a few side missions. I love found family, and I’m disappointed V couldn’t form their own, so I’ll take what I can get and love the Aldecaldos, even if V can’t join them until the very end. Panam had the best missions of all the LI��s, even if the last one felt very abrupt. (At least, on her friendship route.)

Night City felt alive. There was always plenty going on, it felt like a real city, and it could be beautiful.

Jackie and Corpo V’s friendship was lovely. I loved their “To this!” inside joke, and I loved how Jackie roasted V but would jump to their defence in a second. It didn’t feel forced at all.

There’s lots of environmental storytelling. The atmosphere of a city choking to death under it’s own pollution/corruption was very apparent in the areas not lived in by the rich. Lots of homeless characters, violence, drugs, absolute poverty, trash (The dump! I felt sick just looking at it, and I couldn’t even smell it! Poor V, though.) and general apathy from a lot of the residents really sold the concept.

Johnny and V’s dynamic was the best part of the story! I hated him at first, but slowly came to enjoy his commentary and advice. His interactions with V were very funny at times, and thoughtful at other times. He was an interesting perspective for the player to consider, while still being an asshole you could dislike for much of the story. He has some really emotional scenes and I played a V that viewed him as a friend, so it was really nice hearing him call V the closest person he’d ever had. They became so devoted to each other! CDPR did good with this element, but I can’t help wishing for more. The dynamic had so much more to give, and a romance/happy ending could have worked.

And to add on, the mission where Johnny takes over V’s body to go on a bender was great! I loved all the moments to play as Johnny in V’s body. All the symbolism between them was so good. Every mission matters, and you can replay to look closer at details! He also comments on other side missions with no personal relevance to him, which was neat.

All the enemies had unique names. A minor detail, but it made me feel some guilt over killing them. 🤣 I think all character’s had unique names, which is such a nice detail.

The soundtrack was incredible, I loved every original piece and radio song. I have several saved on Spotify, which is big praise coming from me! I very rarely listen to video game soundtracks.

V can adopt a cat! 🐈‍⬛ It was adorable, and Johnny’s interaction with it made me tear up!

The size of the map was good, not too big or too small. I got about 100 hours of play in by exploring, which is pretty good to me! I got lost a few times, but always found something interesting to do in the meanwhile. I loved the Badlands especially.

Some of the side missions, particularly the more mysterious ones involving investigating deaths and the cyberpsychos, were very enjoyable! I’m a big slut for mystery, and there were some interesting cases to figure out. I wish we could’ve done missions like that with River, though, especially once he becomes a PI.

I was complaining about the lack of aliens in CP2077, but I suppose we did get a couple space themed missions which was pretty fun. I still want to go experience going into orbit, though. 👽 Or the moon!

Separating voice and body in the CC was a good idea, even if it was handled a little strangely. I’ll talk about this more in the ‘Cons’ section below!

Act 2 was my favorite part of the game, but it blended weirdly with Act 3 and that put me off. I am nostalgic for Act 1, but not eager to replay it because it felt so slow... I’m not sure on this point! I liked Act 2 because the story picked up and I was excited for more, but the more I got wasn’t as I expected. So, yes, Act 2 was good.

The scenery is very beautiful, and sometimes the outside lighting is absolutely perfect. The Arasaka parade mission was lovely to look at. I always stop the car and watch the sunrise/sunset, and I like going out to the Badlands to look at the stars!

An addition to that, is the lighting in some main quest missions. Very noir! It made for some beautiful screenshots. (Of which I sadly can’t share because my game doesn’t record well on medium settings. 😳)

The motorcycles are fun to drive! Mainly because I can zoom in between cars and Jackie’s motorcycle has a lot of sentimental value, as well as other vehicles like Johnny’s Porsche and Jake’s car. You can open the trunk to dump bodies in, which was a cool detail., and each one drives differently!

There could be amazing attention to detail, such as making Jackie look like his mother. I expected his mother to be a randomly generated NPC, but she was completely unique. It’s the minor things like that which stood out to me the most.

The scanner was a fun tool and very useful! I liked being able to find alternative ways to do a mission, it felt more realistic than the standard “massacre everybody, pick up an item and get out” fetch quests normally seen in RPGs. I could sneak in a tunnel or a side door! Perhaps irritating and unnecessary to some, but I liked it. I love utilising every possible option.

The interface color changes if you have Johnny controlling V’s body. Another small but good detail! The game is good with the minor details.

The sex scenes were not... awful. I expected much, much worse! I expected fully animated first person porn. Instead, I thought they were fairly realistic and intended to be romantic. Still very awkward, though, and unnecessary.

When they didn’t glitch, the animations were very good. Not as impressive as I hoped, probably because of glitches, but in line with other AAA games like Horizon Zero Dawn, I suppose? I noticed Judy’s animations in particular as being good, and Johnny had lots of unique ones too!

The clothing options are very fun, I like the holographic items and “Bitch” clothes, hehe. Also including Hijabs! 🧕 Great idea, and more games should do that.

The diversity of the NPCs was welcome. I enjoyed seeing Native American, Asian, Black and Latinx NPCs who weren’t there just to suffer! They would occupy important roles in the story, such as Fixers or friends/romance options for V, so they were pretty much unavoidable! It felt very natural, and they helped Night City feel more realistic.

Adding to that, the different cultures included were interesting too! I liked the Haitian characters in Pacifica.

The photo mode is pretty good. Not as good as I expected, the camera angle presets were useful but the filters weren’t very good. I liked that the photo mode could be used in cutscenes, though! It was standard, and I hope more bits will be added in for it.

A lot of the glitches are hilarious, but I recognise not all will share that opinion so I’m just adding this down here. The T-Posing NPCs are a highlight for me. Call that the Skyrim effect.

Cons:

No NB gender options/No pronoun options. Would they/them have been so difficult to implement?

No body or height sliders. There’s so many fat character’s in the game! Why can I not make my V fat? Or muscular?

Gender restrictive hairstyles and clothes. Come on, guys, it’s 2020/2077! Aren’t we beyond gender restrictive appearance options?

No tattoo parlours, no plastic surgeons and no hairstylists for V to change their appearance. I don’t understand why a CC was included at all, since we spent the majority of the game in first person. It reminded me of Far Cry.

The main story started off strong, albeit slow, picked up in Act 2, then felt very rushed in Act 3. The point of no return was very abrupt!

The celebrity cameos felt very gimmicky. The one exception to this is Keanu Reeves, who did a very good job as Johnny. Genuinely brought tears to my eyes at times... but Grimes was just embarrassing! Why was she there! A talented VA could have done Lizzy Wizzy much better, giving her actual emotions instead of just monotone “boredom”.

I don’t know what the point of owning apartments is. You can only sleep in V’s bed, what is the point of looking in the mirror? V has no use for their terminal in their apartment, they never get any messages after the first time they meet Johnny. It was so unnecessary, especially when there’s several across the map. I can access the stash of weapons and clothes from my car! Why would I ever need to go home? Judy gives me her apartment and I’m like, girl, I’m never visiting unless you have a mission to give me.

Also, there are no penalties for not showering or sleeping. I wanted character’s to comment on that! Call me stinky or tell me I look exhausted!

V doing side missions makes no sense, and no explanation is given for why we can do them. Why would V, who is dying and has precious few days left to live, be driving for hours on end to deliver packages and shoot random criminals? When they could be figuring out how to survive the biochip! Who the hell would care about a some extra money or buying every available car for sale, when they’re dying of something that could be preventable?

Some side missions were either very poorly done or obviously majorly glitched, since it felt like they skipped important parts and I was often very confused at the end of them! For example, the Corpo V side mission was so short! I expected to be able to hunt down Abernathy and get revenge for V and Jenkins, but instead, I shoot some random assistant I don’t even remember? And that’s it? Done in 2 minutes! If that! What is the point of that? I didn’t even have fun! Also, what happened to Garry? I wanted to save him but V just never follows up on it.

And, I wish we got closure with T-Bug. The fact that V never bothers to find her body and give her a proper burial was just poor form.

The endings were not... good. There are technically 6 different endings, all wrapped up into 3 parts. In my opinion, the best ending is the one where V kills themselves and has a very “Arthur Morgan watching his last sunset” vibe. It made me cry. Another good ending is having Johnny take over V’s body forever, as you can really see how much Johnny has changed as a person thanks to V’s influence. But they still felt very... eh and the story just never got that boost it needed, ending before it could take off. In the “best” ending, the Nomand ending with Panam, V ”survives” but has only another few months to live. So they die off screen. Satisfying? Uh, no. Not at all. There’s no possible ending where V has any hope of survival, but I much preferred being there with V until the very end. I disagree with the people calling Johnny’s ending the “bad” ending, because it really isn’t! I ignore all of this of course, and my V is living happily ever after.

I kind of hate that CP2077 has this illusion of options when some are clearly intended to be chosen more than others. Judy and Panam have the best endings in term of romance. Why bother with River and Kerry? Kerry is more of a fling than an actual romance, and is met very late in the game at a point where you can ignore him completely and just end the game, and River’s romance is so glitched that many people can’t even do it fully, and in every ending he dumps you, so it feels like none of it mattered to him despite him being the most “domestic” of the possible LI’s...

Takemura’s ending! He died in my playthrough, because the game didn’t tell me I could save him. That really annoyed me. Also, I recognise that V is in no place to lecture him, and there is some wisdom to his quote: “You speak against corporations yet offer no valid alternative.” But, Goro, bro... anything is better than fascist mega corporations keeping most of the city in absolute poverty, while waging devastating wars against other mega corporations? I wish we could have opened his eyes a little. There’s a good, even ground between Takemura believing Corps to be doing the best for humanity and Johnny being willing to kill 12k people for a revolution. This game went a little “capitalism is bad, but the alternative is worse!” at times, in my opinion. I wish more could have been done against the corporations, instead they just kind of... exist... in the background. And I know, “Realism! “ because we live with massive corporations like Amazon in our lives and can do fuck all about them but we’re not V. V is an absolute unit who survives death multiple times... I wish there had been two paths, like do Johnny’s path and work against the system or do Takemura’s path and work with the system? Sort of like The Witcher 2?

You know how in Saints Row, The Boss has homies they can call on for help? I wanted V to have homies to help them out in fights. It felt pointless building trust with the Fixers only to not have them help out at all with fights against the NCPD/Militech/Arasaka in their territories.

The stealth mechanics are not good. They are funny! But not very good. Often, It’s better to just attack and save yourself the trouble of sneaking only to get caught by a guard who can see through the back of his head.

The fact that you cannot get arrested and have someone bust you out of jail. Maybe RDR2 set my expectations too high, but I thought this would have been included.

I’ve read about the cut content, and I’m really disappointed they weren’t included in the game. Wall running would have been amazing! And the police hiring mercs to hunt V down? I would have loved to see it! 😔

Driving cars is terrible. Just awful. Sometimes, you crash. Other times you’re flung up into the air and break through the sky into the void, spinning for all eternity.

River’s glitched romance deserves a special mention. The relationship just drops off suddenly and you cannot interact with him properly again. It does not affect the main story at all, so you wonder, what was the point? The text messages also glitch and V will sent messages that you can’t control, leading to disappointing dialogue, like with Joss.

The romances in general were just not all that impressive. I was expecting something great, considering there was only 4 and thought they’d really affect the main story, but I’d only recommend Panam and Judy. I would have played the game just as well without romances, and they felt very unnecessary but I wanted to do one to get the most possible story content. I think we should all leave romances in RPG’s as the exception, not the norm. Some studio’s can do them well, other’s cannot. CDPR cannot, in my opinion...

Obviously the many glitches and bugs, several of which are game breaking. I usually have to reload a save at least once an hour, because an NPC won’t talk to me or I can’t move the mouse to select different dialogue options! Or my gun won’t equip, so I die.

The AI in general is very bad. Sometimes cars will stop in the middle of junctions for no reason, causing you to crash or mount the sidewalk to get past, meaning you’ll likely run someone down and get a police warrant. NPCs just walk from one end of the road and back again, over and over on a loop. It’s very creepy!

The lighting, mostly inside buildings. Everything is pitch black! Why does V not own a flashlight? The amount of enemies I’ve barrelled into and alerted because I couldn’t see is too much.

The lack of dialogue choice, it was less interactive than what I’d been told to expect. There was only two or three options, with one only ever rarely being unique to one of V’s three possible background choices and most will yield the same results with a few exceptions, like avoiding combat.

V’s personality is already decided by the game, and is not really customisable. Do not expect full control over your V’s personality, as they are very much a canon character and exist outside of your (limited) choices. I didn’t expect Baldur's Gate 3 levels of customisation, but I did expect something more like Dragon Age 2’s dialogue wheel? Nice, Sarcasm and Angry? You know?

Obviously, the seizure inducing scenes were very dangerous. I get a headache whenever I have to do a braindance, and I wish it was skippable!

Accessibility as a whole is very much an afterthought in this game, I think. The subtitles are in “speaking English”, so instead of: Hey, how are you? It’s: Heyyy, how’re ya? It is often difficult to understand, and sometimes I just couldn’t work out what was being said.

It’s nitpicky but I wanted to do a pacifist route and I realised you can’t, you need to kill certain character’s...

The main “villains” such as Yorinobu and Adam Smasher were very forgettable, and V had no personal stake in taking them out. I honestly forgot all about them. Takemura was talking about revenge and I’m like, who? Who are you talking about? Why are we kidnapping Hanako Arasaka, again? Johnny, why would I bother killing Adam Smasher? If they’d personally murdered Jackie, then yeah, I’d understand! But all V needs is to remove the chip and I don’t know... I just didn’t feel anything.

So, to summarise: I think CDPR were out of their depth. The long, very long, troubled development process was an indication of this before the game was even released, and the story I’ve experienced in the game is proof enough. I don’t think they knew what they wanted from this game, and as a result, we have a game that is honestly very confusing and frustrating with a story that always got close to gripping, but never quite makes it. All in all, I found this game to be pretty average. When the bugs are ironed out, I will think better of it. But as it stands, if I had to score it, I would give it a 6.5/10 or maybe 7/10. Good concept, somewhat misguided execution. The best part of the game was the Johnny/V dynamic, but I wasn’t satisfied with how it ended. They needed more time together! Anyway, it will be interesting to see what happens next.

#cp77 spoilers #cp77 critical #cyberpunk 2077 #I’ve already been vagued about a few times for my CP2077 opinions so I expect more to happen now I’m posting this hehe

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xb-squaredx · 4 years ago

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B-Squared’s Top 10 Games of 2020

I don’t think it’s an exaggeration to say that having something to distract me from the genuine horrors unleashed during 2020 was vital to staying alive, and for me that means a lot of video games! I played…a lot of games last year, but I spent a lot of time playing older games, so I didn’t get a chance to check out a lot of high-profile games that launched this year. Still, I do want to shine a light on the games that managed to resonate with me even a little bit, that somehow managed to launch this year. So let’s get to it!

#10 – No Straight Roads

Rarely have I been struck by a single trailer for a game like I was for No Straight Roads. Produced by industry veterans under a new studio, this is a rare game that’s not quite an indie game from a studio full of newbies, but it’s also not produced with the same kind of budget and resources of a Triple-A project. What do we call this? A Double-A game? Single-A? Regardless, I have to give the team at Metronomik some props for delivering a super stylish game in the midst of a very challenging year. No Straight Roads is a rhythm-based action game where two up-and-coming musicians fight to bring back Rock and Roll to the people of Vinyl City. I absolutely adore this game’s presentation, with each major boss being visually unique and having their own feel that compliments the music they bring to battle. There’s some real energy in these animations with character designs that ooze personality, and being a game about music the soundtrack is great! All that being said though, I have to admit I wasn’t a huge fan of the gameplay when all was said and done. It leans way more on the rhythm side of the equation than I was hoping for, and the action felt very shallow. The fixed camera made some phases of some fights a real problem, and the Switch verison, which I played, is plagued with a lot of issues that really brought the game down for me. If the game interests you at all, give it a shot on PC or PS4; I hear those versions are a lot better. Still, I liked the potential I saw in this game and in this studio, so I can only hope they did well enough to continue on. This definitely feels like the kind of passion project that deserves more recognition.

#9 – Streets of Rage 4

OK, so full disclosure: I didn’t grow up with 2D beat-em-ups. I missed out on all of the greats of the genre back in the day. No Final Fight, no River City Ransom, no Double Dragon, and definitely no Streets of Rage. In more recent years I have tried to dip my toe in the genre, as I did in 2019 with River City Girls. However, I came away from that game a bit disappointed by the overall gameplay and wondered if 2D beat-em-ups were for me. Seeing so much praise heaped onto Streets of Rage 4 had me curious, so I knew I had to try it, if only to broaden my experience in the genre. In many ways, this game is the perfect sequel to a franchise that hasn’t seen any signs of new life in years. It retains what made the series beloved with satisfying combat and challenge, but with a modern touch. The overall art style of the game and music work out pretty well, and I found the act of comboing enemies to be really satisfying. It really doesn’t overstay its welcome either, which is very appreciated in an age of endless timesinks. I also struggled a fair bit with the game, even on Normal, and well after some patches that seemed designed for more casual fans like me. Had this game not had online co-op as an option, I don’t know if I could have beaten the final levels. So my time with this game was pretty rough but despite that I can still see this was a game made with care, and if this game DOES do something for you, there’s plenty of reasons to keep playing on higher difficulties, unlocking more characters and even playing online with friends. Let me put it this way; I’m not all that sure I like the genre and I still liked this game, so I think that counts for something!

#8 – The Wonderful 101: Remastered

…this one is kind of cheating, I’ll admit! I had a lot of trouble thinking up ten games that really stood out to me this year, honestly. That said, I’ll definitely use loopholes to plug one of my favorite games from years ago. Seven years ago, PlatinumGames launched The Wonderful 101 on the ill-fated Wii U, where it bombed harder than just about anything on the system. For those that gave the game a shot, however, they were quick to discover a deep, complex, and charming action game that plays like nothing else out there. Controlling a team of 100 heroes at once, players form weapons out of the various Wonderful One’s bodies, smacking around giant robots and aliens far larger than them with the power of teamwork! How could you not love that, right?! Now, years later, PlatinumGames is aiming to become more independent and their first act was launching a Kickstarter as a way to get this game on newer platforms. While we may never know why Nintendo gave Platinum their blessing to release this game on non-Nintendo platforms (being as this is still, as far as I know, a Nintendo-owned IP), I’m just glad more people can have access to one of the most unique action games I’ve ever touched.

To sell it another way, this game combines the overall aesthetic of Viewtiful Joe with the shape-drawing action of Okami but with a bit of Bayonetta flair on the side. Basically, this is the culmination of everything director Hideki Kamiya has ever worked on. The Remastered version fixes some issues present from the game’s original release, and while I do think they could have gone a bit further with some changes, it is likely the best way to play the game for many. All those sections that made heavy use of the Wii U GamePad are a tad awkward though, but that held true even back on the Wii U anyway…d-don’t worry so much about that, though! I’d still recommend this game to anyone looking for the type of over-the-top action that only Platinum (and occasionally Capcom) can provide! So please consider joining the Wonderful Ones and Unite Up!

#7 – Paper Mario: The Origami King

Discourse around the Paper Mario series is…more than a little rough, honestly! Many fans have been quite vocal about not liking the direction the series has been heading with the last few games, but I went into The Origami King with an open mind and ended up really enjoying the game for the most part! What the game lacked in a developed storyline, it made up for with some really strong character moments and memorable setpieces. Bobby and Olivia are among my favorite partners in ANY of the Mario RPGs, easily, and the entirety of the Great Sea section of the game was a really fun adventure. I love the highly-detailed paper-crafted enemies and locales, and the soundtrack really didn’t have to go as hard as it did. While the battles against common enemies didn’t quite click with me, the boss battles throughout the game constantly surprised me with interesting twists on the ring-based combat and are a real highlight for me. I know this game is pretty divisive amongst Paper Mario fans, but I think the franchise has a pretty bright future ahead of it!

#6 – DOOM Eternal

Fair warning here, but I haven’t quite managed to beat DOOM Eternal at the time of writing this, but what I’ve played so far tells me it definitely belongs here. I think Eternal is hands-down the most intense game I’ve played in a long time. It gets my blood pumping as I dash about, shooting and slicing through demons that are extremely eager to rip and tear me to pieces. I don’t play many shooters in general, so I knew I was going to be in for a rough time, but DOOM Eternal brings it to another level right away. In some respects, I don’t quite agree with various aspects of the core game design that makes the game harder than I think it needs to be at times. The scarcity of ammo, and thus the constant need to use the Chainsaw weapon in order to gain more ammo gets tiring, though that somewhat levels off as more weapons are acquired and players learn of more efficient ways to take out the hordes of Hell. The game’s fantastic soundtrack by Mick Gordon definitely elevates the experience, so it is a huge bummer knowing that he and ID Software had a falling out and he won’t be coming back. I really dig the game’s expansive levels and more focus being put on exploring every nook and cranny for secrets, and certain old-school touches like finding extra lives or cheat codes definitely makes the game feel like it was ripped out of a bygone era and given a modern paintjob at times. Doom is eternal, and with it, so is pulse-pounding shooting action!

#5 – Xenoblade Chronicles: Definitive Edition

Compared to the other re-release of an old game on this list, I think this particular title had a lot more time and care put into it…and it also happens to enhance one of my favorite games on Wii as a bonus! Xenoblade Chronicles on Wii was a game that almost passed me by but even years later, I still adored the characters and world it introduced, and I’ve been happy to see what started as game that was almost stuck in Japan eventually grow into a full franchise. I consider the first game to the best in the series, though it was held back by a few issues later games would iron out. Chief among the problems was the visuals, particularly the character models and…wow does ten years make a world of difference. The Definitive Edition does more than just clean up everyone’s faces, it also cleaned up the game’s cluttered UI, made it easier to track quests and materials for said quests, and added some fun optional challenge missions for veterans to tackle. The bow that adorns the top of this package, however, is the epilogue story Future Connected that serves to tie up some loose ends and gives a particular character some great closure. If you love massive worlds to explore, a compelling, at times over-the-top story, and a deep, rewarding combat system, I can’t recommend THIS version of THIS game enough. If you’re going to give the Xenoblade series a try, there’s no better place to start.

#4 – Ghost of Tsushima

When Ghost of Tsushima was first unveiled years ago, I didn’t exactly have a high opinion of it. It seemed like a game that put more emphasis on visuals over gameplay, and I was almost certain it would launch as a PS5 exclusive so why bother getting excited when I probably wasn’t going to be an early adopter of the system? To my great surprise, not only was this game confirmed for PS4, it wound up being one of the prettiest games on the platform and well-optimized to boot, even on my old slim PS4. Playing as lone samurai Jin Sakai, players try to repel the Mongel invasion of Japan, but are forced to adopt less-than-honorable tactics to take on this ruthless enemy. Usually when I play stealth games, I find myself frustrated. I feel weak, or limited, and often the games feel overly harsh. If you get caught once, game over and there’s little salvaging being seen. In Ghost of Tsushima however, there’s a great deal more care put into stealth, and at times I’d argue it’s almost too fun to pass up over the sword play. Very few missions in the game force you to go completely unseen, so stealth just because yet another tool rather than a limitation imposed on you.

Swordplay felt a bit less engaging against common enemies (typically just being Simon Says, switching to the appropriate stance for a given enemy), but the one-on-one duels throughout the game were fantastic and I almost wish the game was all about them instead. I can’t overstate how gorgeous this game is either, with a world that feels like it is breathing, as the wind whips through the tall grass, the moon penetrates fog overtaking a creepy forest, or seeing the smoke from an enemy camp wafting over the distance. Hands-down one of the best-looking games on the PS4, and I’m particularly happy that developer Sucker Punch managed to land a hit with a new IP, as those generally feel more risky as times go on. While I’d argue that Ghost of Tsushima doesn’t really redefine how open-world games should be designed, it is an extremely polished experience and manages to do it well, with plenty of opportunities to grow in a potential sequel.

#3 – Animal Crossing: New Horizons

If there’s any one game that people absolutely needed in 2020, it was Animal Crossing: New Horizons. While there are other games of this type, like Stardew Valley or the Harvest Moon (and later, Story of Seasons games), Animal Crossing is one of the few games that gets mainstream attention while simultaneously running counter to most mainstream gaming trends. No conflict, no combat, no overarching story really…just a game that lets you live your live, day by day on your own terms. I tried getting into the series before with New Leaf but just didn’t stick with it, but New Horizons launched at the perfect time in an imperfect world. Being able to escape the uncertainty and dread that enveloped the world as the pandemic spread for even a little while was a necessity, and thankfully New Horizons had plenty to do to keep idle hands busy. Changes like item crafting and eventually limited terraforming of your island paradise give players so much more agency in decorating their homes and building up something they can be proud of.

We all start as nothing but a small tent on a mostly-empty island, but seeing what people were able to do even in the first few weeks or so was nothing short of amazing. We need more unflinchingly wholesome games in the world, and I’m thankful for Animal Crossing for being there when we needed it, and considering how well it sold and how much post-launch content is expected to be added with time, it remains a sanctuary to return to even now. Just…please let us craft in bulk? Pretty please, Nintendo?

#2 – Hyrule Warriors: Age of Calamity

Last year, Nintendo released Astral Chain, a game that no one knew about before release, which was revealed and released with very little gaps between them. It was a game I didn’t know I wanted until it was presented to me, and that trend continues this year with Hyrule Warriors: Age of Calamity. The first Hyrule Warriors was a fun, surprising spin-off of the main Legend of Zelda series, and Breath of the Wild was a fantastic game that shook up the core of the Zelda franchise, so in hindsight it really does seem like a no-brainer to combine the two into one package. Age of Calamity, for my tastes at least, cuts down on the repetition and overall stressful atmosphere of the first Hyrule Warriors and instead focused on fleshing out it’s core combat and crafting more creative main storyline missions. It helps that the game reimagines iconic locales from Breath of the Wild from before their destruction, and really makes you feel like you’re fighting through actual places rather than just a collection of random keeps that most Warriors games use.

Bringing in aspects like the Sheikiah Slate and Elemental Rods allows players to control the flow of combat more directly on top of letting them be more creative. Freeze enemies standing over water with the Cryonis rune or burn some grass with the Fire Rod to distract certain enemies, among many other things. Each playable character is also very distinct, even in cases where I could have forgiven the developers for reusing some attacks or traits. For one, Link has different movesets for his Sword and Shield, Spear, and Two-Handed weapons, but none of his attack overlap with the other Champions who use similar weapons. Some people might be put off with certain aspects of this game’s story and ultimately not everyone likes the overall structure of the Warriors spinoffs anyway, but for my part, Age of Calamity was one of the best surprises of the year, unveiled right at the end of the year in the nick of time. Of course, there was one game this year that surprised me more than any other.

#1 – Hades

I’ve known of Supergiant Games for quite a while and very recently began looking through their catalogue of games. They’re known for well-crafted narratives and satisfying combat, and yet when I first saw Hades when it was released in Early Access I was tepid on it. It didn’t look bad or anything, but it didn’t exactly blow me away and even now, I think a random screenshot or quick clip of the game might not do the game justice in explaining the appeal. I already wrote about the game at-length (as my only real non-retrospective blog post of the year, oops!), which you can read here if you want more in-depth praise, but to summarize…Hades is the total package for me.

Playing as Prince Zagreus your end-goal is to escape the puts of Hell, and more specifically get away from your overbearing father, Hades. It’s a rogue-lite, meaning you’re expected to finish the game in one shot and if you die you lose any upgrades you picked up along the way and have to start from scratch…to a point. Hades does allow you to keep a fair amount of items you pick up which can towards small, permanent upgrades or even gifts for various NPCs that can deepen your bond with them. Unlike most other games of this type too, the story constantly moves forward, even after death. The game is about dying over and over and then dusting yourself off to try again, all the while other characters remark on your progress or lack thereof. I grew to really enjoy this cast of characters, a fun spin on the Greek pantheon, paired with excellent voice acting for the entire cast. From the imposing, if somewhat sultry Megaera, to the nervous wreck that is the maid, Dusa, to the pompous ass Theseus, I looked forward to each new run just to learn more about this world and those within it. For once, death wasn’t really a punishment, but a reward, and just part of the process.

Of course, incredibly satisfying combat is ALSO part of the process and it just gets…addicting; muttering “one more run” over and over as you try out different weapons and boons, discovering what works well together and what doesn’t. While at first beating the game felt like it would never happen, I grew from my failures, adapted and eventually overcame. Multiple times. If you want the “full” Hades experience, this game can really demand a lot of time out of you but at the same time it stays fresh, so I can’t really complain. With new gameplay mechanics unlocking as time goes on, to the Pacts of Punishment players can trigger if they want a bit more challenge (or a lot more), Hades is that rare game that just keeps giving and giving. Before I knew it, I had dumped well over 50 hours into it, and I STILL need to get back to the game if I want that epilogue.

Compared to every other game that came out this year, Hades is the one game that grabbed me from moment one and would not let go until I hit credits. When I wasn’t playing this game, I was counting down the minutes until I could play it again, and let me tell you that is rare for me these days. At this point, Hades is clearly the breakthrough hit for Supergiant and I couldn’t be happier. The fact that this game got to stand shoulder-to-shoulder with industry titans at The Game Awards is kind of surreal, but I can’t think of many who deserve that recognition more. It helps that Supergiant is a studio that actually takes care of its employees, which is way rarer than it should be. I don’t mean to hype this game up like it’s the cure for COVID or anything, but I mean it with all my heart that this was the best game I played this year, and I’d recommend it in a heartbeat. I couldn’t stop talking about it for months after playing it, just ask my friends! So yeah, it’s pretty OK I guess.

CONCLUSION

I’m sure my Top 10 List looks a lot different from most out there, but that’s what’s great about games! So much variety and so much quality no matter where you look! Every year, without fail, there’s always at least a small handful of games that come out that I don’t get to, and try as I might I’ll never trim that backlog down. I want to keep playing games for as long as I can, trying out so many different experiences and seeing what this wonderful pastime can offer. For a good chunk of 2020 I was more than a little down, not just because of…you know, but a lot of games that were coming out weren’t appealing to me. That said, seeing as this was the year of shadow drops and announcing things at the last minute, I ended up loving a bunch of games I hadn’t already spend months hyping myself up for, which definitely helped to lift me up this year. Already, 2021 has a lot of titles I’m anticipating though, so it’s sure to be an exciting year.

Happy Gaming.

-B

#top ten list #gaming #animal crossing #paper mario #xenoblade chronicles #ghost of tsushima #doom eternal #no straight roads #hades #streets of rage 4 #thewonderful101 #age of calamity

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artezui · 5 years ago

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Dark Souls: The Art of Quiet

(okay this was just kinda on my mind so i’m just gonna take this thought and roll with it because this is going to be a very, very long essay on game design and music design and how these things are correlated. so bear with me.)

This is going to be very long, but it contains about everything I want to praise about the series as a whole. Honestly I’d make a video on it but I don’t know how to do that well yet, so uh... here.

Introduction:

Dark Souls, as a series, relies heavily on the art of its quiet moments... which is to the say most of the moments in the game.

It’s an important factor to the experience. Not only does it allow you to create your own moments and experiences, and allow your mind to focus on getting through the grind that is the stages up until the boss, but it’s also a tribute to what’s to come.

Tension

The first thing I’d like to note that the quiet creates is tension, which is an important thing in games. Many tend to rely on allowing music to take the scene, either growing slower or more quiet before a boss or a major event, yet in Dark Souls, they choose to simply not include music at all, which lets the scenes you do hear a song play become ever more powerful in one way or another, be it your hubworld or your boss.

The music heard in Firelink Shrine, from either DS1 or DS3, or Majula from Dark Souls 2, can be incredibly soothing, relaxing moments in your journey, where you can lay your instincts to rest for a moment as you heal, talk to NPCs, repair your weaponry and armour, purchase items, all before heading back into the fray and once again facing the quiet that blankets your world. It’s an underrated experience, one that nobody truly thinks about, but the music in that moment truly does make an impact on your journey. It solidifies the moments where you can drop your guard, if even for a few moments.

Yet, against bosses, this tension pays off. Every song is masterfully crafted by the three primary composers for the series, Yuka Kitamura, Motoi Sakuraba and Tsukasa Saitoh, who breathe life into the creatures, knights, champions, kings, queens or even gods you may face with sounds that illustrate their livelihood, their resolve, and in contrast, yours.

Payoff

Powerful tracks such as Iudex Gundyr represent the start of your journey, and the first challenge you will face among many. He is likely the boss where most of your deaths are going to lie, and ultimately a reflection of not only the quest ahead of you, but the warrior you will eventually become. This specific song, even, comes back later in the game when you face him in his prime, and loses none of the power it had. It reminds you of the fallen Champion, now titled Judge, that you faced at the beginning of your journey, and is a tribute to the growth you’ve made and the challenges that lie before you, despite being at the very end.

Songs such as Dark Moon Gwyndolin present a holy, powerful force, yet carries itself so gracefully with an elegance you can’t find in nearly any boss theme that you hear later in this game, nor any game to come. The boss that uses this theme is fragile, frail, yet powerful, carrying no weapons and only electing to use their wits and intellect to face you. They represent a divinity, and that holiness carries in this theme...

... yet, to contrast it, lies the dark reflection in Aldrich, Devourer of Gods. The purity reflected in the prior theme is twisted into a deathly ill tale representing not only the fate of Darkmoon Gwyndolin, but the horror of what had happened to them. This song is both a tribute and a death sentence, all the more twisted and dark when the second phase is heard.

And, against all of those, stands a specific song from Dark Souls 2, an often overlooked game in the series. The theme of Sir Alonne is a theme most treasure, regardless of the backlash against that game. It carries a power that represents the boss in every capacity possible: the honour he fought with to defend and uplift his king, the power he carries himself with, the sheer dignity of his character. He’s a character who’s committed no sinful acts, no atrocities, which is rare in the series as a whole. And, amongst the community, fans of the game will demand respect for the boss, and this theme will give you the impression of exactly why.

What’s to draw from this?

The songs of Dark Souls ultimately reflect the silence, however. The tension of the silence compounds upon itself with every death, and on the other side of the coin, the lack of death you may have faced. It lets you build your own journey, your own soundtrack within your mind. Without a soundtrack to accompany those events, your journey becomes your own rather than a path you’ve been led down. The character is not guided in some fashion, not shown a single path, and your emotions are not forced in any way by the soundtrack of the stages, until the moment it all reaches its endpoint. The final moment of that journey up until then, where it all climaxes into the one moment you hear a song.

And with that being said, the ultimate representation of the art of quiet while paying respect to its soundtrack, are two final songs I absolutely have to talk about because it’s Dark Souls.

Gwyn, Lord of Cinder.

This song is the ultimate contrast to every moment prior. Every boss faced before then has demanded a feeling of vast importance, undermining you in every possible way... yet, at the end of your journey, this is what you hear.

It’s a silence that pays tribute to not only you, but the fallen legacy of the god that stands before you. He is the end goal for your journey, and yet such a simple song befalls him compared to the powerful symphonies, the orchestrations that have pushed you onward in your path to the end. It’s a simple song for a simple end: you versus him, and that’s all. And, at the end of it, the song itself represents such a silent, quiet end to this god’s life, and yet not his legacy.

All of which comes to a close in Dark Souls III, with the powerful ending it holds for you.

The Soul of Cinder is a fight that takes place several centuries in the future, where the flame itself you, in the first game, slew Gwyn to protect and prolong the life of. It is, again, your final challenge, and is an amalgamation of every single soul that has ever made the journey you’ve made just then, yet again. It wields not one weapon, but about all, drawing from the strength of every soul it can to defend its position. Everything you’ve learned up until this point is called into question in this moment, and your entire journey reaches the ultimate climax... yet, your silence does not.

For in phase 2, it reaches back further. Everything you’ve learned not just in this game, but throughout your entire experience throughout the series.

Once again, the art of quiet is into play. All the way back to the start, it summons that same strength the theme offered you before, as the fight reflects that very same energy. To a new player, this is simply a new phase. But to those who were there from the beginning, this is a powerful reminder of what used to be. What, many years ago, they had faced and triumphed again. It is a reflection of their full journey, of the journey Dark Souls takes you through as a whole, and the quiet of this song is a respect to both the series and you altogether.

Epilogue:

Dark Souls ,as a series, puts into play a powerful experience where it masterfully takes the art of its silent moments in order to make the experiences the game holds at the forefront all the more exciting, empowering and enriching. It is a tribute to not only the power of the bosses it proudly puts before you, but a tribute to you and your journey as well. It places importance where importance lies, and allows these moments to embed themselves into both your memory and your experience with a significance the rest of the game doesn’t allow.

You don’t remember the stages, you remember the bosses. And that’s no fault of the game, because that’s where the best parts of its design can ultimately lie- not that there isn’t anything to appreciate otherwise.

Because, truly, Dark Souls is your experience to have. The moments that matter most will be yours to claim.

May the flames guide thee.

#dark souls #dark souls 2 #dark souls 3 #yuka kitamura #motoi sakuraba #tsukasa saitoh #essay #video game music #music #AAA!!! SORRY THIS WAS REALLY LONG.#but i felt really passionate about it out of nowhere.#so here we are #for later

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x0401x · 5 years ago

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Is no24 good

Okay, this took me a while to answer, so sorry for the late reply! And sorry for not putting a read more. I'm on mobile.

That's kind of a difficult question because I honestly don't know whether it's actually good or not. It's an original anime, so there's no source material to see more of its contents, and just one episode wasn't enough for me to decide whether or not I'll stick with it. The animation, art style, soundtrack, sceneries and narrative are pretty good, but there's a number of things that made me very wary of this show, so right now, I'm sitting on the fence. I'll list down the points that caught my attention so you can evaluate whether or not it's worth your time.

First, the bad ones:

1. It's extremely, unabashedly fatphobic. This is probably what turned me off the most in episode one. There's this one character who's actually a very nice but slightly overzealous junior of the protagonist, and it was honestly painful to see the way that the creators treat him. He's good-intentioned and energetic, and often sings his seniors' praises, yet there are many scenes that highlight unpleasant facts about him, which are all connected to his weight. For example, sweating a lot or having difficulty to pass through narrow spaces, or worst of all, that he stinks. This one made me seriously mad. I'm honestly hoping there will be some sort of scene later showing him playing a big part in something that will be of great help for the team (or at least for the protag) and that this will make everyone realize his true potential. But I won't raise my expectations because he's surely just a minor character. I feel really bad for him, and it's pretty hard to get attached to any of the characters who occasion act like he's a nuisance.

2. Some characters look too childish. I mean, I can totally understand that people look like they're fresh out of high school during their first year in college, but that's not the case with the main character, and a few of the characters look straight-up like middle school kids. It's weird, specially when you think that the audience is supposed to feel charmed by their looks.

3. The pacing is a little fast. A lot happens in just one episode, and it's a bit hard to empathize with the characters while keeping up with the issues presented when you don't even know why you should be caring about them in the first place. So far, I've only managed to get attached to three or four characters even though dozens of them were introduced.

Now, for the good ones:

1. The storyline is fairly original. This normally earns points in my book. I won't go too much into detail, but first things first, it's very rare to see a sports anime centered on adult characters, who are college students, rather than teenagers. The premise is that the protag was involved in a motorcycle accident and got severe hernia, so he can no longer play the sport he loves, which in this case is rugby. He has gone through intensive rehab for many months and now has to repeat a year. In order to help his team and stay as close as he can to the field, he starts training to be the club's manager. That of course means heavy work, which he shouldn't be doing but does either way because it's all he has now. He screws up at first and is aware that he must look lame in the eyes of some teammates, but he continues doing what he thinks is best. I've never seen a plot like that before, so kudos to the writers for that sparkle of creativity.

2. The main character, Natsusa, is also pretty different from any I've ever seen in a sports anime. Girly name, girly face, but no one makes a fuss about it. He's passionate about rugby and was good at it, but he's no genius with miraculous talent that everyone is jealous of, no authority figure with exemplary discipline, no nerd with hidden skills that only work for specific moments of the game, and yet he's most definitely not what you could define as "normal". He's the idol type, and it shows both in his looks and personality. This is normally the kind of person that men hate, both in anime and real life. But he has leadership and persuasion on his favor, so he's liked by juniors and seniors, except one particular guy whose motives we don't know yet. He's also very perceptive and tries to do what he can for his teammates, going around helping them solve their respective problems, rather than the whole club's teamwork centering only on his issues for some reason and all of the members going through unnecessarily dramatic trouble to help him solve his problems instead. Natsusa tries to face his obstacles with positivity and optimism, so he doesn't lose face. In other words, he's not hotheaded, geeky, aloof or overly innocent like most sports anime protags, but fragile-looking yet charismatic and shrewd. He's also apparently from a functional family and it looks like both of his parents are alive. Also, rather than having one best friend who's like an overbearing mom and one rival who's always pushing his buttons, he has two best friends, one who's caring but not obsessive, and one who has seemingly screwed up big time. But Natsusa himself holds no grudges against him from what we have been shown, so there's probably more than it meets the eye to the whole situation. I like that breath of fresh air, though some of the cuteness in Natsusa is annoyingly exaggerated at times.

3. The characters seem generally less cliché and more human than average in this one. They have differing body types and not all of them are conventionally attractive. Moreover, you can tell they have underlying personal issues that are realistic and more drastic than the usual stuff, which involve health and sometimes cause them to give up things they love. Kudos for that realism, and I commend the narrative for throwing bits of info in the right places and doing foreshadowing the right way. And who knows? Maybe this also involves family problems and whatnot. It seems like a story about overcoming these issues and moving on in unexpected ways too, and if so, I hope it keeps up like that. The opening made me fear that I was going to watch a show about an idol group camouflaged as rugby team and I was scared shitless for a second, but I'm glad to have been betrayed on that matter.

Other than this, there's a lot of gay subtext going on, as one would expect, but I'm not sure what to think of it. It's open and heavy, even more than the doses of fanservice you'd find in most series. I'm praying that it'll turn out to be more than just that, but again, this show is clearly full of female fetishes, so I won't get my expectations up.

I hope this wall of text wasn't a pain to read and that it answered the question! If not, feel free to come back anytime.

#number24 #number 24 #yuzuki natsusa

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amphtaminedreams · 5 years ago

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50 Films You’ve Got to Watch

Hi to anyone who’s reading,

I thought I’d take a break from the fashion posts to ramble on about something else that I’m really interested in for a hot minute. And I say ramble with intent, because I do go ON.

The topic is film and I thought that I’d make a list of my 50 must watches. These are movies that I feel had the biggest impact on me which means, yes, I do have tattoos referring to a couple of them, lol. My genre of choice is usually horror and although there has been a bit of a “horror renaissance” and a shift towards prioritising good quality storylines over jump scares in recent years, on the whole, they typically aren’t the most highbrow films out there, so there aren’t THAT many on this list. Most of the horror films I listed are just genuinely good quality rather than a straight-up gorefest or anything too terrifying, however, I’m not that easily scared so if you did fancy watching any of the films I mentioned, take that with a slight pinch of salt!

Also, this isn’t anything to take too seriously. I really like movies and cinema but I’m also not a movie critic and this is more of a hobby than something I want to pursue. Like, I’m completely aware of how unrealistic working in TV or film is as a career if your family isn’t loaded. Very aware. Painfully aware you could say (imagine me sighing as I’m writing this). That being said, part of me does want to do a ranking of every film I’ve seen in 2019 at some point this year, so if anybody else is interested in this kinda thing let me know!

Lauren x

50 Films You’ve Got to Watch:

1. Black Swan (2010)

“I felt it. Perfect. It was perfect.”

I watched Black Swan years ago now and I still remember how disturbing I found it and how exciting that was to me. I was probably a bit too young (young enough that my mum felt it necessary to cover my eyes during the Natalie Portman/Mila Kunis sex scene, lol) but even then I could recognise that it was a beautifully haunting film and Darren Aronofsky has gone on to be one of my favourite directors.

2. Jennifer’s Body (2009)

“And now, I'm eating your boyfriend. See? At least I'm consistent.”

Engrave it on my tombstone: JENNIFER’S BODY DESERVED BETTER. I fully believe that if this movie was released in 2019, it wouldn’t have faced half the criticisms it did back in 2009. It genuinely was ahead of its time. Megan Fox? As a boy-eating, demonic cheerleader? And Amanda Seyfried? Some of the most ICONIC DIALOGUE EVER? It should’ve invented a GENRE. Instead it got paid DUST. Yes, when I write in caps lock, my internal voice is YELLING. I feel passionately about this, okay?!

3. La La Land (2016)

“I guess I'll see you in the movies.”

Again, maybe it’s a basic film bitch opinion to have but I adored La La Land. I saw it at the cinema and spent the last 20 minutes of the film sobbing, only to find my mum and sister distinctly underwhelmed. I indignantly ranted back then to them how perfect a film it was and I’m going to do the same thing now so if you are reading and you didn’t like it, then you should probably just move on because I wouldn’t want to read myself banging on about Emma Stone again for several paragraphs either (don’t worry, I’ll try and keep it to one). I can’t help it. This film was just TOO REAL! Like, in every way but the actual plot and characters, La La Land has the dreamlike quality of a fairytale. The colours are rich and thick and always complimentary, the musical sequences are either like Disney songs or lullabies, and Emma and Ryan Gosling are made for each other. But then life and ambitions and resentments get in the way. And that’s the real part! That’s why it’s so bloody good!

4. Easy A (2010)

“People thought I was a dirty skank? Fine. I’d be the dirtiest skank they’d ever seen.”

And so we arrive at the movie that actually began my love affair with Emma Stone. Iconic. Iconic in every way. The bad reputation montage is cinematic excellence. For real, though, this is so underrated as a coming of age movie. Like don’t get me wrong, Mean Girls is everything (I easily could’ve included it on this list but I feel like it’s just a given that anyone who grew up in the noughties loves that film) but Easy A deserves just as much credit. It has Penn Badgley, one of the few celebrity males I care about! Amanda Bynes! Aly Michalka! Lisa Kudrow! Did I mention Emma Stone?

5. Kill Bill (2003)

“Now, if any of you sons of bitches got anything else to say, now's the fucking time!”

If I had to put any of these films as my singular favourite, it would probably be the first Kill Bill. Controversial, I know; even my dad introduced it to me as the weaker of the two. To list any Quentin Tarantino movie as the one that inspired you to want to be a director is probably a very cliche film student thing to say BUT I’m not a film student and I’ve put my directing pipe dream permanently to one side, thus, coming from me it’s not as hackneyed a statement. Or so I tell myself, lol. Basically, I was in awe of Kill Bill from start to finish. The colourisation is a dream, from the crazy 88 scene to the final fight between The Bridge and O Ren Ishii, and I particularly remember loving the animation sequence despite that not really being my kinda thing. I was just so impressed with how seamlessly something so out of place, considering the live action format of the rest of the film, fit in with everything else; even the scenes that should be absurd instead work with the comic book style narrative. Uma Thurman is of course amazing and iconic af but Lucy Liu as O Ren Ishii is my favourite thing about this film and the line I chose gave me all the bad bitch energy I need to, I think, get me through the rest of my time on this planet. If not, the tattooed version of this still I have on my arm should hopefully do the job. Yep, I truly ascended to a divine level of basic film hoe with that life choice.

6. Marie Antoinette (2006)

“This, Madame, is Versailles.”

The first Sofia Coppola film on this list, I love this woman’s work to death. Regardless of the content she’s working with, the end result always gives me the feeling I’m watching an extended music video. They always have this almost dreamlike quality to them and everything from the colour palette to the camera movements to the soundtrack in Marie Antoinette is tied together perfectly.

7. Mother! (2017)

“You never loved me. You just loved how much I loved you.”

I was tense throughout the entirety of Mother. As a socially anxious, obsessively tidy control freak, this whole film was like something from one of my nightmares; think unwanted house party on crack. I was mentally screaming along with Jennifer Lawrence for all of those people to get out, whilst simultaneously just staring at her face because she is so fucking gorgeous! Even when she’s completely lost it! Totally unrealistic but it makes for some really pretty shots! And then there’s the ending which left me kind of like “what the fuck did I just watch?” Which is what Darren Aronofsky films do best. They’re terrifying but also quite beautiful and Mother is no exception.

8. Gerald’s Game (2017)

“Everybody's got a little corner in there somewhere. A button they won't admit they want pressed.”

I finally got round to watching this for the first time the other day and I absolutely loved it. It probably helps that the last Stephen King adaptation I saw was Pet Sematary, so despite the praise this got at the time, my expectations weren’t super high, but I think this really is a perfect horror film. It’s clever, doesn’t rely on jump scares, and the creepy scenes that are in there really get under your skin. It drags a little in the middle though it’s beautifully shot, acted and has one of the few “body horror” scenes in a horror that’s actually made me cringe.

9. A Beautiful Mind (2001)

“I think that's what it's like with all our dreams and our nightmares, Martin, we've got to keep feeding them for them to stay alive.”

I don’t want to say too much about this film and spoil the plot, so I’ll just say that it’s incredible. Devastatingly sad but also wonderfully hopeful at the same time, and solidified my interest in psychology! I could watch Jennifer Connelly all day.

10. Alien (1979)

“This is Ripley, last survivor of the Nostromo, signing off.”

As a horror fan, I don’t think I need to explain why this film’s on the list. It’s been raved about and video essayed and called a pioneer of the genre ad nauseam. Again, not that this is really anything new but part of what I love about this movie is the context of its release and success; before Sigourney Weaver’s portrayal of Ellen Ripley, it was a rare occurrence to have a female protagonist in an action-based movie. Alien really paved the way for women to take up space in a previously male-dominated genre.

11. 10 Cloverfield Lane (2016)

“Crazy is building your ark after the flood has already come.”

I saw this for the first time at the cinema and pretty much went in blind. I hadn’t seen Cloverfield but I love Mary Elizabeth Winstead (Final Destination 3 was always my favourite of the franchise, lol) and there wasn’t really anything else on worth seeing, so my sister and I chose this and it was an experience. Like, of all the films on this list, this is probably the one that had me most on edge and I’m not sure watching it on your laptop on Putlocker will do it justice. You need the curtains pulled to, the volume way up and complete silence.

12. American Psycho (2000)

“Try getting a reservation at Dorsia now, you fucking stupid bastard!”

There isn’t a dull moment in American Psycho. Every line is quotable and every scene is straight to the point. I feel like this film is a masterclass in that Stanley Kubrick quote about editing where he says he liked to get rid of everything that was not absolutely vital to advancing the plot or the audience’s understanding of the character in any way. Plus, the ending is trippy af! Or maybe I’m just a bit oblivious to something that was quite obvious throughout, who knows. Either way, what the final scenes really mean are fun to think about.

13. The Descent (2005)

“I'm an English teacher, not fucking Tomb Raider.”

Okay, so I literally just watched this the other day and had to begrudgingly remove Silent Hill to make space for it (I KNOW it was critically panned and I KNOW the video game is better but I liked the visuals, OKAY!?) because The Descent is truly one of the best horror films I’ve ever seen. Before we even get to the supernatural element of the creatures, which are genuinely creepy for once, there’s a party bag of other phobia-inducing sequences that had me emotionally exhausted within the first half hour alone. Claustrophobia, darkness, heights, actual cringeworthy body horror, The Descent has something for everyone. The way it utilises space (or lack of for that matter) and darkness and panicked camera pans makes you feel as if you are really down in the cave with the characters. To add to that, I was actually rooting for all of them too; it probably helped that they were English rather than the typical American slasher cast but I found them to be a believable and likeable group of women. I truly did want them all to get out alive *spoilers*, which only made the ending all the more devastating and although the general narrative is quite predictable, the way in which things get wrapped up left just the right amount of shocks and questions to leave you reeling.

14. Eighth Grade (2018)

“Gucci.”

No film has ever captured what it’s like having social anxiety during “high school” (it’s called secondary school here in England, I know, but you get me) better than Eighth Grade. A tribute to the feeling of never quite fitting in and wishing you knew how to do what everyone else seems to be able to do naturally, it encapsulates that awkwardness with an accuracy that is really impressive considering that 1. it’s Bo Burnham’s first film, and 2. he’s not...like...a 13 year old girl. It is just as funny as it is sad and Elsie Fisher is great and so, so believable. Girl should’ve won some kind of Oscar.

15. American Beauty (1999)

“I don't think that there's anything worse than being ordinary.”

I wavered on whether or not to include this film on the list due to the Kevin Spacey controversy and decided that I had to with the disclaimer that I watched it quite some time before the stories about him came out and won’t ever watch any of the new things he inevitably ends up doing (because Hollywood has a notoriously short memory when it comes to the actions of disgraced male actors, lol). You can’t deny the amount of talent and skill that went into making a film so graceful and elegant and yet in equal parts unnerving, and I don’t think we should refuse to acknowledge the achievements of everyone else on that set because of Spacey’s behaviour.

16. Bandersnatch (2018)

“The past is immutable, Stefan. No matter how painful it is, we can't change things. We can't choose differently with hindsight. We all have to learn to accept that.”

As I was watching/playing through Bandersnatch, I didn’t necessarily love it. I think I’m echoing a common sentiment when I say that I was kinda confused. I was desperately trying to *spoiler* avoid the option of the protagonist murdering their dad (he seemed like a nice guy!?) but somehow always ended up there by their logic. So I watched most of the endings and then I went on and busied myself for the rest of the evening. AND I COULDN’T STOP THINKING ABOUT IT. One minute I was completely deluding myself into believing the whole parallel universes thing was true and that I should test it out (don’t ask), and then the next I was thinking how disturbing it was that we’d been basically been inside the head of a person experiencing a mental breakdown severe enough for them murdering their dad, who had only ever wanted to help when you think about it objectively, to seem rational. The confusion started making sense within the context of the experience of the protagonist and our role as the audience and though I hadn’t realised it at the time, I’d been completely absorbed in the episode. Maybe the confusion wasn’t intentional, maybe I’m giving Charlie Brooker too much credit based on the recent couple of series of Black Mirror BUT I can’t deny that Bandersnatch left a huge mark on me, and after all, this is the man who wrote White Christmas.

17. Get Out (2017)

“White girls. They get you every time.”

Going into this film, I was cocky. I’ve gotten pretty good at predicting what’s going to happen in things, probably just because I watch too much TV, but from the trailer I was sure I knew exactly what was going to happen. And then, I was completely blown away. The ending was SO SMART, in terms of both the within universe storytelling and also the metaphorical narrative/commentary on the way our society treats black men and women. Like those early episodes of Black Mirror, it had me like “how the fuck did Jordan Peele think of that!?”. I can only dream of being as creative in my writing one day. Even little plot points like where the “police” car turns up at the end and your stomach sinks and you realise the intention of that is most likely to help you empathise with what the average African-American person feels in their day to day life when police make themselves present, what with institutional police brutality and racial profiling; it’s clear so much thought went into this script.

18. Ghost Stories (2017)

“It's funny, isn't it? How it's always the last key that unlocks everything.”

I don’t have all too much to say about this one apart from that I love a well-constructed English horror. I feel like it’s something we don’t do all too often and to be honest, I’m struggling to think of many English horror films in the first place. Ghost Stories is a great example of why we need more; it’s smart and spooky and folky without hitting you over the head with all those elements and Andy Nyman is a perfect lead. Love a bit of Martin Freeman too.

19. Girl, Interrupted (1999)

“Crazy isn't being broken, or swallowing a dark secret. It's you, or me, amplified.”

Maybe this is the 13 year old black and white Tumblr girl in me jumping out but I still adore this film. I know it’s not necessarily the most critically well received but Winona Ryder, Angelina Jolie and Brittany Murphy are 3 of my favourite actresses and I do love the script. I also like the way that Borderline Personality Disorder was characterised in Winona’s character Susanna (I’m wavering on whether to call her a character as if I recall correctly the book was based on the author’s real experience) in that it was quite subtle and that she wasn’t portrayed as manipulative, or aggressive or basically, as the villain, which I feel is usually the go-to. It focussed more on the mood aspects and the way that people with BPD tend to latch onto and idealise others, as Susanna does with Lisa, and these are both things that I have personally struggled with in the past.

20. Hereditary (2018)

“All I do is worry and slave and defend you, and all I get back is that fucking face on your face!”

It was hard to find a quote that encapsulated what makes Hereditary so great because so much of it is about what isn’t said, if that makes sense. It’s a lot of pained silences and resentful looks and horrified screams, and doesn’t that sound like a fun time? Honestly, it’s not necessarily, lmao. Shocker. It has you feeling like something awful is about to happen the whole time, deep in the pit of your stomach, but I like that in a film, when it does make you properly feel. Ari Aster gets slow-burning dread just right in his exploration of dysfunctional families and grudges, with a few heart-sinking shocks thrown in for good measure all without overdoing the jump scares. There are a lot of deeply unnerving “supernatural” moments but there are just as many horrifically realistic familial conflict scenes that give you that whole “something is wrong” gut instinct in equal measures. It’s been a year and I’m still so angry that Toni Collette didn’t get an Oscar nomination for her performance, because it was really the perfect opportunity to break down the invisible wall between horror and critical recognition. On a more positive note, I loved Midsommar too (not as much as Hereditary but it was still a trip) and I cannot wait to see what Ari Aster does next. Once again, I’ll be in the cinema on opening night.

21. Heathers (1988)

“Dear Diary, my teen-angst bullshit now has a body count.”

Heathers is iconic in every way: the outfits, the cast, the lines. I mean, the acting can be a bit iffy at times but I honestly think that without Heathers, Jennifer’s Body might never have existed and that’s a world I wouldn’t want to live in. There was so much choice when I was picking a line to summarise why I like it so much and of course, “fuck me gently with a chain saw, do I look like Mother Theresa?” deserves an honourable mention. You almost made it bby. The TV remake? We don’t speak of it.

22. Hot Fuzz (2007)

“The way we see it, it’s all for the greater good.”

It might not be the “artiest” movie ever but I’ve seen Hot Fuzz so many times and it never gets old. Though I used to love it when I was younger purely for the PG-13 gore, now I appreciate it for the absurdity and the ridiculousness and to be honest, the total believability of the plot when it comes to towns ruled by low-key hostile, doddery old white people. I should know, I live in one.

23. Inglourious Basterds (2009)

“You probably heard we ain't in the prisoner-takin' business. We in the killin' Nazi business. And cousin, business is a-boomin’.”

I wish I wasn’t a hoe for Quentin Tarantino films (I’ve felt personally attacked by many a poundlandbandit starter pack) but I am. The breakneck pacing, the tongue in cheek dialogue and the gore all make this one of my ultimate favourites. Also, I have a huge crush on Melanie Laurent. Yes, it’s the French accent. No, I don’t know the mechanics of how that works. I hear someone speak French and I want to marry them! I can’t help it!

24. Ingrid Goes West (2017)

“Are you actually insane?”

This seems like a random choice to have on the list seeing as it was never really that hyped up, nor did it receive masses of critical acclaim. It did get positive reviews but that was about it. However, as soon as I saw the trailer, I knew I had to see it. Months, and an £8 purchase from HMV later, I finally got to watch Ingrid Goes West and I loved every moment of it. Whilst Aubrey Plaza’s character, I feel, is an exploration of a lot of young women’s insecurities and self-doubts and fears, blown up to monstrous proportions (or maybe just mine, lol), and a 90 minute film about that doesn’t sound all that revolutionary, this one is as intense as it is stylish and darkly comedic and that’s what puts it on the map for me.

25. Insidious (2011)

“I like to call them travellers.”

So this film scared the ever-living SHIT out of me when I was younger and though I now consider horror my favourite genre and watch it on the regular with absolutely no qualms, 13 year old me was (not to use the world lightly) mildly traumatised. I genuinely couldn’t be home alone by myself or sleep at night without thinking the old woman ghost from the beginning was outside my room for a good 6 months or so. Like it literally exacerbated an already present sleep disorder to the point where my understandably frustrated-at-being-woken-up-nightly-by-her-panicking-daughter mother got me referred for CBT (to reflect on a time when I didn’t know what CBT or CAMHS was is…blissful, lol). And maybe because of that, in my mind, I still conceptualise it as one of the very few horror movies that has actually scared me, hence its place on the list. That scene where we first see that Star Wars looking red faced devil? I’d probably still nope out even now.

26. It Follows (2014)

“It could look like someone you know or it could be a stranger in a crowd. Whatever helps it get close to you.”

There’s not too much to say about It Follows, other than that it’s a good horror film and more importantly just a really good film. I feel it’s a crucial, early part of this warmly welcomed horror renaissance we are now fully in the thick of where writers are focussing less on making people gasp and more on actual good quality cinema. It’s a simple concept that leaves enough room for you to ask your own questions whilst still feeling somewhat complete, and not annoyingly open-ended. The shots are good, the characters are normal enough to be believable, and the colour palette is Fincher-esque; the muted tones perfectly complement the feelings of dread that run throughout. Whilst you don’t need to be concerned with what the whole thing is a metaphor of in order to enjoy the film, the possibility of there being that second reading of the narrative, for me, elevate it to a higher level. In other words, it’s got *Shrek voice* layers.

27. Juno (2007)

“I'm just gonna go ahead and nip this thing in the bud. Cuz you know, they say pregnancy often leads to…you know...an infant.”

I love Ellen Page. I love Michael Cera. Together they are the best thing ever. See, I’m not really much of a rom-com girl but I see this as less of a rom-com and more of a coming of age film with romantic snippets and great one liners. It’s sweet and whimsical and funny but also really fucking real in parts, and it’s definitely what I would consider a modern classic. If you haven’t watched it already, do!

28. Suspiria (2018)

“Love and manipulation, they share houses very often. They are frequent bedfellows.”

Witches! Ballet dancing! Decapitation! Tilda Swinton! What’s not to love? As soon as I saw the trailer for Suspiria, I knew I had to see it. Creepy but also beautifully shot and scored, it was worth the 8 month wait from the Venice Film Festival and eventual caving and watching on 123Movies after I couldn’t find the DVD on Amazon; I finally got to tick it off my watch list only to like it so much I had to add the original Suspiria back on.

29. Mulholland Drive (2001)

“I hope that I never see that face, ever, outside of a dream.”

Another film which had me like WTF by the end, I really recommend Mulholland Drive for anyone who wants to be vaguely creeped out and extremely confused at the same time. See, I really love a film where you spend the next few hours after watching researching all the different interpretations and reading interviews with the director. That sounds sarcastic, but honestly, I love it. It’s a moody, film-noir style mindfuck of a movie and even after doing my research I’m still quite baffled. That’s the best part.

30. Requiem for a Dream (2000)

“Purple in the morning, blue in the afternoon, orange in the evening.”

It took me a while to get on board with seeing Marlon Wayans in a serious role (I’ve seen White Chicks far too many times, clearly), but once I did, I was into it. To be totally honest, I don’t think there’s a single happy moment in this film; it comes up quite frequently as one of the most disturbing of all time, which I’m sure Aronofsky probably thinks of as another notch on his belt. Whilst imo, that’s quite a grandiose claim, Requiem for a Dream definitely stuck in my mind after I watched it. Even if you’ve never watched the film, the ending sequence is notorious for how fucked up it is and I do think it’s earned the infamy. What stuck out more to me, though, was how purposeful every shot and sequence felt in terms of trying to let you into the character’s states of mind, the short lived bursts of euphoria and the panicked downwards spirals. I think it will always be one of the most compelling films about addiction for highlighting how terrifyingly out of one’s control it can be.

31. Room (2015)

“No one is strong alone.”

This film made me cry buckets. Brie Larson and Jacob Tremblay are wonderful, and everyone involved deserved all the Oscar hype. Every line was so heartfelt and emotive, and I loved Tremblay’s voiceovers. To translate the stream of consciousness of a kid from page to screen in a way that it remains believable in spite of its wisdom (not like those tweets where people try to make out their kid just casually made some off the cuff scathing political jibe at the dinner table) is quite the feat and similarly, I’m in awe of how the director managed to communicate the pain and confusion of the characters on a level that transcended the physical confines of said room. The escape scene had my heart in my mouth. All this being said, I should really read the book because it’s supposed to be even better.

32. Scott Pilgrim Vs. The World (2010)

‘When I'm around you, I kind of feel like I'm on drugs. Not that I do drugs. Unless you do drugs, in which case I do them all the time. All of them.”

Michael Cera and Mary Elizabeth Winstead are two of my favourite actors and so it’s a given that Scott Pilgrim is one of my favourite films. It’s such a fun, easy watch and the video-game inspired directorial style makes it, in terms of cinematography, probably the most memorable Edgar Wright film on this list imo. The concept, based on the graphic novel, is quite a simple one but that doesn’t stop it being entertaining from start to finish. The rest of the cast is great too: Brie Larson, Anna Kendrick, Mae Whitman, Aubrey Plaza and Alison Pill (Ivy from American Horror Story, anyone?) All make appearances, plus Chris Evans. He’s Captain America or something, right?

33. Scream (1996)

“No, please don't kill me, Mr. Ghostface, I wanna be in the sequel!”

The Scream movies were my absolute favourite when I was just getting into “horror” as a 13/14 year old because they were always pretty tame in terms of scares but nonetheless, always a trip. Though, controversially, I’d probably say I enjoyed Scream 4 just as much as the first one (I am a bit of an Emma Roberts stan), I chose the first one purely for how iconic it was and how ahead of its time. It mixed satire and horror in a way that hadn’t really been done in such a mainstream way before and made it possible for films like Cabin in the Woods and The Final Girls to do so well.

34. Shaun of the Dead (2004)

“Take car. Go to Mum's. Kill Phil, sorry, grab Liz, go to the Winchester, have a nice cold pint, and wait for all of this to blow over.”

I’ve seen Shaun of the Dead way, way, way too many times and I’ll still probably watch it again the next time ITV decide to show it too. It makes me laugh, it’s got lots of good gore and it’s easy to follow. The perfect film to put on whilst eating a take away, as long as you’re not too squeamish, lol.

35. Silence of the Lambs (1991)

“Well, Clarice. Have the lambs stopped screaming?”

Jodie Foster’s portrayal of Clarice Starling makes her one of my favourite movie heroines of all time; quietly courageous, she was the type of female lead that really hadn’t cropped up all that much in the films that came before Silence of the Lambs. And despite its problematic handling of certain issues, it’s a fucking incredible film. The thing about Hannibal Lecter is that they don’t have to tell you that he’s always one step ahead, you see it for yourself (the elevator scene!) and so it kinda feels like he’s looking into YOUR soul too. The confrontation at the end between Clarice and Buffalo Bill is one of the most nerve-racking 15 minutes or so of film I’ve ever watched, and if I ever get asked to justify why I’m scared of the dark again, I’m going to point straight to this scene. Yes, I’m a baby but my fears are VALID!

36. Silver Linings Playbook (2012)

“I do this! Time after time after time! I do all this shit for other people! And then I wake up and I'm empty! I have nothing!”

As you can probably tell from my inclusion of Mother! on this list, I love Jennifer Lawrence, and this is probably my favourite drama film of hers. The way that she and Bradley Cooper portray two people struggling with mental illness is refreshingly honest in that it shows it can make you quite an unlikeable person at times, albeit someone who is just trying their best to survive. That being said, in spite of the subject matter it’s still a relatively light and easy-to-watch film. The diner scene in particular is a masterclass in realistic conflict and reaction, and I hate to be “ooo, edgy” but several of the lines did strike a really deep chord.

37. The Babadook (2014)

“Sometimes I just want to smash your head against the brick wall until your fucking brains pop out.”

The best thing that the Babadook does, much like It Follows, is instils a sense of deep seated dread in you before you even see the supernatural forces at work. The washed out colour palette, apparent emotional disconnect of Jennifer Kent’s (who also directs!) character, and the disorienting movements of the camera all help to create a lingering unease that is just as effective as the grossly uncanny appearance of the monster/ghost/creature/whatever-you-want-to-call-it himself. It’s obvious that Kent had a very clear vision of the story she wanted to tell and even more so that she is a very talented woman; I hope to see even more female directed horror films in the future if the Babadook is anything to go by. The way this film blurred the lines between the inner struggles of a grieving family and the outside supposedly paranormal influence was unsettling as fuck and to get into the psychology of a mother left on her own to raise a small child and how terrifying that might feel is something only a immensely intuitive and empathetic woman could do. Props to her.

38. The Craft (1996)

“We are the weirdos, mister.”

Not to sound all halloween-is-the-only-day-of-the-year-I-care-about VSCO girl (although that might actually be quite an accurate description of me to be honest), but if there’s one thing that sticks in my mind about the craft, it’s the aesthetic. It’s kind of what I aim to emulate in every aspect of my life, NBD. Seriously, when I was trying to pick a still, I was spoilt for choice. The rituals, the outfits, the witchy interiors; there’s this one GIF of Nancy, Rochelle, Bonnie (and maybe Sarah?) lighting all these gorgeous candles and if I could walk around with it permanently looping on my forehead, I would. And ignoring my shallow reasons for liking The Craft, it’s just a really good film. Nancy Downs is probably one of the most interesting female villains of all time and I’m obsessed with anything that explores magic and the occult. It’s equal parts dark and girly, not to use that in a derivative way at all, in that not only does it teeter on the line of being scary, it’s also a gritty exploration of female friendship, power and jealousy. If you are a halloween-is-the-only-day-of-the-year-I-care-about VSCO girl, definitely watch it; more power to you.

39. The Favourite (2018)

“All I know is, your carriage awaits and my maid is on her way up with something called a pineapple.”

I’d seen The Favourite twice within, like, a month of it being released in British cinemas and I do not have a single regret about that; well, maybe a minor regret in paying over £12 to see it in the Leicester Square Odeon with the assumption that the extra price meant fancy seats (it didn’t), but on the whole, I’m pretty happy with my life choices. Emma Stone, Olivia Colman, and the period Mean Girls comparison drew me in but I came back the second time for the costumes, the dialogue, the editing and Sarah Churchill, Duchess of Marlborough. Or Rachel Weiss, in other words. See, The Favourite is superbly casted in that Yorgos Lanthimos must have known we can’t help but see Emma Stone as the “good girl”/protagonist and so it took me a whole second viewing to see her character for what she really was, and realise The Favourite is in some ways less a story of Abigail Masham’s rise to power and more the tragic disintegration of Sarah and Anne’s relationship. I’m sure you can view the film both ways but to view it as the latter brings a whole new dimension to it and the ending, imo. I’m not gonna lie, I didn’t go into the film expecting some vaguely historical lesbianism and that definitely made for a slightly awkward birthday viewing with my family BUT I wasn’t at all disappointed.

40. The Killing of a Sacred Deer (2017)

“If you dig a hole in the yard, better make it a big one.”

This film is slow-moving, weird and the acting can be stiff at the best of times, and yet somehow all these things add to the (take a shot every time I say-) dread that builds throughout. You don’t know exactly how things are going to end, but you do know it’s not well. Like in his latest directorial entry of The Favourite, Yorgos Lanthimos excels in the realm of the strange and vaguely fantastical through his script, score and cinematography, and so even though the settings are quite mundane, The Killing of a Sacred Deer kind of feels like some macabre modern fairytale, the moral of which I can’t quite work out. I can’t imagine anyone playing Martin more unnervingly than Barry Keoghan and I’m never going to complain about Nicole Kidman, but it’s the imagery of the tears of blood, Steven’s children dragging themselves along the floor and the ending scene that stuck with me long after the film had finished. If you’ve got the patience and you enjoyed the style of The Favourite, there’ll definitely be something positive for you to take away from The Killing of a Sacred Deer.

41. The Orphanage (2007)

“Seeing is not believing. It's the other way around. Believe, and you will see.”

When I was first told by my year 11 Spanish teacher that we were going to be watching The Orphanage in class, I definitely didn’t foresee myself including it in a top 50 films list 5 years later and yet here we are. I mean, I shouldn’t have been surprised really as she did tell us it was good and I had frequently seen it included in lists of the best horror films but as with pretty much anything our teachers would put on as an excuse not to teach for a few lessons (I’m really NOT complaining here, they deserve the break and I would definitely do the same, lol), my expectations were definitely low. Side note, I also since found out that Bilbao seems like a pretty cool place and there was a reason she kept banging on about that too, and so moral of the story, teachers do sometimes have some decent recommendations BUT my assumption was that The Orphanage must be pretty tame for her to show it to us. Parents-even of 16 of year olds-love to complain, lol. And to be fair, it isn’t so much in your face scary so much as it is kind of tragic with an undertone of spooky but I really enjoyed it. I want to say that part of what I enjoyed about it so much was the mystery element but honestly I think a lot of that comes from the fact that it’s in Spanish so I had to work to follow what was actually going on.

42. The Ring (2002)

“I can't imagine being stuck down a well all alone like that. How long could you survive?”

The Ring does visuals better than any other horror. The contorted faces of Samara’s victims, the infamous tape and the shots of the well all have a staple in pop culture for a reason. Whilst I don’t find Samara herself particularly frightening, the lore and mythology surrounding her feels so authentically creepy; the tape in particular reminds me of the kind of weird YouTube video you might stumble across when you’re supposed to be trying to get to bed late at night and instantly hate yourself for watching. Naomi Watts is a compelling lead and though I was probably rooting for Sarah Michelle Gellar in the American remake of the Grudge more (I still low-key associate her with the live-action Scooby-Doo and I have no shame), to compare other noughties horror classics, on the whole The Ring is definitely the better quality movie.

43. The Shawshank Redemption (1994)

“I guess it comes down to a simple choice, really. Get busy living, or get busy dying.”

The Shawshank Redemption is just an unequivocally good film. On paper, it doesn’t necessarily have any of the things that draw me to a movie in it, but it’s brilliantly acted, written and shot. It’s frequently cited as one of the greatest movies of all time and I think that’s a very fair statement.

44. The Shining (1980)

“Wendy? Darling? Light of my life. I'm not gonna hurt ya. You didn't let me finish my sentence. I said, I'm not gonna hurt ya. I'm just going to bash your brains in!”

I love The Shining. In terms of scares, not all that much happens in it, but what we do see (the corpse in the bath tub is fucking horrifying) undoubtedly leaves an impact. The score is so unnervingly perfect that I can still hear the sound that’s made when we see those 2…puppets? Costumed people? Basically some kind of weird furry activity-which believe me, makes sense if you’ve seen it-going on. And I only need to see a still of the Overlook Hotel and I can immediately feel the sense of claustrophobia and growing tension that Stanley Kubrick so effectively communicated. A lot of people shat on Shelley Duvall’s acting at the time and whilst she obviously didn’t match Jack Nicholson’s energy, she did come across as a woman genuinely traumatised which is sad when you do consider the effect that shooting the film had on her. With that aside, The Shining is a massively pivotal part of horror history and I’m very excited to see Doctor Sleep this year!

45. The Virgin Suicides (1999)

“Obviously, Doctor, you've never been a 13-year-old girl.”

It really is a toss up between Marie Antoinette and The Virgin Suicides when it comes to Sofia Coppola’s best film, and so of course I had to include them both. See, whereas Marie Antoinette could be the visual incarnation of an album like Marina and the Diamonds’ Electra Heart or Charli XCX’s Sucker (if you ignore the less than fortunate ending, lmao), The Virgin Suicides plays out more to the tunes of something less bubblegum pop and more breezy and mellow, maybe LDR’s Ultraviolence or Honeymoon. You could say in a way that this film romanticises suicide and you’d definitely have a point, but I think considering the fact that it’s based on a book and was made in a time when we were less aware of the damage popular media can do (I think there’s a similar point to be made about the way the villain of Silence of the Lambs’s gender is portrayed and linked to his motivation), I give it a pass. It does also kind of make sense for the film to take this approach; the Lisbon girls are viewed through the eyes of a group of boys who are infatuated with them but also ultimately know nothing about them. In a way, it’s almost a critique of the way these boys think and a commentary on just how stifling and confusing young womanhood can be. I think it’s a beautiful film and a perfect adaptation of Jeffrey Eugenides’ novel.

46. The VVitch (2015)

“Wouldst thou like to live deliciously?”

Is it sad that I have this quote tattooed on my back? Is it biased for me to say no? Because for me, just as much as the Virgin Suicides is about how stifling society’s expectations of young women and how they are supposed to think and act, The VVitch is about the demonisation of girls who go against this and how liberation and sexual freedom for so long were perceived as the result of some kind of satanic and deeply disturbing force at work rather than individual expressions of freedom and femininity. The ending is HAPPY, okay, and if you take away the misty, barren landscapes and the isolation and the paranoia and the baby eating witches and the accusations and the demonic goats, it’s kinda a dark feminist fairy tale to go against puritan panic. I mean, let’s be honest, *spoilers* Thomasin’s siblings were annoying AF. Not that I’m condoning child murder on any level, but you know. In a narrative context was it really so much of a loss when those little shits got the chop?

47. Thoroughbreds (2017)

“At the end of the day, I have a perfectly healthy brain. It just doesn't contain feelings. And that doesn't necessarily make me a bad person. It just means I have to work a little harder than everybody else to be good.”

I love Olivia Cooke. I love Anya Taylor-Joy. I love concise, cutting dialogue, the idea of middle class American social politics, and a little bit of (fictional, of course) murder thrown in there for good measure. Thus, I really love Thoroughbreds. If you watched it with the sound off, it’d be a Polo Ralph Lauren promotional film that gets really dark at the end, and what’s not to like about that?

48. We Need to Talk About Kevin (2011)

“What are these people watching, people like me?”

I still haven’t got round to reading the book this film was based on and I feel like that’s something I need to get on top of ASAP, because it’s been sitting on my shelf for a long ass time. However, based on the little I know about how faithful a film adaptation it is, I think Ezra Miller and Tilda Swinton were a wonderful pairing, and this is a film that’s all about the characters, so it’s a good job they were so well cast. Miller does a great job at getting right under your skin and answering a lot of my questions about what leads someone to commit the kind of horrific crime that his character, Kevin, does. Arrogance, done subtly, is hard to pull off but he nails it, and Swinton is very, very believable as a haunted, grief-stricken mother wrestling with the natural question of the part she played in her son’s actions and the scrutiny that comes with it. Not only that but from the offset, every part of the cinematography helps to convey the feeling of impending doom that builds right up until the climax. The colour palette in particular, which for the most part doesn’t stray too far from the mundane greys and bleak washed-out tones perhaps reflective of Eva’s state of mind, does a great job of foreshadowing what to come when it quite purposefully does take a diversion. It’s all about the red, apparently. Take note.

49. Whiplash (2014)

“Any fucking moron can wave his arms and keep people in tempo. I was there to push people beyond what's expected of them. I believe that is an absolute necessity.”

You honestly wouldn’t believe that a film about drumming could feel like a horror and yet here Whiplash is, leaving me on the edge of my seat and wincing for, like, 2 hours straight. Tonally it couldn’t be more different from the other Damien Chazelle film on this list (La La Land), and yet it flows just as seamlessly and has his same impeccable rhythm; every word, yell and snarl slots perfectly into place and every swivel of the camera is flawlessly executed. If you’re looking for an intense and fast-paced drama, I can’t recommend Whiplash enough.

50. Zombieland (2009)

“Twelve's the new twenty. Gun please.”

Zombieland has only one fault: that Jesse Eisenberg’s character wasn’t played by Michael Cera. But it has Emma Stone and Woody Harrelson so I’ll let it slide. Not much to say about this one other than it’s a wild ride from start to finish, but simultaneously easy to watch and probably the most lighthearted zombie film out there. Almost like The Hangover or something along those lines, but with the addition of the undead. It’s a hard film not to enjoy and I’m just really hoping they don’t fuck up the sequel.

DISCLAIMER: 90% of these stills are from Filmgrab, it’s an amazing website!

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smokeybrandreviews · 5 years ago

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Smokey brand Movie Reviews: I’m In Lesbians With You

It occurs to me that i don’t have a proper review of Scott Pilgrim on here. I really should work through the current backlog of films that i still need to watch; Uncut Gems, The Lighthouse, Parasite, Ready or Not, but i f*cking love Scott and his shenanigans so... Scott Pilgrim it is! Considering how much i love this film and the fact that I’m just going to be gushing about it for however long this review is, let’s just get this out of the way immediately: Scott Pilgrim vs. The World is an excellent movie and you should go watch it right now!

The Outstanding

Yo, before anything, can i just express how much i adore this f*cking soundtrack? My taste in music is varies wildly but, at it’s core, my heart beats for the Indie and the New Wave and the Post Punk. For this soundtrack to be packed with so much excellent, underground, indie fair? Oh, my goodness! It’s musical sex to me. Shout out to Nigel Godrich. Motherf*cker did the best of jobs on this one!

Even more than that, the way all of this music is integrated in each scene s absolutely brilliant. There’s not one note out of place or out of line. It’s rare that happens, so deftly that i actually recognize it. Usually, it’s all background noise to accentuate whatever scene but i legit took in everything.

While on the subject of music, i want to take a minute to acknowledge the sound design as a whole. Scott Pilgrim is based on a graphic novel, which i also love, so there is a rather kinetic energy that needs to be conveyed. It’s chock full of all the spastic nonsense us Millennials grew up with like Mario token sound effects and obscure cartoon references. Integrating certain sound effects like the random game noises here or there is absolute brilliance. It lends an air of authenticity to this adaption.

While i can gush about all of the audible genius for years, i would be remiss if i didn’t speak on the goddamn eye candy of this film. Holy sh*t is thing gorgeous! And not just the Evil Ex set pieces, even though those are absolute chaotic bad-assery, this entire film is a work of art. It really is. You can frame almost every shot in this thing, it’s that gorgeous.

Speaking of gorgeous, these costumes are amazing. A lot of them are ripped right out of the comic but they’re like, real clothes. Nothing feels cartoony or comic book-ish, it all feels organic to the tone of film and characters therein. Like, i wear the same kind of sh*t Scott wears. It’s all graphic tees and jeans with me, much to the chagrin of my darling missus.

The writing in this flick is absolutely brilliant. Like, seriously, nothing feels out of place, the dialogue feels organic, and the plot is a pretty decent condensing of the graphic novels original six volumes. I have interactions like these with my friends. I legitimately talk like this. Of course, there is a little polish on some of these line but, overall, it’s pretty on point.

All of this standout awesome can be traced back to the vision of it’s director, Edgar Wright. No one believed in this little experiment so he had carte blanche to create whatever he wanted and he did just that. You can tell there was a real love for this material and while not everything from the books made it into the movie, he did an excellent job of capturing the major beats and important aspects with his absolute mad style of movie making.

The cast in this thing is weirdly perfect. All of them. Every one of them. Seriously, it’s like a who’s who of young Hollywood from way back when, almost all of whom have grown into proper A-list talent and i love it! Alison Pill, Anna Kendrick, Jason Schwartzmen, Ellen Wong, Brandon Routh, and Mae Whitman are all excellent in their respective roles. There are, of course, standouts but before i get to them, i just what to acknowledge how great the casting is, overall, in this movie. You can feel the comradery onset and it’s reflected in the fact that there are no weak performances, at all, in this flick. F*ck, dude, there’s even a Thomas Jane and Clifton Collins cameo in this thing that feels absolutely at home!

This film would be nothing without the right person in the lead. Scott Pilgrim is a neuritic, self-centered, anxiety ridden, asshole of person but still lovable in a very dry and sarcastic kind of way. There are very few that can capture that energy so when i found out Michael Cera as cast in the lead, i knew this movie was in good hands. Every movie i have ever seen him in, Cera carries that energy expertly. He is he living embodiment of Scott Pilgrim. Like, this is MCU levels of casting, for real.

The second role you had to nail to make this work was definitely Ramona Flowers. You had a little more leeway with this one but i think they still nailed it with Mary Elizabeth Winstead. I’ve been a fan of hers since way back when she was in Sky High (I actually love that movie SO much) and even further back with The Ring Two, but that’s more a deep cut than anything. Anyway, Mary is perfect as Ramona and one of the best things about this movie.

So the performances of the Evil Exes are spectacular, Particularly Schwartzman’s. His Gideon Graves was just so smarmy and condescending and disingenuous you couldn’t help but hate his guts. Dude was awesome, no doubt, but he was outshined by what Chris Evan was able to create with Lucas Lee. That’s right, Captain America himself was in Scott Pilgrim as the first Evil Ex and he f*cking killed it! I’ve loved Evans for years. Not Another Teen Movie is actual one of my favorites and he was easily the best thing about those first two Fantastic Four films but you can see him shine in this role, even if it was only a few minutes.

It’s no secret i love Brie Larson. I’ve raved about her performances in the past but it was this movie that made me take notice. Her interpretation of Envy Adams was pitch perfect. It’s melodramatic and over-the-top but at the same time, incredibly vulnerable. Natalie has one hell of an arc in the book and it’s a little short-changed in the movie, but Larson makes gold with what she has to work with. Plus, she actually performs the cover to Metric’s Black Sheep. Those are her vocals and i find that to be absolutely dope.

Of course, you can’t talk about Scott Pilgrim without talking about his gay roommate, Wallace Wells. Dude is one of the best characters in the book and is an absolute scene stealer n this film, thanks to the deft hand of Kieran Culkin. It’s hard for me to praise gay character in cinema because cats always right them as caricature but Culkin’s Wells feels real and grounded, none of that Hollywood gay bullsh*t. Dude is a person that just happens to be gay and i love that.

And last but not least, Aubrey Plaza. There’s a little picture of Julie Powers that is the spitting image of Plaza. Like, her casting is as perfect as Scott’s casting. Seriously, she is what Michael Cera is to Pilgrim. It’s rare a cast in a film is so goddamn perfect. Even the MCU has had some missed but literally every one in this film is absolutely prefect and Plaza might be best of all.

Also, all of the LGBT representation. While the movie didn’t capture all of the many, many, sexual presentations, they didn’t shy away from some of the most prominent. Pilgrim’s roommate Wallace Wells, is extra gay and he has a myriad of boyfriends throughout both the book and film. Nothing too graphic, but there are scenes with them in bed and one pretty heavy make-out sessions early in the film. Hell, they even included Ramona’s one female Ex, Roxy Richter, in one of the best Evil Ex fights of the entire movie. Bravo film, bravo.

The Verdict

I said this in the beginning and just in case the previous gushing didn’t give you a clue, Scott Pilgrim vs. The World is a f*cking great film, man. It stands on it’s own as a wonderful coming of age story but it’s so much more than that. It’s a love story to music. It’s one of the best comic adaptions i have ever seen. It’s an ode to the Millennial coming-of-age journey. It’s a nostalgia bomb for kids my age, who did sh*t like play video games all day then spend all night in coffee shops that had live music and f*cking waffles. It’s an amazing representation, and unique presentation, of those early twenties when you aren’t sure of yourself or your direction or anything and you just want to drift through life for as long as possible. It’s heartbreak and new love and learning about who you are, deep down, not some shallow representation or facade. I love Scott Pilgrim because it tells a great story. It tells MY story. And it does it with a banging ass soundtrack, too.

#Scott Pilgrim vs The World #Scott Pilgrim #Smokey brand Movie Reviews

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eggoreviews · 5 years ago

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My Top 25 Games Advent Day 1 - The Last of Us (#25)

“Everyone I have cared for has either died or left me. Everyone… fucking except for you!”

Welcome, one and all, to the ultimate game you really can only play once. To be honest, there isn’t a hell of a lot I can say about this game that hasn’t already been said. It immediately picks you up and drags you on one of the bleakest, but still somehow hopeful adventures you’ll ever embark on. The Last of Us sees you take control of Joel, a former dad who loses his daughter on the first day of the fungus zombie apocalypse, who gets sort of forced into taking care of fungus immune Ellie, and the two of them embark on wonderful character arcs, both separately and together, that span the entire game.

The game functions both as a brilliant narrative piece and an incredibly effective horror, as the various forms of infected assailing you throughout the game, combined with the masterfully crafted stealth gameplay and dark, claustrophobic setpieces makes for one of the most immersive experiences you can find in gaming, even six years after its initial release. Moreover, the game doesn’t suffer from narrative fatigue at all, which is very rare for a game that places so much heavy focus on telling a constant story. Whether you’re focussing on Joel and Ellie’s constant struggle to find safe places to be, the stories of various other survivors you come across or sneaking and fighting your way through another horde of infected, this game will hook you in and won’t let you go until its climax. As is customary for a game as bleak as The Last of Us, it also doesn’t stray away from giving you an ending that simultaneously makes you feel relieved, but also hits you in the face as you see darker sides of the protagonists that take the narrative, and Joel and Ellie’s dynamic, to whole new levels. A game that has such a consistently strong narrative that scares you and connects with you emotionally, before tying all that off with an ending that genuinely leaves an impression and makes you think is so rare, this game deserves its place on that merit alone.

But hey, that’s not to discredit everything else that makes this game, you know, a game. Let’s talk gameplay. From start to finish, this game nails ‘easy to learn, hard to master’. Simple, smooth controls, a UI that’s intuitive and doesn’t at all break immersion, with stealth and combat that are both equally exhilarating. Not many other immersive experiences can compare to how genuinely terrifying it is to attempt to sneak a whole section of city suburb or underground subway full of clickers, but equally the adrenaline you feel beating back hoards o runners when you inevitably mess up a stealth section was enough to make me audibly scream sometimes. All this combined with one of the most brilliantly designed and integrated crafting systems I’ve ever encountered in a game, and oh boy wow I can’t put this thing down. Supplies aren’t impossible to find, but are so essential to survival that it encourages exploration of dangerous areas, which deepens that feeling of dread as you wrestle with risking your neck for a few extra shivs or med kits. The balance of difficulty here is perfected, and the crafting never feels too complicated as to take away from the overall experience. The world you explore in The Last of Us is beautiful in a way that’s haunting. Burned down cities overgrown with vines, toppled skyscrapers and twisting, infested subway tunnels paint a chilling picture of post-apocalyptic America. The overall visuals, for a game that’s turning six years old, are still absolutely stunning and I can see this holding up for years to come, with the amount of care and detail that went into this game, I can see why so many people herald it as something a bit like gaming’s Citizen Kane (might be a bit much, but people really do praise this). To match the atmosphere, The Last of Us is accompanied by a haunting soundtrack that flits between melancholy acoustic melodies and suitably spooky orchestral backing that always sets just the right mood for the scene the developers are setting.

Point is, it all just works. It’s a game that really exactly is the sum of its parts; everything about it is great, so of course the game as a whole is too. So why didn’t this make it higher on my list? I knew this game was good when I picked it up and, oh wow what do you know, it was good. For a game to be a big favourite, it usually has to take me by surprise; to grab my attention and make me remember it even if I really didn’t expect it to. Don’t take that to mean I like this game any less, because it was impactful and brilliantly made and it stayed with me enough to reach the edge of my list, but the vast majority of the rest of this countdown is going to contain some ever so slightly controversial/odd picks. So yeah, love The Last of Us, but as I said at the beginning, it’s a game I know I’ll only be able to play that one time. And that’s not usually me.

Standout Moment Award: The “boss fight” with the game’s closest thing to a human villain, David, as Ellie sneaking around a burning restaurant was the perfect culmination of everything established in the game up to that point, and more than locked this game in my list.

Standout Character Award: Ellie. An absolutely phenomenal character; brilliantly written, greatly resourceful with meaningful and believable relationships with near enough every other character and an overriding sense that you need to root for her over any other. Plus, she’s gay, so a plus for representation.

Tomorrow: No. 24; one bird’s quest to catch up on his reading list.

#eggoreviews #gaming #the last of us #tlou #tlou ellie #tlou joel #the last of us ellie #best games advent

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fridgewheatfield · 5 years ago

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Fridgewheatfield 2019 GOTY Awards

Normally I would go through the TGA nominations and give my thoughts on who the winner of each was for me. But 2019 kinda sucked for games imo, and I didn’t play very many. So instead, I want to highlight 5 games I really loved this year and give them each their own award. So here they are:

Best AAA Game: God of War (2018)

This game really took me by surprise. I got it in the Summer for 50% off and hoped it would scratch an itch that I knew a 3rd BOTW playthrough wouldn’t quite scratch. I didn’t expect much from it except for maybe some fun gameplay, since I had never played another game in the series, but it won a lot of GOTY awards in 2018, so I figured it was worth a try for the discount.

This game floored me. I was enamored from start to finish. The environments, the story, the characters, and especially the gameplay had me glued to this game for 10 hours a day for almost a week. I have never felt such guilt from shafting irl responsibilities in order to play a game. The graphics are among the best of this generation. The world building and main quest line kept me interested and actually listening the entire time. The relationship between Kratos and Atreus was strangely relatable, but never had me siding with one character over the other for too long. And the combat is probably the most immersive, diverse, and fast-paced of any game I’ve played. I fought thousands of enemies and I wouldn’t be surprised if there were only a few enemies that I actually killed in the exact same ways. This game was a huge pleasant surprise for me, and the ending pushed its hypothetical sequel near the top of my list of most anticipated games. 10/10

Most Satisfying: A Hat in Time

A Hat in Time finally came to Switch this year after what felt like an eternity. I was waiting for this game to come to Nintendo since the Kickstarter was announced. Before we knew about Mario Odyssey or Yooka-Laylee, it was refreshing to see that anybody still had interest in reviving the genre of game I loved most as a kid.

This game is EXACTLY what I wanted it to be: A love letter to every Gamecube game I played ad nauseum. A Hat in Time masterfully blends the freeform movement of Mario Sunshine, an art style inspired by Wind Waker, and the charming dialogue of Thousand Year Door to create a game that starts at a 10 and never lets you down. There must have been 20 times during this game where I said to myself, “I hope this game [does this],” and the game followed through with shocking consistency. With customization, easter eggs, references, and humor stuffed into every mission, this game reminded me of everything I loved about the games I grew up with. But this game isn’t just bells and whistles, it also features some of the most engaging level design of any 3D platformer I’ve played. A train murder mystery, a free-roam around a cruise ship paradise run by uwu-speaking seals, and genuinely one of the scariest segments in any game I’ve played were some of the highlights. But none of this game’s 30+ main missions ever disappointed. While the graphical quality and technical performance were less than stellar, everything that the game WANTED to be more than made this game an easy 9/10.

Funniest Game: Untitled Goose Game

I never understood all the buzz about this game leading up to its release. You’re just a goose? What do you even do?

I was skeptical, but this game did not let me down. There was something strangely hilarious about stealing everyone’s stuff and annoying them for no reason other than to cross off a to-do list. Maybe it was imagining the humans’ perspective. Maybe it was the spastic piano score that only played when you did anything. But whatever it was, this game had me cracking up for its entire 2 hour duration. You can’t deny that the price is a bit steep for such a small game, but the amount of enjoyment I got from an afternoon with this game left me satisfied with my purchase. And with fun secret challenges to discover along the way and to struggle with after the credits, leaving me saying “Ohhh I didn’t think to do that!”, Goose Game is just enough of a game to justify everything that it has going on. 9/10

Most Fun Bad Game: Animal Crossing Pocket Camp

The OG followers will remember when this was a New Leaf blog, and you best believe it will be a New Horizons blog when the time comes. I hated this game when it came out in 2017. I thought it was a boring, empty waste of time that did nothing for fans of the series. But after numerous updates and quality of life changes that I totally missed the boat on, Pocket Camp actually became worth spending time on. I jumped back into this game following the post-E3 hype for New Horizons, and I’ve logged in every day since.

I won’t mince words, this game is bad. It’s nefarious, predatory mobile game practices at its most kawaii. But damn if I don’t love these new furniture sets they introduce every few weeks. I love piecing together the new items I get from each set or event to make a camp that I’d enjoy spending time in. I’ve spent more money than I care to admit on Pocket Camp’s take on loot boxes (not bank-breaking, but more than I’m proud of). But I honestly can’t say I regret any microtransaction I’ve made. I’ve had a lot of fun with this game in the past few months, and getting everyone I know back into it alongside me made it even better, just like previous Animal Crossing games. The crux of the enjoyment is still sharing your designs and collections with your friends, just like always. And that was Animal Crossing enough for me. Not giving this one a score because its still a scummy mobile game, but if you haven’t played this game since launch, redownload it and give it a look-through.

Best Game I Played in 2019: Banjo-Kazooie

Everyone knows how good this game is. I played it as a kid, and I’ve known my entire life that this game is great. I’ve reminisced with friends about this game, I’ve watched countless Let’s Plays, and I’ve sung its praises as the best 3D platformer there is.

But I hadn’t ever actually beaten it until this past Summer.

And it turns out that I didn’t even know how right I was all these years. Banjo-Kazooie is a perfect game. Every level is meticulously crafted to be unique, interesting, and just big enough to where they’re fun to explore, but small enough to where there is no empty space. Banjo (and especially Kazooie) control like a dream. The dialogue is the textbook example of charming video game dialogue. And the game is just long enough to feel full, but it never overstays its welcome by retreading old ground for the sake of making the game longer. And don’t even get me started on the soundtrack. There’s a reason Grant Kirkhope left the 2000s as the only household name that came out of Rare. This game could not be improved, and its stood the test of time against the other greats of the genre like Mario 64, A Hat in Time (imo), and Mario Odyssey, to maintain its spot as the game that every 3D platformer wants to be. It’s the best game of the genre, the best game I played this year, and it’s now among my top 5 favorite games of all time. An obvious 10/10.

Thanks for reading this. Feel free to respond, send a message, or send an ask with any of your thoughts on these games, or even some of your games of the year. I’d love to read them. I’ll see you next year for my 10 page review on New Horizons, which will surely double as my GOTY post.

#long #goty #the game awards #tga #2019 #2019 goty #goty 2019 #banjo kazooie #god of war #animal crossing #acpc #a hat in time #ahit #untitled goose game

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sjdcavedtofandom · 5 years ago

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Day 1

Fictober19

Original Characters

Original Universe

“It will be fun, trust me.”

Dark brown, silky fabric slid over Tonya’s head and down her length to just above her ankle wrapped in the thin leather straps of sandals. Gold tinted bells hung at the cross of each loop of the footwear, giving an ethereal soundtrack to every flex and half step she made while fastening a maroon shawl in place with a golden leaf clasp. The deep wine color made her wavy auburn hair look like a soft fire burned down to the embers, and her emerald green eyes stick out in contrast like twin evergreens in an autumnal forest.

Tonya worried her lip as she looked herself over in the mirror. Even with a full slip, she bordered on feeling exposed. She wasn’t, she had checked multiple times, but an errant draft sent shivers down her exposed arms and made her worry about catching a cold in the chill night air.

“Do you need help with your hair? You’re taking an awful long time in there.”

The teasing voice pulled her away from her thoughts. Gil had an undeniable knack for knowing when she was over complicating matters and goading her just enough to simplify them again. Picking up a brush and a few decorative bobby pins, she started to tame her locks while reaching out a tendril of her shadow to open the door.

Gil stood in the doorway, his typical mischievous grin brightening his features as he waited. He wore the long-tailed patchwork jacket Tonya had never seen him without but had changed out his normal black slacks and white ruffled shirt for hickory brown pants and a spice orange shirt.

He stepped into the room, stroking his long fingers through her hair a few times before stealing the brush away and working with a practiced hand to pull the bangs of the nearly waist-length locks into a braided ring around the crown of her head.

“Are you sure this is safe?” Tonya asked as she was minutely jerked about by the motions. “Don’t Fae tend to trap people who attend their parties or eat their food?”

Gil chuckled as he plucked one of the pins away and slid it into place. “Ah, is my best friend, the untamable force of shadow, afraid some revelers will steal her away? Lock her up for a thousand years and leave the rest of us to sort the difference?”

Tonya puffed at a single escaped strand in an attempt to keep from smiling. “And what happens if they do? Where are you going to find someone reckless enough to do half of what I can, and be your best friend on top of it?”

“Hmm… you make a good argument. I’ve never found one quite so interesting in over a hundred years; be a shame if someone made off with you now.” He placed the final pin and fluffed the bottom part of her hair a few times before leaning down to rest his chin in the circle made by the braid. “Good thing you’re a guest at a full moon party and not a stranger alone in the dead of night.”

“And you’re sure they know the difference?”

“Well, you’re a fairy yourself, if you’ve forgotten, and I’d love to see how far they fly, whoever thinks you’d make an easy target. I’d say I’ll protect you but you tend to have that handled on your own. I’ll help you control the damage if it comes down to it, how’s that?”

Tonya cracked a smile, her nerves and excuses falling away. A spark triumphantly danced through Gil’s indigo eyes before he led the way out of the room and towards where the celebration was to occur.

Slipping through the shadows at the speed of flight, the pair made their way down the early night streets of the small town and towards the woods. Tonya had yet to get over the odd way cars could pass overhead without falling into the void she brushed the surface of, or just how eternally the darkness opening beneath her seemed to stretch.

They rose from the depths at the edge of the woods, alive with music, chatter, and the smell of food. Everyone inside wore outfits similar to them, yet Tonya still felt; standing at the threshold to the festival; as if she were about to step centuries back in time. Her wings twitched as she hesitated at the line drawn by the participant’s energy.

The teasing undertone left his voice as Gil reached back, offering a hand. “Come on, no tests or tricks tonight. It will be fun, trust me.”

Tonya reached out and took it, letting their fingers lace together as she crossed into the celebration and walked over the crunching leaves towards the main bonfire.

The scents of apples, pumpkin, and cinnamon swirled and combined in the crisp night air, guiding Tonya around to the different groups of chatting companions even after she and Gil parted directions as she was not feeling up to knife throwing game he had been invited into.

She snacked on fresh apple dumplings, saw pumpkin pies lowered into an outdoor stone oven, watched the musicians perform, and learned how to braid mums, hay, and bright leaves into a crown.

“It’s almost midnight,” Gil said, appearing at her elbow. “You’re holding up?”

Tonya hummed affirmatively as she accepted one final flower from the hand of a helpful young child and slipped it into place beside a hollowed out and dried mini pumpkin that formed the apex of the ring. She held up and admired her handywork.

“Very nice, though I noticed you already have one,” Gil said.

Tonya turned and plopped it onto his ebony locks with a smile. “There, the perfect fit. Orange goes well with your eyes, you know?”

His sharp grin fell away, as the faintest blush colored Gil’s pale cheeks. Tonya relished each moment she managed to break through the bluster and her heart swelled as a rare, warm smile took over the blink of shock.

Gil swung and arm around Tonya’s shoulder, bending forward until their foreheads touched, creating a small pocket of warmth between them.

“And your heart shines bright in you.” The low spoken praise, delivered in a thick and normally masked accent from ages past, carried with it not only appreciation but a sense of vulnerability.

The moment broke when midnight struck, calling everyone around the fire in close pressed rings.

An elder raised his voice as young and old took hand together and stilled. “We gather here under the full moon in thanksgiving and community, uniting our hearts and minds with those who have done the same across time and space. Let the light remind us that even in the darkest times good prevails. Let old acquaintances comfort us with a foretaste of eternity. And let new hearts nourish the seeds of hope for tomorrow as we silently raise our thoughts together.”

A gentle breeze and the crackling of flames seemed to be the only noise as all of nature stilled along with them. A faint rustling broke into the quiet causing eyes to open and sharp breaths to be drawn.

“The golden star flowers have returned!”

The news drew a cheer, even from Tonya who had never heard of the plant. The awe in the eyes of all those around her and the shimmering glow that radiated off the carpet of golden blossoms that stretched across the ground and up the trunks of trees as far as the eye could see were all she needed to know to feel just as amazed.

The music began again as children and adults alike bent over to gather in the blossoms before they faded with the morning light for another month. With gilded crowns and hopeful hearts, the night resumed with feasting and dancing until the greying of the dawn.

#fictober19 #fictober #writober #writeblr #writers on tumblr #writing #writer #My writing #My characters #MY OCs #Tonya Shaeleen #Gil

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pivitor · 6 years ago

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My Top 10 Favorite Albums of 2018

When it comes to music, ideas of "good" or "bad" or "best" are purely subjective. Frankly, it's ridiculous to suggest that any one person, or even any one group, has the authority to decide what the best albums of the year are, even if they did have the capacity to listen to every single release. But I love these kind of lists anyway because, at their best, they provide people the chance to gush about the music they loved in a year, the albums that challenged them, brought them joy, and helped reshape their lives. I don't necessarily think music should be ranked and judged, but it absolutely should be explored, examined, and shared.

The following is exactly that. These are my ten favorite albums of 2018, the ten albums I spent the most time with, got the most out of, and loved more than anything else released this year (that I had a chance to listen to, at least). If you've heard some of these albums before, I hope I can help you find something new to appreciate, or at least remind you why you liked them in the first place; if you haven't, then I hope you find a new song, band, or album here to love.

Let's get to it:

10. MXPX -- MXPX: There were a few really strong albums competing for this final slot, but MXPX took it through sheer consistency. Every single song on this album is just an incredibly solid block of pop-punk, bolstered by some fun, yet often unexpectedly mature, lyrics. Mike Herrera and the rest of MXPX look backwards and forward simultaneously, reminiscing about their childhood and long history as a band, but also sharing the lessons they've learned along the way; on album stand-out "Moments Like This," Herrera specifically confronts the legacy he's leaving his family, and it's surprisingly poignant. MXPX is a blueprint for how any pop-punk band can mature without losing that youthful spark that makes the genre so dang fun in the first place.

Highlights: Rolling Strong, The Way We Do, Moments Like This

9. Justin Courtney Pierre -- In The Drink: Two grueling years after the demise of Motion City Soundtrack (one of my Top Five favorite bands), former frontman Justin Courtney Pierre has returned with a solo album that manages to capture much of the spirit of MCS, but of course, with a more personal, intimate spin. Pierre still graces listeners with his intricate wordplay and earworm hooks, but also highlights some techniques and instruments that rarely took prominence in MCS (the bouncy bass in "Shoulder the Weight" is a personal favorite). In The Drink cuts right to the core of every song, especially in the exhilarating title track; the album is blistering, economical, and often ruthless, not just musically (only two songs clock in at over three minutes), but also lyrically, examining some surprisingly dark scenarios with the honesty and careful empathy fans have come to expect from Pierre. It's great to have him back (I still miss Jesse's MOOG, though).

Highlights: Anchor, Shoulder the Weight, In The Drink

8. Jeff Rosenstock -- Post-: The first album of 2018 (seriously -- Post- was a surprise release on 1/1/18) remained urgent, relevant, and relatable throughout the entire year -- that's not good for the world, but it's great for Post-. Jeff Rosenstock's social commentary is as sharp as ever, deftly mixing the political and the personal, especially in tracks like opener "USA," which dives head-first into the paranoia, apathy, and hypocrisy of modern American living. The frustration and hopelessness of trying to change a broken system coats this album like dew, but Rosenstock's approachable and energetic strain of punk make them seem manageable -- or at least bearable -- nonetheless, and closer "Let Them Win" provides much needed catharsis and hope; it's a rally cry for a better future. Post- wasn't necessarily the follow-up to Worry. that anyone expected, but it's certainly the one we needed, right when we needed it.

Highlights: Powerlessness, 9/10, Let Them Win

7. The Penske File -- Salvation: Out of all the albums on this list, Salvation by far was the biggest (and happiest) surprise. Having never heard of them before, I saw The Penske File open for (the irresistibly fun) PKEW PKEW PKEW back in October and was blown away by their harmonies, by Alex Standen's ability to balance drums and lead vocals at the same time, and most of all, by a song that dug its way into my head and wouldn't let go. That song turned out to be album stand-out "Spin My History" (easily one of my top favorite new songs of the year), and thankfully, all the best aspects of The Penske File's live show translated perfectly over to Salvation. The vocals are the perfect combination of intensity, melody, and harmony; the lyrics expertly capture and unpack moments in time; the music itself (especially when accompanied by harmonica, which pops up in a few songs) wonderfully reflects the mood of each song, be it the reckless abandon of "Lakeshore" or the aching nostalgia of "American Basements." Thanks to Salvation, I could easily see The Penske File following in the blue collar punk footsteps of bands like the Menzingers, and that's high praise indeed.

Highlights: Spin My History, Come What May, Blessed Unrest

6. Joyce Manor -- Million Dollars to Kill Me: Joyce Manor has never been a band content to make the same album twice, and Million Dollars to Kill Me not only continues the musical evolution that began on 2016's Cody, but manages to run an entire musical gamut in under 25 minutes. Million Dollars to Kill Me shows off Joyce Manor's impressive range, leaping from something approaching hardcore ("Up The Punks") to shoegaze ("Gone Tomorrow") to ballads ("I'm Not the One") to even doo wop ("Silly Games"); lead singer Barry Johnson likewise moves between the frenetic, frantic yowls of "Up The Punks" or "Big Lie" to the gentle, sing-songy joy of "Wildflowers," revealing new facets to his voice and thus finding new notes for Joyce Manor to hit. Underneath it all, though, lies some wonderfully classic emo, with Johnson channeling intelligent, introspective, and bittersweet lyrics into each and every track. Not every song on Million Dollars to Kill Me is going to work for every listener, but every single one of them is guaranteed to leave an impression.

Highlights: Big Lie, Million Dollars to Kill Me, Wildflowers

5. Bad Moves -- Tell No One: On first listen, it might be Tell No One's flawless harmonies that most catch your attention, or perhaps the bouncy, infectious melodies of its early tracks. Spend some time with it, though, and Tell No One has so much more to offer. Bad Moves makes some truly ambitious musical leaps here, especially on tracks like "Out of Reach," whose bridge and outro layers several different, contrasting harmonies over a darkly ominous riff; it's the musical equivalent of standing at the edge of a hurricane, and it's exhilarating. Ultimately, though, it may be Tell No One's lyrics that leave the greatest impression. Bad Moves creates anthems for those on the outskirts of society; Tell No One features songs about dealing with disappointing your family, forbidden romances, dark family secrets, growing up queer, facing police harassment, and the toll hiding parts of yourself can take on you, but also some uplifting tracks about using everything you've got to make life better for everyone around you. There's albums I liked more this year, but I don't think there's any lyrics that hit home for me harder than the ones on Tell No One.

Highlights: Spirit FM, Out of Reach, Missing You

4. The Get Up Kids -- Kicker: Kicker is the Get Up Kids record I've wanted for more than a decade now; it's a band recapturing lightning in a bottle. The first three tracks channel the pop-punk glory of the Red Letter Day/Something to Write Home About era without copying it wholesale (there's a rawness to the guitars and Matt Pryor's voice that was absent on those releases; it's very rock and roll), and the lyrics take that trademark Get Up Kids earnestness and update it for 2018, with Pryor and Jim Suptic tackling topics like regret, responsibility, and family with the same honesty and emotional intensity they once saved for tales of adolescent love and heartbreak. And then comes the closer, "My Own Reflection," which sounds like nothing the Get Up Kids have ever done before, a track driven by one of James Dewees' best synth-lines, some propulsive drums, and a striking, surprising bit of profanity. It's somehow upbeat and downbeat simultaneously, totally bittersweet, and thus emo in a nutshell, while also transcending so many of the genre's (and this band's) most common cliches; if these four songs are the future of the Get Up Kids, then it's a bright one indeed. The main reason Kicker isn't ranked higher on this list is because it's an EP rather than a full record (it's harder to keep this level of quality up for 12 tracks instead of 4), but let's not mince words: every single song on this EP is perfect.

Highlight: My Own Reflection

3. Save Face -- Merci: Merci would be ambitious even if it wasn't Save Face's debut release -- it's a concept album about addiction and the way it can destroy lives and relationships, accompanied by music videos for each and every track, linking together to form a visual novel of sorts. What's even more impressive than all that ambition, though, is the fact that it all works -- the overall concept forms a compelling narrative on its own, but should still resonate with anyone who's dealt with addiction or mental illness, with heartbreak and loss, with self-hatred or self-destructive habits. All those ideas are packaged within some truly explosive tunes -- Save Face's riffs are so big it's a wonder they can even be contained within the record, and singer Tyler Povanda's voice cracks with passion and mania, accompanied by some cathartic, soul-piercing screams, yet Povanda also has the range to capture the smaller, more nuanced emotions beneath all the outsized drama. The simple melodies reveal more and more layers the more you listen to them, creating a record I've returned to over and over, consistently, throughout 2018. Merci is almost as addictive as the substances its songs highlights, although in this case, that's a feature, not a bug.

Highlights: Bad, Plans, Love

2. Saves the Day -- 9: There's a line from their song "It's Such a Beautiful World" that sums up both Saves the Day and their newest album, 9, perfectly: "Let them say what they say/we're gonna play what we play." That instinct has proven polarizing at times, but as an absolute Saves the Day fanatic, I've always found it a joy and privilege to join the band as they follow their muse, and thankfully, 9 is no exception. 9 is an investigation and celebration of Saves the Day's history and legacy; some listeners have criticized this as being self-indulgent, but Saves the Day has always been a band that's channeled very specific scenarios into relatable and cathartic emotion, and at its best, 9 does just that, from the power and joy of friendship ("Side By Side") to nostalgia and the way our experiences help us change and grow ("Rendezvous"), all of it wrapped up in the power music has to bring people together (and if that last point's not something you can appreciate, then I'm not sure how you even found this list). Meanwhile, "Rosé'" provides a classic Saves the Day diss track that wouldn't feel that out of place on Stay What You Are, while the 22 minute "29" transforms frontman Chris Conley's entire life story into a sprawling epic that needs to be heard to believed. 9 also provides an opportunity for each and every member of the band to show off; lead guitarist Arun Bali continues to highlight his ability to shred in increasingly cool and unique ways, Rodrigo Palma sneaks fun bass flourishes into every song, absolutely taking charge of "1997," and Conley stretches his voice to unexpected heights, be it the yowls of "Side By Side" or the falsetto of "Saves the Day." Hell, they even kick 9 off by writing their own theme song. If you can't appreciate that, this probably isn't the album for you, but man, that is my exact kind of jam.

Highlights: Side By Side, Rosé, 29

1. The Wonder Years -- Sister Cities: I can't remember the last time I've seen an album become an essential part of a band's canon as fast as Sister Cities has, especially considering how far The Wonder Years are into their career at this point. Sister Cities is undeniably a Wonder Years album despite sounding almost nothing like what's come before, and in large part, that's due to Dan Campbell's sheer skill as a storyteller. The songs on Sister Cities pick up the ideas of compassion, connectivity, and home introduced on previous albums and take them global; Campbell discovers the similarities between his relationship and the relationship of a homeless couple despite all their differences, finds a lifeline from his overwhelming grief half a world away, and just overall finds power in exploring what holds us together as human beings rather than what splits us apart. Even the music videos tap hard into these ideas; last winter I wrote about how the video for "Sister Cities" finds power in connection, and its follow up, "Raining in Kyoto," expands upon this by cutting back and forth between life in Kyoto and Philadelphia, showing how, no matter where you go, people are just trying to live their lives the best they can. Lyrically, Campbell just keeps getting better and better, creating vivid metaphors and word pictures and finding perfect turns of phrases; he's straight-up the best in the biz at knowing just when and how to use profanity to the maximum effect (seriously, nobody else should be allowed to use the word "goddamn" in a song until they can do it even half as well as Campbell does in "Pyramids of Salt" or "Flowers Where Your Face Should Be"). Musically, Sister Cities takes big risks, and finds success, in going small more often than not, but reaches its greatest heights in closer "The Ocean Grew Hands To Hold Me," a song that just builds and builds until it reaches this epic swell of pure catharsis that just washes over you like the ocean. Honestly, Sister Cities is so emotional that it can sometimes be hard to listen to. That kind of power is that makes it my favorite album of 2018.

Highlights: Sister Cities, Flowers Where Your Face Should Be, The Ocean Grew Hands To Hold Me

#The Wonder Years #Joyce Manor #Jeff Rosenstock #Saves the Day #Saves Face #Bad Moves #MXPX #The Get Up Kids #Justin Courtney Pierre #The Penske File #Pivitor #music

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