#and while it’s still kind of clunky i actually feel like I’m making progress | Explore Tumblr posts and blogs

nerdy-bits · 4 years ago

Text

The Unspoken Rules of Stealth Games

I love stealth games. They are my absolute jam. I’ve been an Assassin’s Creed acolyte from the beginning and Splinter Cell rests firmly atop my list of favorite franchises. The industry isn’t flooded by this genre, but there are a fair number of quality contenders. The Dishonored games are a tour de force, I love the critically mixed Deus Ex prequels deeply, I only play Far Cry with my knife and bow, Ghost Recon is a kind of comfort food, even in Uncharted 4 I avoided combat in favor of being a sneak. In fact, really the only thing I like more than stealth gameplay is cooperative stealth gameplay (though I am a sucker for tactics games). There is just something about clearing a room with a friend, no enemy wise to your presence. Splinter Cell has brilliant co-op. Far Cry is at its best when your crew chooses the silent approach, one friend getting dirty up close with a blade while a ranger picks off sentries, putting arrows between armor plates.

Most stealth games though, avoid multiplayer completely. I frequently lament that I can’t take out targets as agents 47 and 46. Most of these games, to me, feel like they would be better with a friend. Now a part of that is certainly because most things are better with friends but, secondarily, these games are difficult. Having a friend to help could both ease the game of chess you play in every encounter or allow creators to add differing levels of complexity.

I could talk about the possibilities for, maybe literally, days. But that’s not what I’m here to talk about. At least not today. If very few stealth franchises build out co-op experiences, a fraction of those games create adversarial multiplayer. Splinter Cell has tried it. Spies vs Mercs, a mode that pitches Splinter Cell agents against NPC-esque mercenaries, leverages darkness and verticality against mercs with flashlights. It’s, as I previously described, brilliant. By pitting factions against each other with different abilities to navigate the gamespace, adhering to the stealth game loop is the only thing that gives the spies an advantage.

Assassin’s Creed also dabbled in multiplayer. Both PvP and PvE. The latter, while promising, fell victim to the extremely buggy launch of Assassin’s Creed Unity. Network issues, net code issues, strange pop-in, the experience was fractured from the start. The former, PvP variant, was introduced with the release of AC Brotherhood. Across a handful of game modes, and choosing between an impressive lineup of characters, players hunted each other down across crowded maps utilizing a number of distractive, offensive, and defensive abilities.

The Brotherhood multiplayer was great in the first few weeks, but as time progressed players became savvy to the underlying systems and within months of release the idea of “Stealth” all but disappeared. The reasons, I believe, are perhaps why so many stealth games leave this feature off of the list: Balance and participation.

A few weeks ago Hood: Outlaws and Legends came out and a group of friends and I grabbed it up. At only thirty dollars it was kinda hard not to just grab it and give it a shot. Hood takes place in the Robin Hood universe (mythos?) and tasks players to cooperatively - stealthily - infiltrate an area, track down the Sheriff, pickpocket a vault key from him, and then abscond with the loot in said vault. It’s like Payday with a bow and arrow.

Pulling off these heists is actually pretty fun. The PvE (versus AI only) mode allows you to dig into the mechanics of the game while working out the kinks in your team communication. Before long we were complimenting well placed shots and perfect dual takedowns as we carved our way to our prize. The formula is solid, if a bit repetitious. The requirements don’t change at all between maps. The location of the vault chest will move around from heist to heist, but that is really it; and after a few rounds we had grown a bit too familiar with the process. The game also randomly chooses the maps in this mode, so we ended up playing two maps in three games, which was a bit of a bummer. Also your XP gain is dramatically limited in this AI centered mode, which pushed us quickly into the game’s core mode: heists against competing human players.

The formula doesn’t really change for this PvPvE mode, save the fact that at the same time you are hunting for the Sheriff, his key, and then the vault, another team is as well. Initially the prospect of this dynamic was interesting, but pretty quickly it devolved.

This was when I realized multiplayer stealth is critically dependent on its players participating in the right way. Now some games incentivize this participation or choose to restrict your abilities altogether. Think AC: Brotherhoods scoring system for kills which took points from you for being loud or conspicuous. Spies vs Mercs restricts teams abilities based on their faction. Mercs literally cannot hide in the dark. Spies will not win a gunfight.

Hood doesn’t really build any advantage or disadvantages into its gameplay loop. We started our first round of PvPvE and began to sneak around the map the same way we were in the PvE mode. Being seen by guards locks the area you are in down. They close all the gates and begin hunting for you. Against AI this was a paradigm shift. The whole group has to go into ghost mode or just shelter in place until the heightened awareness drips away with the invisible clock. In multiplayer you get notified if your opponents incur a lockdown. This is done presumably to give you a brief jolt of encouragement. Thoughts dart across your mind, “They are locked down, they got caught, we have a few minutes to creep ahead and really gain an advantage.

Only that wasn’t the case.

Ryan and I stopped playing the Brotherhood multiplayer a few months in. It was nearly impossible to play the game by its own rules. Shooting a target with your wrist mounted pistol was always the worst way to pull off a kill, but useful if your target just kept evading you. You received a meager serving of points and would move back into the crowd in an attempt to reestablish yourself as an agent of stealth. By the end of the first month people were sprinting across rooftops, shooting down into the crowd, and then running off to do it again. They had discovered that if you ran around on the rooftops it didn’t raise your profile and that picking off a target from a rooftop with a gun, the penalty wouldn’t be enforced unless you killed a second target. First kills in this method would rack around 1800 points, the second kill a measly 300 (the numbers may be way off here, its been years. It’s the proportion that’s important.

The second kill was the system working, discouraging loud tactics with point penalties. But if you went and hid, let the system time out, and then did it again, you could farm high point value kills in perhaps the least clandestine way possible. Brotherhood became a shooting gallery. It was absolutely untenable. Assassin’s Creed would get away from adversarial multiplayer after Black Flag. I barely returned for Revelations.

As we were creeping through the bushes in a castle courtyard, our band of merry thieves, we got the first notification that our opponents had triggered an alarm. A wave of relief hit the crew. We’ve got some time. Then the second notification came, then the third, then a fourth. Our relief was subsumed by a revelation: they are just ignoring the stealth altogether. What followed was a painfully reminiscent race to the objectives ignoring area guards altogether (If a gate got dropped each team had a character that could just lift the gate). Our opponents got the key first, found the vault first, and moved the prize first. Each time we got close we were either picked off by a camping Robin, thatching us through the reeds with pinpoint accuracy, or we got bodied by the two melee characters Tooke and John.

Dying, spawning, and running back to the objective is a drag in any game. In a game where you have to make a getaway, every second you have to run back to the last place you saw the objective is a second of distance they get to make. Combat felt clunky and secondary to a stealth system that had been completely abandoned. Knowing that your opponent trips an alarm is incredibly useful, but knowing when they got the key, that they had found the vault, and having a tracker for how far the chest was moving was a bit much. I kept thinking about how much cooler it would have been if we had found the Sheriff only to discover the key was already gone. Imagine coming across a vault that had been looted already, your team scrambling desperately to find out how far their opponents had gotten.

Still, none of this works players don’t abide by an invisible set of rules, therefore relying on those rules just ends up feeling like a mistake. A private lobby with eight people, all who agree to be stealthy is one thing, hoping that the community at large adopts that mindset is, ever more clearly, dependent on systems. The question is, in an industry that builds to player’s fantasies of power, how do you implement these systems and simultaneously empower players while also guiding their play-style along the path you desire?

How do you penalize running around like Rambo adequately? How do you incentivize stealth to make it the only way players want to engage?

@LubWub ~Caleb

#stealth #stealth games #far cry #assassin's creed #multiplayer #asymmetrical multiplayer #splinter cell #hood outlaws and legends #article #blog

10 notes · View notes

gemmassong · 4 years ago

Text

So uh. It’s 4:17am and I know literally no one cares but I just finished watching Bo Burnham’s new special and like, holy shit. I have some Feelings. And this is my fucking tumblr so unfortunately anyone who follows me can and will be subjected to those Feelings. Apologies in advance. I blame my high school English teacher for this, who I had for freshmen, junior, and senior year, because that cunt made as analyze and pick apart not just books but documentaries, movies, and other pieces of media to such an extreme degree I still blame her for a lot of my academic burnout and inability to really engage with my college courses because what was the fucking point. If I could write the best paper in the class and still not get a full score when my classmates with less well written shit did because I ‘wasn’t reaching my full potential or putting in as much effort as required’ why should I bother.

Off topic. I’ll put the rest under a cut to be vaguely courteous because this is going to be a lot of semi-organized rambling that I’m putting here mostly so I can stare at it in baffled, disgusted horror at ~2pm tomorrow when I go back and reread it. And then decide not to delete it anyway because hey, I don’t delete anything because I enjoy tormenting myself years down the road.

I grew up with Bo Burnham, yeah? I knew all the lyrics to New Math when I was in middle school and you can bet your ass I understood like, four verses at the time I first started singing it. And I remember the vivid pleasure of going through high school and hating math because I suck at it (ayooo failed out of Calc senior year first semester~ (they weren’t called semesters in hs they were some quarterly thing but I don’t fucking remember the right term)) and the absolute joy realizing how one of those verses were clever was brought me. Like, every time I understood a new verse in New Math it made my entire day so much better.

And then the summer after my first year of college I, for some fucking reason I cannot fathom now, 20 year old me thought it was a brilliant idea to decide to watch What. with my parents while we ate dinner. I had seen What. before. I knew what the contents entailed. I was apparently 100% down to watch him pretend to jack off on stage while eating taco salad in the living room with both of my parents who were so closed mouthed about sex that I got literally my entire sexual education from fanfiction.

And then my cat had a seizure literally right before that scene so fate helped me escape that hell for some reason, and yes, Siren was fine after a very scary night.

But like. Still. What the fuck, 20 year old me. Why did you set yourself up for the mortifying experience of watching a comedian mime jacking off while sitting next to your mother. Why.

So anyway. Bo Burnham was peripherally a part of my life for a very long time. I’ve always really liked him. I wish he had made more vines while vine was still a thing because the ‘is there anything better than pussy’ one still cracks me tf up.

I saw a post here at some point about how the new special made someone feel like they’d just watched his suicide note. And I didn’t take it seriously, because yeah, Make Happy got kinda serious and stressful there at the end but like?

Maaaaan am I glad I watched Inside though, despite being vaguely concerned. I totally get where that person was coming from. It does kinda feel like that. At the same time though, I just have this feeling that Inside is going to be important.

Here’s where I finally get to the actual fucking point of the post.

Collectively, entertainment media is desperately trying right now to figure out how the hell to handle the pandemic. Ignore it? Pretend all media now exists in a universe where the shitstorm of 2020 didn’t exist? Most of the ones that I’ve seen have gone down what I consider the absolute worst route, which is of course terrible fucking writing that kind of? addresses the pandemic and shit that went down, but like, with clunky dialogue and really bad jokes. I’m mostly talking about the Roseanne spinoff/sequel/whatever the fuck it’s considered, of which I watched half an episode of and then silently begged my fiance to let us leave his mother’s house because she was laughing at it and it was genuinely, horrifically painful. This is why I don’t watch tv anymore.

ANYWAY. He never mentions it. Not once. There are plenty of really relevant things discussed and pointed out and I think one? mention of the actual year 2020 but beyond that. Nothing. And I feel like Inside might be one of the most genuine, visceral, real pieces of media portraying the pandemic that we, as an American society anyway, are going to come away from this all with. At least everyone in my own admittedly piss poor social circles has spent like last ~year and a half doing that social media thing where the more you post about how well you’re doing and great it all is, the more miserable and bad off you really are.

(Yes, that is how I judge my ‘friends’’ relationships on facebook. The more pictures/posts/tagged shit/social media demonstrations of how ~amazing~ and ~in love~ and ~perfect~ everything is, the worse I assume the reality is.)

But Inside strikes as very, very real. And I just feel like 20 30 40 50 years from now, when we’re talking about the 2020 pandemic and how it shaped and shifted and effected and destroyed people and society, it’s going to be a very important piece of media. Because so far, anyway, it’s the first one I’ve seen where you can actually see it all go down. The absolute fucking breakdown so many of us went through. Dealing with worsening mental problems that had previously been getting better, lost progress, ruined plans and dreams and missed opportunities and everything else.

It’s the first one that strikes as real, I guess. As not manufactured. Not tailored to portray the ‘correct’ message. Not diminishing or exaggerating anything but just... showing. Existing within the reality of the year. And not being apologetic or ashamed about it.

I’m glad he actually went through with putting it out into the world. That probably took a whole lot to do, and I hope good things get to him for going through with it all. For completing it and giving it to the world. It was visceral and raw to watch and my piss poor attention span that needs 20+ tabs open at all times actually sat there and watched it, in full, all the way through in one go. Without pausing to read a fic, watch something else, check facebook or tumblr, answer a roleplay, or skim through omegle to see if anyone good was online. That’s like, unheard of these days.

I just. I dunno. There’s a lot there to breakdown. A part of me wants to do it, take the time and write the analysis and the breakdowns and pick out what I think the important bits are. But I hate doing that now and I’m sure the desire will be gone come afternoon-morning, along with all these weird feelings about it.

This has gotten long enough and it’s 4:47 now, so half an hour of word vomiting into a tumblr post is probably too much. So I guess I’ll call it quits and maybe maybe not delete this when I wake up. Night, anyone who actually suffered through reading this mess.

#Maddie talks #Weird thoughts mostly #Don't expect anyone to actually read but hey #that's not what this blog is there for so why not word vomit just for my future self

8 notes · View notes

tothedarkdarkseas · 3 years ago

Note

It may be a strange question, unrelated to the topic of the blog, but how do you proofread your works? Your writing is another level I wish to achieve.

That's really kind of you to say and quite frankly feels undeserved. Thank you. Honestly, I've always felt a bit gunshy about giving any sort of writing advice, because I very much still see myself as learning and feel very critical of my early work. I also think it would be disingenuous to say I have a structure that works particularly well, considering how slowly I write compared to many others. If you're looking for tips on how to be more productive in writing and proofing your work on a schedule, I don't think I would be the best person to ask!

I've been told the more efficient approach is to write first and proofread later-- in projects like NaNoWriMo you'll definitely see the tip to get more words down than you'll end up keeping and edit it all later-- but I'd be lying if I said I ever stuck to that. I tend to write in small chunks at a time and edit as I go, and then go back over the entire WIP a few times throughout the process. I can't say it will work for you, but I tend to be a little happier with the wording and structure when I can focus on it by itself, and then adjust things like the pacing and comb out overused words in a longer read-through. I think it's important for any writer to read their work as a whole and compare two sections you may have written days, week, even months apart in order to make them fit together. It may not feel like it, but our tone can change over the course of writing and it's always worth a second (and third, and fourth) look at everything you've written prior to this newest addition. I don't read the entire story from beginning to end every time, but I do read what I'd consider the scenes surrounding it, and maybe another section that catches my eye and I feel could use cleaning up. It's also good to consult your outline, if you've got one, to be sure you're still adhering to the same points. Sometimes you won't be, and I think that's a good thing-- I never write with a strict outline of every single thought and action, just a general overview of "plot points," but I also think my personal style of writing is much more about those thoughts and actions than the plot. I don't think a story has ever turned out quite as I first imagined it, and in the moment it can feel like I failed to do what I set out to do, but... you'll simply never know what the "best" version of something is, but you do get closer to it when you edit. And edit, and edit again. I've always struggled with spending too much time editing but not actually removing enough to make the story feel concise. I'll set aside time to write but I'll linger on the most recent paragraphs I'd written, just tweaking the sentences and adding more thoughts to flesh out the character study aspect, but probably ending up with a story that is too clunky and weighed down in the navel-gazing stuff. This is the sort of thing that makes me feel foolish about giving advice, as I know a career writer would have surgical precision and not be too precious about cutting fat from every page; my stories tend to meander quite a lot, and this current WIP certainly has a glacial pace and no real forward momentum, it is just stewing and observing (and hopefully offering a bit of character work, but still, not novel material.) However, in an effort to be kinder to myself (and of course to you as well!) I just try to remember that writing is a hobby, and if I like spending time on details that I feel establish a certain setting and inner monologues from the character that I feel say something different, then we should allow ourselves to do that.

Er, I can't think of much more to say about proofreading! It's something I do quite a bit of, and while I know it gets tedious to read a story from beginning to end, I do think it's worth doing that at least twice before posting so that you'll know how your tone progressed and if anything feels too out of place. Examining "scenes" by themselves makes it easier to go over something a few times, and I think it's always worth going over something you've written some time ago to make little adjustments to match your pace now. It's also tremendously helpful to read your work out loud-- you'll be able to catch awkward sentences or wrong words that you may not notice when your eyes are speed-reading over the whole thing. If you have the ability to, I also recommend recording yourself reading a section or the entire work and listening back to it so that you can really, fully hear exactly how it sounds. Most reader won't be going through the whole experience of reading aloud or listening to the story, but I do think there's no better way to observe how something flows. (If you don't like to listen to yourself, you can also paste sections into a bot that will read aloud for you!)

I'm sure none of this advice is new, but I do hope it is useful to you in some way! And once again, thank you for the kind words, from the very bottom of my heart. I've been feeling a bit emotionally drained lately and although fandom isn't to blame for that, it does occasionally trip me up to feel... really on the outskirts of things. I've just felt like I'm having a rather isolated fandom experience lately-- and I don't say that to be ungrateful for the questions I am so incredibly lucky to get, but you know, ah, it's just easy to get in your head about how separated everything in this fandom feels. This is getting entirely off topic so I'll stop this train derailing, haha. Thank you so much, sincerely, for the credit you've given me, whether I feel it is earned or not! Good luck in your writing, and I believe in you!

#added a cut for length because i rambled a bit!#thank you so much #thank you for this

2 notes · View notes

partly-cloudyskies · 4 years ago

Note

1, 12, 16, 18 + one I didnt pick but you secretly want to talk about

This has run long so I’m putting it under a break. Some thought about my current writing projects, an old abandoned project and, uh, word counts below!

1) Welp I got three WIPs:

This is How We Grow: My first real attempt to fully commit to the heightened romance and emotion of an idealized pastoral setting but sometimes there are shadow monsters plus this also acts as an excuse to see more of Soup’s weblena art.

The Longest Shadows: A future fic where Lena becomes a badass shadow witch and Webby learns that the McDuck legacy is a complicated thing rather than the unalloyed good that she unthinkingly embraced as a youth (Yeah how you doin season 3).

The Glass Factory: A Maebea NITW AU where Mae and Bea find and cling to each other out of a shared sense of alienation as they bear witness to an economically depressed city in its final moments before the shockwave of gentrification turns it into something unrecognizable and hostile (YES I’m still working on it!!)

12) A dumb line from an old WIP... there are so many abandoned projects that are like, two chapters and then a separate file full of quotes that I thought were cool and then I never looked back on them again. I’m sure those hold up. Let me check my old writings folder...

OH NO. I have it and I hate it but I’m going to post it anyway:

Detta rises over the Blackfuse mercenary as he struggled with the debris crushing him. Short even for a goblin, she looms over him like a Titan contemplating the fleeting life of mortals. She raises one hand, closed in a fist that sparks and howls with the wind.

“I’m gonna put a hurricane in your skull. See what it does to your brain.”

FOR CONTEXT, this is an old WIP from, like, 2016. It was a World of Warcraft fic that I REALLY wanted to write. It took place during the Panderia campaign and was set entirely in Bilgewater Harbor, an island city of goblins that is almost entirely empty in-game but I always liked its chaotic design. It was about Detta, a goblin Shaman who had given up adventuring and became a freelance problem solver in Bilgewater. She had a Storm Elemental she named Dizzy who she used as a secretary. One day Korkron troopers loyal to Hellscream bursts into her office and tells her they want to hire her to track down a criminal. Tozz, one of the troopers, is assigned to stay with her to make sure she stays on task. Eventually they would find the criminal only to learn he’s a Twilight’s Hammer cultist who had been in Orgrimmar instructing Hellscream’s forces on the secrets of Dark Shamanism and Hellscream was hiding this by killing everyone involved. You can take it from me that it was VERY lore compliant while filling in the spaces that the game devs had left CRIMINALLY underdeveloped and was going to be a dramatic story in the vein of film noir, with intrigue and divided loyalties and shifting motivations all on the eve of war and rebellion and WoW DESERVED to have better story than it did and you know what I’ve decided that is actually a brilliant line and I am PROUD of it and --

You get the picture. Next question!

16) Hm... this is a question that I don’t really have an answer for because all worldbuilding is good worldbuilding if you ask me. I think the thing about worldbuilding is that a good 90% of it doesn’t make it to the page and we kind of struggle with that because if you have all this research material then you might feel compelled to splash it all out on the page so you’d have something to show for all the time you spent. But that’s not what it’s for, it’s so that you have something to refer to when you need it. It’s the big part of the iceberg no one else gets to see. So maps? Spreadsheets? Research? None of it is ridiculous. All of it is good.

I guess the most of it I’ve ever done was for the novel that I wrote. I had a lot of material for that. I drew a map and I even tried to keep it to scale by sketching it out using travel route lines in Google Maps. I guess that is a little ridiculous, but I’ve no regrets.

18) I hate title and I don’t really spend much time on them. I certainly don’t keep track of how many titles I come up with before settling on one. I tend to be direct, I think.

Glass Factory is called Glass Factory because there’s a glass factory in NITW and my story takes place in an art studio. There’s an art studio in Alexandria called the Torpedo Factory, and that and its surroundings is what inspired that story, so Glass Factory. ez.

Longest Shadows is about legacy, the shadows cast by Scrooge and Magica and how Webby and Lena fall under those shadows. Plus it’s Lena so there’s almost a 100% chance any story with her has some kind of shadow reference in the title. So that’s that.

This is How We Grow was probably the most agonizing of my recent WIPs in terms of title. I think it’s a little clunky. But it’s about the two main characters growing and it’s... there’s farming. Plants grow. So... uh, that’s it. I might not be a huge fan of the title but I’ve never considered changing it. Never look back, when it comes to titles. That’s my motto.

Now for a question of my choosing...

14) I can knock out 500 words pretty easily on a good day, like on a real good day I can do a 1000 in half an hour. I’ve had times where I got an idea in the morning, wrote 2000 words about it, edited it by lunch and posted it by evening. But good days are few and far between and mostly I just put in a paragraph or two where I can.

I used to be very obsessive about word count. Like, I still look at it today but now it’s just like “oh, that’s how many words are in this file, okay”, but years ago I practically lived by it. I think part of it was me chasing that NaNoWriMo dragon, which was something I used to be pretty focused on. Now that I’m older I wonder if NaNoWriMo actually helps or does more to hurt aspiring writers. I mean, it’s not like there’s any external consequences to falling short but when you’re young and you’re looking to commit yourself to something, it sucks real hard when you inevitably fall short and it can be discouraging.

These days I’m more in a “what’s important is that you’ve written something” frame of mind. It doesn’t matter if it’s four pages or it’s literally a single word. I’ve had single word days. And it’s okay! It’s okay to write a single word. Progress is progress, when it comes to writing. Now, if I look at the word count, it’s because a chapter I’m in is running longer than I would have liked and maybe I should consider splitting it in two or something because I am the kind of person who likes the idea of a uniform amount of words per paragraph thank you very much. Beyond that, I don’t pay word count much mind and I think I’m a happier writer for it.

So yeah!

4 notes · View notes

segersgia · 5 years ago

Text

Looking back: Part 1 - Primaris Space Marines - Infantry

The excitement for 9th edition has been growing and growing. People are happy with the upcoming units for Space marines, and Xenos fans are rejoicing at the return of the Silent King and the introduction of new Necron units.

What I want to do is take a long and hard look at what 8th edition gave us in terms of miniatures.

To start of this series, we have to begin with Games Workshop’s favorite poster-boys; The Primaris Space Marines

The Primaris debacle:

If you didn’t already know, Games Workshop is somewhat obsessed with Space Marines. This hasn’t changed at all in 8th edition. In fact, it kind of got worse.

8th edition introduced us to the new and improved Primaris Space Marines - Extra cool Space Marines.

For a lot of people, these were just a lame excuse to resell you an army that most of their costumers had already bought. Lore-wise, they came out of nowhere, and for some they were an affront to what the Imperium stood for: an autocratic, dogmatic and fascist regime that saw innovation and progress as something evil and dangerous.

Fortunately, the Primaris have begun to become a little more fleshed out, and hopefully, this will continue for the better in 9th edition.

Before I start my overview, I have to explain my main gripe that I have with the ENTIRE range.

The Helmets:

With their redesign, the Space Marines gained a new pattern of Power Armour. This included a new design for their helmets, and I absolutely hate it. Gone is the iconic respirator, and instead we get a return of the Mark IV helmet, A.K.A. my least favorite pattern of the range.

Kitbashers prove my point. The Mark VII is so much better looking on the new range. They look proper evil and merciless.

So always keep in mind that with every model in this range, I will have the same complaint; I don’t like the design of their helmet.

Intercessors:

The Primaris line was a way for the design team to re-imagine the space marines in a new way. Their size got updated to what might be considered “Tru-scale” and lore-wise, they gained a better crafted kit than their predecessors. Though what they gained in upgrades, they lost in group flexibility.

Intercessors are equipped with Bolt rifles, which are basically slightly upgraded Boltguns. These can be retrofitted in the usual way with scopes or under-slung grenade launchers.

Lore-wise, Intercessors take a surprisingly defensive role, mostly described as using suppressive fire to slowly advance to a position or hold the line.

Their design, specifically their proportions, is what many expected the actual proportions of a space marine to be. They are hulking masses of power armour that should dwarf humans easily. The original Space Marines were a little “ill-proportioned” and the new Primaris have fixed that issue very well.

One complaint I’ve seen appear is the fact that Intercessors lack the ornateness and religious aspects that the old marines had. If you’d actually compare them with Tactical Marines, it kind of shows that this isn’t the case.

In fact, it just shows that normal Space Marines aren’t that ornate to begin with.

Intercessors are a good re-imagining of the Tactical Marines and share the same feel that their predecessors have. What the Intercessors lack is just their weapon options.

7/10

Hellblasters:

The Primaris doctrine seems to hark back to the olden days before the Horus Heresy. Instead of the highly adaptable formations that we see in the Tactical Squads or the Devastator Squads, the Primaris decide instead to have specialized squads.

So while the Intercessors favor trusty bolt weapons, the Hellblasters make use of the the Plasma Incinerator: an improved version of the Plasma Gun that doesn’t overheat unless its fired in its overcharged setting. Hellblasters have the role of providing covering fire, similar to Devastators.

The Plasma Incinerator is what makes this my favorite unit from the mainline army. It is such an improvement in design over that of the Plasma Gun. It makes for a great silhouette and the miniature looks more powerful because of it.

9/10

Reivers:

Reivers are part of the Vanguard line of Primaris troops; units specifically designed for long covert and stealth operations.

(The rest of the Vanguard will be looked at in a future post.)

Reivers themselves act like terror troops; sneaking into combat before yelling “OOGA BOOGA” and murdering everyone in the room like an Eversor Assassin.

Primaris power armour has a very interesting quirk. It comes in different variants that can be mixed and matched to serve a certain role. Reivers and most of the vanguard line use Phobos Armour; a pattern that is lighter, more lightly armoured and features servos that allow it to be almost silent in combat. It features Grav-Chutes, which allows Reivers to safely descend from heights, similar as to what Elysian Drop-Troopers utilize.

They go into battle with Bolters and over-sized knives. They can also take a Grapling Hook, so they can cosplay as their favourite DC hero. The skull helmet they wear has an in built voice amplifier, allowing their battle chants to turn into a police sound cannon. They basically stole the idea from Eldar Howling Banshees.

The poses from the “Easy-to-build” kit are just ugly, but their other kit fixes that issue. I still am not sure about the skull helmet, and would’ve preferred a better way to visualize their voice-amplifiers. I kind of like the Phobos pattern, but I do have some gripes with it, such as the exposed metal abs(?) they have.

6/10

Aggressors:

I really don’t hope this is what will replace Terminators.

Aggressors are a fire support unit that slowly advances while providing covering fire from mid to close range. They wear Gravis Armour, which is the more heavily reinforced variant of the Mark X. They have Power Fists that have either Flamers or Bolters attached to them, and some are equipped with shoulder mounted grenade launchers.

Gravis Armour is my least favourite of the three patterns and Aggressors are my main reason for it. They look very clunky and are way too cluttered with weapons. I don’t like the rounded design as well. It looks like they would take one step and then fall face first into the dirt. Even the artwork doesn’t do them justice and makes their over-sized armaments even more over-sized. A wider belly and smaller gauntlets would’ve fixed this unit’s design.

4/10

Inceptors:

Remember the intro of the Space Marine video game? Captain Titus leaping off a Thunderhawk and flying through an air battle to land on an Ork ship? Inceptors do just that, landing in the thick of the battle, with guns in both hands like B.J. Blazkowicz.

They are equipped with either Plasma Guns or Assault Bolters, and fly through the air with an over-sized jump-pack. To soften their landing, they have these funny looking boot plates, so that they don’t die during the impact.

If the boot plates weren’t a thing, I would have no qualms with this unit. Their version of the Gravis Armour is what I would’ve preferred the Aggressors to have. They also look like they would actually do well in low gravity environments, such as space battles. What I like most about them is the fact that they seemingly resemble Assault Marines from the artwork of Rogue Trader.

Games Workshop has kind of gone back to looking at Rogue Trader, and figuring out how certain aspects of it could fit back into 40k. I’m 100% behind that trend and want more of it.

7/10

-----------------------

The Primaris range is already massive and I’m separating the range into different parts. So far though, it has been a varied bag of good and meh. I do want to keep these varied, so next up, I’m going to tackle a different army; the Death Guard...

#warhammer 40k #warhammer 40000 #Space Marines #Review #8th edition #Range overview #Primaris Space Marines #Primaris #infantry #warhammer #rating #Adeptus Astartes

46 notes · View notes

travllingbunny · 4 years ago

Text

The 100 7x12 The Stranger

This is an episode I’ve enjoyed a lot more on rewatch than the first time. Which I kind of expected. The first time, I really didn’t like it, but this was mostly because I was too impatient to see Bardo and Bellamy, and really didn’t have patience for the Sanctum scenes, which again took up so much of the episode, or focus while watching them - that is, I did at the beginning, but not in the second half o the episode.

In fact, there was nothing that bad about the Sanctum scenes, and I enjoyed many of them on rewatch, but this storyline is simply not as interesting as the one about the Anomaly, Bardo and the Disciples, especially now when Bellamy has returned and just had a most dramatic character transformation, 5 episodes before the end of the show. And that’s been the main problem of the season so far: pacing. Jumping from one plot to another works when you have two equally interesting and exciting stories, and that really isn’t the case here.

It also didn’t help that this episode - by a first time writer - had too much clunky dialogue, such as so many times when characters were recapping events to each other:

Indra recaps to Memori what happened in a scene we saw 5 minutes earlier (at least this was brief)

Hope recaps her life story to Jordan, which we already saw in 7x02 and 7x04 and heard retold 7x07

Madi recaps what happened to her on Earth (to be fair, we did not actually see that on screen)

Bellamy recaps not just 7x11, but also season 3 and season 6

Murphy recaps 7x03 to Nikki

Now, some of this was probably necessary, but some of it wasn’t exactly - for instance, did we really need to hear Hope’s life story again? The scene was very nice, but we could’ve just have Hope tell Jordan “Dev was my friend” and assume she already told him who he was. This wouldn’t bug me if it was just one scene, but it was so many of them in the same episode. It’s OK to have characters sometimes learn info off-screen, especially when there’s just a few episodes remaining. It’s not that there isn’t enough time left to resolve all the storylines - there are 4 episodes left, about the same net amount of screentime as the entirety of Avengers: Endgame - but the show needs to pick up the pace.

It could’ve been a better episode, especially considering the fact that some big things happened, and the storylines finally converged by the end of the episode, setting up potentially exciting final 4 episodes.

On the more positive note - it was very interesting to see Bellamy’s conversation with Cadogan and his repressed but clearly conflicted emotions in his scenes - first with Echo and Raven, and later with Clarke and Octavia, and his attempts to find reconcile his new faith with his desire to save the people he loves. And on rewatch, I enjoyed a lot of the other scenes -nice character moments with Madi and her friends, and with Jordan and Hope, cute moments with Memori, or even Murphy’s confrontation with Nikki, though I would’ve enjoyed some of them better if they had happened in some other episode earlier in the season.

Bardo

Bellamy is now in full-blown Disciple mode, wearing one of those ridiculous white robes, similar to what Doucette wears, even though Bellamy is not a Conductor or a science-oriented person like Gabriel, hasn’t gone through any Disciple training and isn’t even Level 1 (as seen by the lack of the marks on his face). He is clearly being treated as one of the top Disciples anyway, one of Cadogan’s inner circle, which may be justified by the fact that he has gone through the Etherea pilgrimage. We know that Cadogan’s pilgrimage is a big deal in Disciple religion, which would raise both his and Doucette’s status, but he is also, of course, important to Cadogan because of his connection to Clarke and the “Key”.(Sidenote: I don’t think anyone has been appointed the new First Disciple after Anders’ death. The job of the FD was to act on behalf of the Shepherd and lead in his absence, and wake him up every 20 years to update him on the progress of the search for the Key and the Final Code. Now that Cadogan is there to lead himself, he has no need for a deputy anymore.)

He is also getting to have one-on-one talks with Cadogan. This scene is one of the most interesting in this episode. Bellamy is incredibly repressed, with subdued feelings, but those emotions are still simmering and coming through on his face and in his voice, thanks to Bob’s great acting. Bellamy gives Cadogan condolences for Anders’ death, and Cadogan replies that he really barely knew and didn’t care about Anders, which we knew already. Cadogan interprets this as Bellamy testing him if he has any attachments. I don’t know if that is true or just how Cadogan read it, or if Bellamy assumed Cadogan and his FD must have been close, and/or if he was doing it so he could bring up the issue of his friends, who are supposed to be executed for “their” crimes. (Which are really just Echo’s and Hope’s crimes, but the Disciples seem to have decided they bear collective responsibility, even though many of them tried to stop it - and no one is disputing it.) Cadogan goes on about how trying to suppress attachments and emotions is a long way and says he is still struggling with it after doing it for hundreds of years. (No, Bill, you haven’t been even conscious for hundreds of years. You were in cryo. Shut up.) He says Bellamy reminds him of his son Reese/ Since Bellamy and Reese are nothing alike, I can only interpret this as Cadogan trying to manipulate Bellamy by presenting himself as a father figure. I thought at first that he may really have meant it because he assumed Bellamy would be as loyal to him as Reese was - but that’s clearly not true, since the end of this episode shows that Bill does not fully trust Bellamy.

Bill thinks that Callie must have killed Reese, since he apparently can’t see any other reason why Reese never got to bring him the Flame. It says a lot that 1) he assumes that 1) Reese always remained loyal to him and that 2) Callie would be willing to kill her brother. He always put them against each other and made them fight as children. And he doesn’t even entertain the thought that Reese may have had any character growth and changed his mind. I have a feeling he may be wrong on both accounts.

But Bellamy is good at manipulating Cadogan, too, in order to save his friends - he realizes that Bill’s family is his weak spot. Cadogan was not entirely convinced by Bellamy’s suggestion that the Flame can be repaired, but he was affected - even if he didn’t admit that - when Bellamy told him he may find out what happened to his children through the Flame. I’m not entirely sure if Bellamy believes that 1) the Flame can be repaired (which may or may not happen) and 2) the Commanders' memories would still be there (which doesn’t make a lot of sense and seems unlikely). He is very sincere about his faith, and he says later he can’t lie to the Shepherd, so he wouldn’t be lying... But he is clutching at straws to save his loved ones, maybe even trying to convince himself. And there’s also the fact that he does lie to Cadogan later, during Clarke’s MCap.

We then see two conversations Bellamy has with the people close to him - the first one is with his Spacekru family: his girlfriend Echo and his long-time friend Raven. The second one is with Clarke and his actual family, Octavia. The Disciples again made sure to put characters in cells for two people, but we don’t get to see Bellamy talk to Miller and Niylah (even though the scene was filmed, as we saw in the promo pictures). I hope that scene was not cut due to time - considering how much screentime was used up by the Sanctum storyline, again, and these characters are constantly getting short-changed. But I think it may have instead been cut because of the story structure - to focus on just these two scenes. What’s more, Raven’s role is much smaller than Echo’s in the former scene as she leaves early, and, surprisingly, Octavia plays a secondary role in the latter, which is mostly focused on Bellamy and Clarke’s interaction. And considering how the former scene was changed from the script, - Bellamy’s emotions toned down, Bellamy not explaining his experiences to Echo and Raven as he does later to Clarke and Octavia - which made the contrast between the two scenes stronger, I think the intention was to focus mostly on Bellamy’s relationships with Echo and Clarke, and that the compare and contrast was deliberate.

Throughout both of these scenes, Bellamy insists that he is trying to save everyone from death, while also being true to his faith, but his loved ones, understandably, are shocked by this new Disciple Bellamy, who feels like a stranger, and who is acting as one of their captors and is even willing to let them be put in MCap against their will. He notably does not answer the question Echo asks - if he is ready to watch them die, which is a strong possibility if his attempts to placate Cadogan don’t work. Instead he just says “You know that’s not what I want”, which doesn’t answer the question. Maybe because he is not sure yet what the answer is. But he does answer one other question...

In his talk with Raven and Echo, Bellamy shows emotions (including concern when noticing Echo’s scars), but they are very subdued, and he eventually makes it clear that, if push comes to shove, he is prioritizing his new faith over his people. Raven reacts with typical Raven anger, and throws the words "So much for family" in Bellamy’s face (echoing what Bellamy himself said to Miller in season 5 - "So much for the 100"). Echo is also indignant but tries to plead with him, hoping to bring back old Bellamy in him - without any success. Which may be seen as a sign of how strong Bellamy’s indoctrination is... but looking a little beneath the surface, a lot of what she says makes me wonder how well she knew the old Bellamy in the first place. Bellamy, on his part, asks Echo to believe in him and be on his side, but his argument is to appeal to her feelings for him (”I am the man you love”), expecting her trust and loyalty without really offering anything in return, such as, say, some promise, some mention of his feelings for her. Echo tells him about how obsessed she was with saving him... and then avenging him - she is really channeling S2 Finn with how she refers to her genocide attempt as a grand romantic gesture and sign of love that he should appreciate. Even if Bellamy was his old self, I’m pretty sure he wouldn’t be happy to hear that. Disciple Bellamy remains stone-faced and gives her only a flat “I’m sorry you had to go through that”.

(And this is what annoys me about this scene and this storyine in general: somehow, Echo is made to look morally superior, after having murdered and betrayed multiple people this season an some two days after she murdered people as a way to torture Levitt and almost committed genocide, and no one has any time to even mention that or blame her for anything. If Bellamy had done a fraction of her actions, it would’ve turned into a huge story of guilt and Bellamy being blamed and needing to redeem himself forever.)

But regardless of how you see these characters’ respective arcs, one thing is clear: they are on completely different wavelengths. Echo mentions how she tried to keep her identity by scarring her face - but that scarring was an Azgeda custom; the core identity she was trying to preserve was that of an Azgeda warrior/spy, which is hardly something to mention as a positive thing to Bellamy. Not only does it have nothing to do with them as a couple or as a team/”family”- her Azgeda spy/warrior identity made her Bellamy’s enemy and caused him a lot of trauma. This is either some weird and bad writing, or an intentional attempt to show the cracks in this relationship that have been there all along. Bellamy, on his part, seems to think Echo will understand the appeal that this faith has for him - a promise of “no more war, no more killing”. Why does he think this is something that would appeal to her? Fighting and killing for her “people” and her “King” and fulfilling her mission is what she lives for, even after having spent 11 years in peace.

Throughout this scene, Echo looks very emotional, especially by her standards, while Bellamy is incredibly restrained. She finally asks him point blank “Is this (his faith) more important than us?” This is a very ambiguous line, because the pronoun “us” can be understood as “all of us, your family/friends” or “you and me/our relationship”. There’s been a debate on which one she meant - I even created a Twitter poll about it (where about 2/3 of voters said they thought she meant their relationship). I can see both of these interpretations, but the intimate way she said that line and the way she was looking at him make me think that she meant “us” as in their relationship. Either way, the fact that Bellamy - after a pause - unambiguously answered “Yes”, makes it pretty clear that this relationship is over. I find it hard to see any future in this relationship even if/when Bellamy stops drinking the Kool-Aid. I do think someone will be able to get to him, but it won’t be Echo.

Echo cries after he has left (which I feel was much more in character than if she had been crying during their talk, as in the script.). Back in 7x04, Echo asked Orlando: “ It must be hard to dedicate your whole life to something that may never come.” I’ve always felt that was foreshadowing for Echo’s own arc - with the way she was saying she wouldn’t know what to do without Bellamy. I didn’t expect their relationship to end for this reason - but this is a much stronger blow for Echo than if they had just broken up for more mundane reasons. She didn’t just lose her boyfriend, she lost her king. If her arc is to make any sense, the show will have reflect on her life, identity and priorities and her find some purpose in life that’s not about Bellamy or serving another leader.

Octavia and Clarke are together in another cell - and we get a brief interaction, where Octavia tells Clarke she “finally understands” her, because she knows what it’s like to have a child you’re desperate to protect. I’m not too fond of this line, because it feels kind of obvious but also reductive - “I finally understand you” makes it sound like she finally understands who Clarke always has been, since she met her in season 1, which doesn’t make sense. It’s reducing Clarke to the role of the mother, and it would make a lot more sense if Octavia said she now understood the post-Praimfaya Clarke. But understanding was never an issue between them in season 5 - Clarke was simply standing in Blodreina's way. It was back in seasons 1-4 that Octavia had trouble understanding Clarke and her decision as a leader - something that she probably understood when she became a leader herself, responsible for a bunch of people.

Bellamy’s second big confrontation is with Clarke and Octavia. And in this one, Bellamy was much, much more openly emotional, much more vulnerable. This time, he not only told his experience to his sister and Clarke - he is now desperately pleading with Clarke to believe in him. He doesn’t bring up her feelings for him, but their connection and - in a way - his feelings for her, what he did for her, the fact he did not give up and brought her back to life in S6. They are both yelling and looking in pain and with tears in their eyes. He isn’t shouts “I am trying to save you, all of you!” But this is not about Clarke believing in him or dismissing his experiences. She accepts that what he says may be true, but refuses to give in to a man like Cadogan and let him start a war, and she stands her ground, while Octavia turns away from her brother to comfort her, looking at him disapprovingly. If someone can get to Bellamy, if his feelings could outweigh his faith and loyalty to Cadogan, it is most likely to be Clarke (It could be Octavia, of course, but the show is not choosing to focus on their relationship at the moment.)

I’d like to point out that we have seen this kind of angsty conflict between Clarke and Bellamy almost every season, and often around this part of the season, and that it always ended in an equally huge reconciliation. In season 3, it was earlier (3x05 to 3x11). In season 4 it was in 4x10/4x11 with a reconciliation in 4x12. In season 5, it lasted from 5x09 to their big reconciliation in the season 5 finale. They always end up forgiving each other because they can understand each other - and are a united team in every season finale.

I want to address something else I’ve seen people say: that it is “worrying” that Clarke has called Bellamy her best friend twice this season, after never having defined their relationship that specifically before. Which is seen by some as a sign of the show trying to “clear” that they are “platonic” - even though this really doesn’t do that. (Anyone remember a certain real life tweet going: “Recently, I married my best friend and soulmate...”?) If anything, it is a step forward, since she has previously only referred to Bellamy as one of her friends/family. What else would she call him that would give him a special place, unless you expect a love confession from her at a moment like this (or talking to Cadogan in front of everyone), which wouldn't make sense. Specifying their current relationship status of two characters feels like something you would do if that status is to change - one way or other. (I think that Bellamy has also been called Echo's boyfriend for the first time in S7.)

The struggle inside Bellamy continues as he sends Clarke to MCap - which rightfully shocks and hurts both Clarke and Octavia, But he clearly has a hard time seeing Clarke in pain. and, in spite of what he said earlier (that he can’t lie to the Shepherd), lies to Cadogan, claiming Clarke doesn’t know where the Flame is. There is no way he actually believes that - Clarke didn’t even try to pretend that she didn’t know it, and she’s struggling to hide that knowledge. Unfortunately it’s an obvious lie Cadogan sees through, but the cracks in Bellamy’s loyalty to him are starting to show.

(Many people were hoping that the MCap session would allow Bellamy to see Clarke’s memories and that this would be some kind of breakthrough that would let him realize her feelings for him and get him emotional - but I’m glad nothing like that happened, Mind violation is not a good way to bring two people together..)

Clarke, being Clarke, hurts herself rather than giving Cadogan what he wants and letting him start a war, until he promises he release her friends.

The show is really not subtle with its imagery - first we had Kane crucified in season 3, and now Clarke looks like Jesus with a crown of thorns.

So, Cadogan sends the rest of the group (Octavia, Echo, Hope, Miller, Niylah, Jordan) to an unknown location, as a collateral, so Clarke would keep her end of the deal and find the Flame for them. But he doesn’t reveal the location to Clarke - or to Bellamy, because, in his words, he doesn’t trust Clarke. But this means that he doesn’t really trust Bellamy, either - at least not when Clarke is around.

Doucette seems to be constantly hanging around Bellamy - he was there when Bellamy was reunited with his people, he appears after Bellamy’s talk with Clarke and Octavia, and he’s with Cadogan, Bellamy, Clarke and others in the team that goes to Sanctum. I don’t think it’s just because they are the Disciple version of friends - I think Cadogan has made Doucette Bellamy’s unofficial Handler, and that he’s supposed to keep an eye on him and make sure he stays loyal and doesn’t give in to the temptation of emotional attachments to his friends and family. He also has a brief interaction with Echo, where he seems amused and mildly contemptuous. Which makes me think he’ll have some interesting interactions with Clarke and possibly others in 7x13 (but mostly Clarke, especially going by the promo photos) while he is around Bellamy to remind him of his Disciple side.

There’s been a lot of speculation where the group has been sent. It’s certainly not Skyring, Etherea or Nakara or Sanctum, which means that the options are either Earth, or some new place we haven’t seen yet. It would make sense if it was the same place where Gaia was. It certainly seems that we won’t see this group before 7x14, as the upcoming episode will probably be full focused on Sanctum. The Stone on Earth has been shown to be offline - but so was the Stone on Sanctum, and that didn’t end up mattering at all.

What I don’t understand is why Cadogan thinks they won’t be able to find their way to Sanctum - which is why he didn��t let Gabriel and Raven go with them. But they do have Disciple helmets (unless all info in them has been disabled), and Jordan was around when Raven talked about the Anomaly and has spent a bit of time researching the Bardoan text on the Anomaly Stone on Bardo - so I expect him to be able to figure things out.

So many of the characters need to resolve their storylines - Echo, Hope, Jordan? The former two have character arcs that badly need resolution and character development, after they have lost everything. Hope has been driven by anger, pain and revenge all season - and it all came crashing down when she attempted to commit genocide, and unintentionally caused her mother’s death as a result. Diyoza’s last words were to be better than she was. Hope still has Octavia, who has struggled with and resolved the darkness and violence in her soul, and now she also has Jordan to bond with, as they did in their scene in the cell in this episode. They are two of the kids who grew up in isolation and raised on stories of Clarke, Bellamy, Raven, Murphy and others as legends, but with drastically different worldviews and experiences. I expect both of them to survive to the end, together with Madi, as the new generation/hopes for the future of humanity.

As for Jordan, I would say that his arc needs a resolution, but his brainwashing by Trey at the end of last season seems to have been completely forgotten and ignored. Maybe it became a casualty of the rewrites, when the show opted to go with another brainwashing/indoctrination storyline with another one of its men of color. I certainly prefer this Jordan we saw talking to Hope and comforting her, but why didn’t the show keep him that way all the time, without that really annoying Prime-apologism phase?

I feel that Octavia, on the other hand, has completed her character development, but she needs to deal with the loss of Diyoza, have some meaningful interactions with Hope, and of course, a resolution to her relationship with Bellamy.

It really struck me how little Bellamy/Octavia interactions got focus in this episode - their one scene was more focused on Bellamy's interaction with Clarke, and Octavia didn't even get a line or closeup in the scene where they were being sent off (unlike Clarke, Echo, Raven, Gabriel and Miller) nor even a moment of eye contact with Bellamy (unlike Echo and Clarke). That must mean there are going to be big Blake sibling scenes later, probably in the finale.

Sanctum

When you think Sheidheda can’t get more over the top, he does it again. I don’t know if this is a bad or good thing. If you’re doing a cartoonish villain, go all in, right? It’s kind of entertaining, though it doesn’t fit with the usual way this show does villains. This time, he actually has a throne made of skeletons! (That’s one way to use those skeletons of the Primes’ former hosts.)

He’s also borderline Villain Sue, with a bunch of incredible fighting skills that now go beyond Grounder style fight. Now he’s also really good with automatic guns. When did that happen? I mean, Madi does know how to shoot a gun, but still? The scene where he shoots all of the Children of Gabriel would’ve been much more convincing if he had given a sign to Wonkru to start shooting them, instead of doing it all by himself.

Nelson’s (Sachin)’s death was fitting for his character, and many would say it was heroic and impressive, refusing to kneel to another false god. Or one could say it was stupid and pointless - as it did not result in just his death, but also the deaths of all the people he was leading, and that he should have instead taken Emori’s advice and knelt today so he could find a way to beat Shady some other day, while saving his people. I’ll let you guess which one of these is closer to how I feel. In any case, on the Doylist level, I’m not fond of how fast the show is to kill off another bunch of people, but it is what it is, the show has always been fond of mass murder. And this is Shady’s second one this season. First he killed the majority of the Faithful, and now almost all of the Children of Gabriel - so we wouldn’t have to deal with more factions of people in the show’s endgame. And conveniently, CoG got removed from the board just before Gabriel comes back to Sanctum, Now we won’t have to have that arc followed up on. How many people are left in Sanctum now that aren’t Earthkru? There must still be quite a few of the ordinary Sanctumites there, such as Delilah’s parents, but we rarely get to see them. I would hate it if the show killed off the majority of the Sanctum residents just because they’re not major characters.

The only CoG who gets to survive is Madi’s friend Luca, the one other CoG we know. Indra, who witnesses the massacre and saves Luca, must be thinking back to how her mother knelt to save her (just like she knelt to save Madi) and hopefully realizing that her mother wasn’t a coward and did the right thing.

Meanwhile, Murphy and Emori are hiding Madi, the remaining Faithful, and now Luca, too, in the nuclear reactor. Trey, the big believer, has no problem suggesting they kneel to the guy who killed his god Russell, before Murphy points out that Shady would kill them anyway for fear they would want revenge. Oh, Shady - you killed so many people and didn't even have the decency to kill that annoying asshole Trey?

One of the best parts of the Sanctum plot in this episode is Madi comforting a really traumatized Luca - who has lost first his biological family when Shady killed the Faithful, and now his people/his real family - and telling a group of orphaned children a story of her own survival in the Shallow Valley. Whether or not this is foreshadowing for a possible return to Earth (I am in two minds if this is going to happen or not), it is a sweet moment of hope for rebuilding life and society, similar to the scene between Jordan and Hope.

Murphy confronting Nikki and telling her how and why her husband died and that his sacrifice should not be in vain, is a good scene - and won’t be pointless if it finally results in some sort of character development for Nikki, who has been so one-note throughout this season. But she is simply not that interesting. The one interesting thing about her plot is that she could remind Murphy of who was back in season 1, but the show, usually not subtle with parallels, hasn’t done anything with that so far.

There also some lovely Memori moments - they are the one couple in the show who are getting to be happy and have these ordinary coupley scenes. And you know that I have always shipped Memori. But the problem here is - there have been many cute Memori scenes this season; they have both proved to be good leaders, who take care of people, playing the role Clarke and Bellamy did once; Murphy has been proving every episode that he’s a real hero now, coming a long way not just since season 1 but from his questionable and selfish choices in season 6, too. He gets told “I’m proud of you, Murphy” again by someone, this time Indra. All of this is very nice, but repetitive. After so many episodes this season have shown us these things - we get it. We don’t doubt anymore that Murphy and Emori are heroes. Sheidheda is 100% a villain. There is no moral ambiguity - except with minor characters: the only unpredictable thing about the storyline is what Nikki will do and whether Knight will stop obeying Shady. It’s not that this is a terrible storyline, and on rewatch, it was fine in this episode - but the other storyline is way more interesting, and there are so many other characters that are in pressing need of character resolutions, with 4 episodes to go.

At the end, we’re left with a stalemate, as Murphy is captured by Shady, but Shady can’t move to capture or kill Emori and the people they are protecting in the reactor, because she could blow it up, so he leaves Knight to wait for them to come out.

And then, finally, Cadogan and the group come from the Anomaly. Why did we have that Disciple so dramatically disconnect the Sanctum Stone in 7x04? Another abandoned subplot? Wonkru simply moved the Stone and brought it tot Shady, and it worked just fine.

(I suspect the Flame may turn out to be impossible to repair or useless, because the show has been emphasizing Madi’s remaining memories so much this season - and that wasn’t needed for this plot, since Shady also remembers the Anomaly Stone and could have been the one to tell Wonkru about it. The Disciples may end up trying to get her into MCap to see if she remembers the Final Code that Bedca used.)

I’m ecstatic that the Bardo storyline is finally converging with the Sanctum one. But that somewhat initially ruined by the bad direction in the last scene, which made it less clear which of the characters were back on Sanctum, until you went back and paused the scene. Clarke asking “What the hell happened here?” and Murphy’s reply “Gee, where to start” was great, but the fact that so many people were asking “Did Bellamy come to Sanctum with them?” and weren’t sure of it before the Inside the episode and sneak peeks came out, shows how poorly this scene was done. It should’ve made it crystal clear that Bellamy, Raven and Gabriel were coming back to Sanctum together with Clarke and Cadogan - getting people excited for the next episode.

Rating: 6.5/10

14 notes · View notes

yes-i-am-happyaspie · 5 years ago

Text

Just Sit Down!

I know in the USA that some states are starting to pull back on their self-isolation orders but Please, I’m begging you to listen to the science.

This isn’t over.

We need to continue to flatten the curve.

STAY AT HOME.

__________

Summary: Peter Parker is a man... well, teenager of action. Therefore he and 'social distancing' don't exactly mix and he's about to drive Tony up a wall. The good news is he's able to come up with a plan that will undoubtedly wear his kid out.

Tags: social distancing, Pandemics, Peter Parker is Going Stir-Crazy, Tony Stark is Being So Patient, Superhero Tag, Raising Morale, Staying Positive, Tony Stark Has A Heart, Tony Stark Acting as Peter Parker's Parental Figure... ...

Word Count: 3202

Warnings: None Rated: G

Link to Post on AO3[2020-3-21]: Just Sit Down-happyaspie

From the moment the virus, the pandemic, hit the United States, May immediately started talking precautions. One of which was making sure that Peter was being careful while on his patrols. No diving into crowds, cleaning his hands regularly and washing his suit after every single use. Peter complained that she was being overprotective. Insisting that they had no proof that he could get sick at all but being a nurse, she didn't relent. They didn't know enough about his immune system to be sure that he couldn't catch this particular virus and even if he couldn't, he could still spread it. Being cautious was the best course of action.

Later when things began to spread, the local and national governments decided that social distancing was the best way to slow the progression and prevent the healthcare systems from being overwhelmed. That meant that events were being canceled, the schools were being closed and businesses were beginning to move towards a 'curb-side pickup model'... it not temporarily closing their doors altogether.

At that time, May was the first to volunteer to take on extra shifts at the hospital. Especially as some of her co-workers began having to navigate through a sudden need for child care or had fallen ill themselves. She didn't mind the extra work, it was hard but it was also fulfilling. The problem was that it didn't take long after the first major influx of patients for the hospital's supply of personal protection equipment to begin to run frighteningly low. That didn't stop her from pressing forward. She knew she was part of the frontline. People's lives were in her hands. That wasn't to say that she wasn't worried. In order to prevent the possibility of bringing the virus home to Peter, she did the next most responsible thing she could think of. She sent him to stay with Tony and she knew she was extremely lucky to have that sort of an option for her nephew. Many families didn't.

Having Peter stay at the tower actually eased most of May's major concerns. Not only did it reduce the possibility of her passing the virus on to him, should she be directly exposed, it also meant that he would be well fed. Getting enough supplies to properly feed an enhanced teenager during a time when people were buying in bulk out of fear was difficult. That wasn't a problem for Tony. He always had a large supply of everything stocked up at the tower. It came from housing several heroes, including a super-soldier. However, she also relieved to know that the man would be available to make sure that Peter didn't try to sneak out as she knew he was itching to do.

Tony was, as expected, quick to accommodate. He even made sure to have May's kitchen stocked for her. She tried to refuse but he simply waved her off. Saying that he'd already made several large donations to various community food pantries and created a few helpful programs of his own to support the at-risk communities. Supplying her with two weeks' worth of frozen dinners and canned goods that he already had laying around was nothing. "Besides, you're really helping me out. The team is sort of spread out across the country, Pepper's stuck overseas for the time being and the penthouse is entirely too quiet.", he said, not really knowing at the time, what exactly he'd signed up for.

~o~o~o~o~o~

By day five of being completely banned from Spidering at both May and Tony's insistence, Peter was starting to go a little bit stir-crazy. He'd not used his web-shooters or any of his spider-powers during that entire time and he had so much pent up energy that he could feel himself vibrating. "I need to get out.", he randomly jumped up and announced after having been jittering in place for the past twenty minutes while Tony watched the news.

"No, you don't. Sit down.", Tony casually stated before flipping the channel to something a little more upbeat.

"I can't sit down. There're... things I could be doing out there.", Peter retorted as he began to pace.

Tony hummed in response. "Like what?", he asked despite knowing the answer. He knew the kid was going nuts from sitting around. A daily jog at the nearby park wasn't enough. Not when he was having to go at a leisurely human pace.

"I don't know! Things!", Peter snapped but felt instantly sorry for having done so. Taking a deep breath he looked longingly out the window and sighed. "Stopping crime. The usual."

"There's nobody out there, kiddo. ...and the police are already taking precautions to help handle any kind of mass panic.", Tony helpfully supplied but the boy didn't look convinced, instead, he went back to pacing the room and periodically sighing.

Eventually, Peter paused in front of where his mentor was sitting and began to chew on his thumbnail. "Maybe I could help buy groceries for the elderly or something.", he suggested because that sounded reasonable. He could swing around the city and deliver necessities to people who otherwise shouldn't be out. That would allow him to really move while helping the community.

"Stark Industries funded an emergency drone delivery service for that very purpose. It's free, highly advertised and my understanding is that it's getting a lot of use.", Tony replied and steeled himself for an argument that never came. Instead, the kid when back to pacing. Then, the pacing turned into digging around in the kitchen and before he knew it, the boy was back in front of him.

"We're out of pudding, Mr. Stark. I should go out and get some.", Peter stated matter-of-factly, shifted his weight as he spoke.

"Pete... I have enough food to feed me, you, May and a small army for the next three months, you'll be fine for the next two or three weeks.", Tony said in exasperation. A lack of pudding was not even slightly on his radar. Lack of coffee might have gotten his attention but he knew better than that. The coffee he liked was delivered to his door, in bulk, on a monthly basis. Not to mention the backup supply he kept in the back of the freezer. "Don't you have some homework you can sit down to do?"

Midtown had turned to digital learning for the duration of the preventative period and posted assignments daily. Extensive ones. Yet, Peter had managed to blow through them in record time. "I finished it already.", he said with a shrug of his shoulders.

Throwing his hand up in mild annoyance, Tony rolled his eyes. Of course, the kid was done with his homework. "Well, call Ned or do that Discord gaming thingy that you do. Just sit down, kid!"

"We did that already today", peter complained as he began to absentmindedly bounce on his toes. "You can only play so much Minecraft, Mr. Stark."

Tony huffed a laugh. "Really because it wasn't that long ago you were all, '...but there are bees now, Mr. Stark...', when I asked you put the game down for ten minutes to help me with something in the lab.", he playfully mocked. He really didn't understand the fascination with the game and this was coming from a man who's entire generation had thrived on clunky plastic cartridges and boxy eight-bit characters.

Crossing his arms in front of him, Peter, sighed and then reluctantly plopped down into a chair only to then relentlessly tap his foot on the hardwood floor. "I have a short attention span, Mr. Stark. The bees are no longer of interest.", he proclaimed and then immediately stood up to continue his aimless wandering.

"Do you want to go down to the workshop?", Tony asked next. Even if they had run out of things to do as far as Spider-suit updates go, there was always an abundance of half-finished projects down there to look at. He sort of hoped that he could get the kid's brain working and that would, in turn, temporarily cease to the whining. "We can do whatever you want as long as you stop pacing. You're going to wear a hole in my carpet. Sit down!"

"Why can't I go out as Spider-man, Mr. Stark?", Peter pleaded, not really expecting any kind of surprising answer. He'd already asked that question multiple times over the last few days and the response wasn't likely to have changed.

"You know why, kid.", Tony warningly returned causing the boy to grunt in frustration and then turn back towards the large windows. It was as though the sly line was calling his name. No screaming. The skyline was screaming his name.

"What if I just swing around for like, an hour and then back. No direct peopling.", Peter begged, hoping that was enough of a compromise. While he missed talking to his many neighbors, shaking hands and playing with all the children in the streets but he did understand. He was just aching to get out. Like he would suffocate soon if he didn't.

Rolling his eyes, Tony sat up taller in his seat and pointed an accusatory finger towards the pouting teenager. "Right. Do you think you can just sit there and lie to me like that? I've met you and there is zero chance of you going out in that suit and not talking to every single person you come across."

"I promise, Mr. Stark!", Peter nearly shouted but his mentor remained placid.

"Nope.", Tony causally countered but when it looked like the kid might actually start to cry he relented. Just a little. It wasn't that he had any real problem with Spider-man going out to swing the afternoon away. The problem was he didn't trust the teenager behind the mask to not dive right into the middle of the first crowd he spotted. He required supervision and he supposed that technically he could offer that. "What if I go with you?", he proposed.

Narrowing his eyes, Peter tried to decide what the man had meant by that. "Like... as my sidekick?", he asked, feigning confusion.

"Iron Man is nobody's sidekick, Spider-boy.", Tony impassively asserted. "I'm going as your--"

"--Equal?", Peter pipped up with a wide smile. He knew that was definitely not what the man was going to say either but he was sure his mentor's reaction would be nothing less than entertaining and he desperately needed some entertainment.

"That's cute, Pete but no.", Tony said with a smirk. "I'm going as your Superhero mentor or what have you.", he flippantly declared before turning the television off completely. Apparently his spider-child required another, more vigorous walk.

Peter stood by the window and quietly contemplated the offer. It didn't really take that long for him to decide that the plan, though vague was good enough for him. If it meant getting to use his web-shooters, that was all he needed to hear. That didn't make him any less curious about what the man had in mind, though. "That's cool. What are we going to do?"

"Oh, I have a few ideas.", Tony said with a grin.

Within the next thirty minutes, the two for them were suited up and on top of the building. While Peter hopped in place Tony stood there rapidly typing something into his phone. "What are you doing?", Peter asked as he tried to see over the man's shoulder. "I thought we were going to actually do something."

For several seconds the man didn't dignify the question but when he did he was smiling triumphantly. "There we go. ...Now you can swing around and get your crazies out while doing something nice.", he stated before turning his phone so that Peter could read his latest tweet. 'Bored inside? Spider-man and I are about to hit the skies for some practice. Enjoy the show from your windows.', it read and tagged several specific locations including the nearby children's hospital.

"That... is a really cool idea, Mr. Stark!", Peter giddily exclaimed.

"It was one of my more genius plans.", Tony said with a flourish of his armored hand. "Now, let's get going, that's a lot of ground to cover.", he added, engaging his faceplate and then subsequently shooting a mild repulsor beam directly between the kid's feet calling out, "Tag, you're it!", before taking off into the sky.

"Hey! I wasn't ready, Mr. Stark!", Peter laughed as his mentor hovered tauntingly above him. Though, before he had the chance to gather his thoughts or shoot a web towards the nearest building the man was swooping back towards him.

"You coming or what, Spider-kid?", Tony said, holding out his hand with the intention of taking another shot but before it could go off, Peter managed to get his wits about him and shot a web towards the man's outstretched hand. Completely undaunted by his now web covered palm, Tony didn't change his position. Instead, he raised his face-plate and smiled. "Nice try, Spiderling.", he calmly replied right before the repulsor went off, burning right through the webs and hitting peter right on the heels as he had already begun to run towards the edge of the rooftop.

They continued to soar through the city, playing their superhero version of tag while people cheered them on from their windows and balconies. Some of them wearing their hero of choice's colors while others held up signs to show support. Although, Peter's favorite part of the entire chaotic outing was climbing up the side of the children's hospital and waving to the kids as they sat up in their beds giggling whenever Tony would zap him in the rear. It was probably the most fun he'd had in a really long time.

By the time they had hit all of the spots that Tony had promised they would appear in, Peter was actually tired. Not exhausted but comfortably worn out. So, when the man told him it was time to head back to shower and eat he was more than willing to go.

"That was really awesome, Mr. Stark. Like, I can't remember the last time I've ever been able to play with anyone like that.", Peter sighed out as they sat together at the kitchen counter eating dinner. After the spider bite, any and all rowdy antics had come to a rapid halt. It wasn't like he could wrestle around with Ned. He had super- strength and didn't want to hurt him. Yet, it had never crossed his mind that maybe Tony or even Steve would willingly rough-house with him. Sparring, jogging, team practice, those could be fun sometimes but they weren't the same thing.

"Yeah? Well, I'm glad you had a good time, Buddy.", Tony said. He'd not really considered that end of the exercise. His goal had been to allow the kid to wear himself out using his spider-powers without putting himself or others at risk. He'd had no idea that when he'd chosen to turn the whole thing it into a game, that he'd be filling a hole that he never knew existed. "I think the people watching had a good time too."

Nodding his head, Peter smiled. He thought about all the families that had come outside to see what the ruckus was about then stood on their balconies laughing and yelling, back and forth towards each other as they watched the action. He thought about how they were enjoying each other's company without going against any social distancing suggestions and how happy everyone looked while doing so. "It was sort of cool to see everyone being excited together even though they were still apart.", he mused between bites of spaghetti.

"We gave them something fun to focus on for a little while.", Tony acknowledged. He'd not expected the impromptu air show to go over quite as well as it had but then again people had been confined to their homes for a while at that point. No school, no concerts, even the libraries were off-limits. They'd needed a pick-me-up beyond a computer screen. An excuse to interact with their neighborhood at a distance.

"Can we do it again, Mr. Stark?", Peter asked as he began to clear the table. He wasn't sure exactly how much longer they would have to all be inside but he hoped to have the chance to lift the city's spirits again. That and the game had been fun. Laughing, goofing off and scuffling without having to worry about hurting anyone had been amazing.

"At some point.", Tony agreed with a smile. He could handle that and honestly, he had already decided that after everything had settled, that he would occasionally take the kid out just to play around as they had. Peter had made it very clear that having someone to horse around with had been something he'd been missing and it had been fun for him too. It would also come off as good publicity. Two superheroes working in tandem to brighten the lives of the people around them but mostly the former. "In the meantime, what do you want to do now? Lab or movie?"

"Movie.", Peter readily replied as he darted across the room and flipped solidly into the large chair beside the window. "They released some new ones to digital early since the movie theaters are closed. Like Onward, Frozen Two and most importantly, the newest Star Wars movie."

"Of course, Star Wars.", Tony replied with a roll of his eyes but settled down on the couch all the same.

They sat on the sperate pieces of furniture for the duration of the first movie but by the time they had started into their second, Peter was growing tired. Eventually, he got up from the chair he'd been curled up in and wandered over to sit directly beside Tony on the couch. That way he could stretch out a little more. Though as more time passed he found himself leaning more heavily into the man's side and his head resting snuggly on the man's shoulder.

Looking down at the kid who finally seemed to be more at peace than he had been for the last several days, he smiled. "You know we're supposed to be practicing social distancing.", teased said while nudging Peter's head with a shrug of his occupied shoulder. It wasn't that boy had never sat with him like that before or that he really minded, so much as he just wanted to give him a hard time. It was fun.

"I live with you.", Peter reason, without bothering to move an inch. He was comfortable and sitting closely beside someone that you were actively sharing space with was to be expected.

“You live with your aunt.", Tony counted with a chuckle. Though he did realize that the kid spent more than a good bit of time living with him as well. Even before the short term change in his primary residence.

Peter looked up and grinned. "Not right now I don't.", he sing-songed before pulling the blanket off of the back of the couch.

"Whatever.", Tony returned with a fond roll of his eyes. "At least your sitting down."

#marvel #marvel fanfiction #mcu #spider-man #covid 19 #social distancing #mcu fanfiction #stay at home #tony stark & peter parker #irondad #irondad fandom #cross-posted #also on ao3 #my ao3 #stayhealthy #flattening curve

20 notes · View notes

vroenis · 5 years ago

Text

Lost Legacy Exemplifies Naughty Dog’s Cultural Crisis

There’s a discussion about Ocean’s 8 that positions its existence around whether or not it's necessary as a counterpoint to the Ocean’s reboot - the Ocean’s Cinematic Universe - if you will (what a world we live in) - that it was only made as a gender flip of the reboot that spawned two sequels, three films in total cast almost entirely with men.

My perspective is that as much as I generally enjoyed the Ocean’s reboots for what they were, Ocean’s Eleven should have been a cast entirely with women in the first place.

The heroes we both need and deserve.

Massive spoilers for the original 1960 Lewis Milestone version and the Steven Soderbergh one in 2001 of Ocean’s Eleven - Soderbergh’s flip is of-course that they get to keep the money at the end so that they have to potentially give it back in the sequel he knew he’d be able to make, whereas I doubt Milestone knew he’d ever get a sequel back in the early 60′s so the rub for film-making back then is to burn the money at the end. Nevertheless even for the early 2000′s, the boldest of moves would have been to cast it with women, not to be progressive but also to be progressive, tho that’s still an absurd thought that to cast women is progressive - but to be smart. Ocean’s 8 is a fantastic film, deftly written, paced, acted, shot and edited. Would the world have responded to it in like-kind? I know how *I* would have responded to it, I think you can answer for yourself how societal cultures may have responded at any point from 2001 thru to now. In any case, I have Ocean’s 8 on blu-ray. I love it.

A reader asked me whether I’d played Uncharted: The Lost Legacy after kindly reading through my bludgeoning of Uncharted 4, and seeing as they were patient enough to endure that blood-letting, I felt I owed them and probably Naughty Dog the time of day to give Uncharted-And-A-Half a chance, and I’m really glad I did. Fair warning, there’s a lot I didn’t like about Lost Legacy, and there’s going to be some more pain - a lot of pain. I don’t think any of my tumblr audience is quite on the rest of my socials, but anyone who’s connected to me anywhere else on the Wire was subject to my frustrations as I played thru the game on Saturday, including the blurred image of my Google Keep notes I took while playing the game in preparation for this journal. I keep notes now.

Nevertheless, I can say that on the assumption that the Uncharted series is wrapped, or at least in the narrative arc with these characters as we know them, that Lost Legacy is easily without question my favourite Uncharted game by far.

On that assumption that Uncharted is more or less done, now’s as good a time as any to take a top-down look at the franchise as a whole. I know I already did a fair bit of that in the last piece, but some broader thoughts on what the series does and says have solidified while playing Lost Legacy, and I’ll discuss them as a lead-in to my thoughts on the game.

Again - this is going to be riddled with spoilers for Uncharted: The Lost Legacy and most likely the entire Uncharted series, so if you’ve not played them and are interested in doing so, or don’t want to see them heavily critiqued, please stop here.

The first game was released in 2007 and was apparently in development for roughly three years. What was happening up to and around 2004 to 2007? September 11 had happened in 2001, the world was at war in the Middle East in Afghanistan and second invasion of Iraq had begun in 2003, Hurricane Katrina happened in 2005 - the same year the IRA ended armed conflict in Northern Ireland, 2005 saw the outbreak of H5N1 Avian Flu - topical right now. There are so many more, I can’t list them all here - lots of momentous events that in some way or another highlight community awareness in some way - that’s probably a bit of an obtuse statement but hopefully it’ll string together in a sec. What struck me and a bunch of my friends odd about the first, then the second and then somehow every Uncharted game since, is that Naughty Dog seem to choose an ethnicity for their antagonists and scratch the surface of “what if this element of their cultural violence is bad”, but then leave it so shallow that it remains a caricature and comes off as casually and carelessly racist. The first game frames the theme around Nazis, but the actual enemies are anything but. Yes, they’re intended to be mercenaries, but they’re hardly nondescript, they’re absolutely of very specific ethnicity.

From the second game onward, Naughty Dog seem to want to make use of real world settings and do some nuanced research on actual sociopolitical conflict and I always feel uneasy about how its presented. Lost Legacy begins much the same way and I worried about the tone going in. An active war-zone in India as gravitas to your setting that is then almost completely abandoned until the very end? This is my problem with how the writers treat setting in Uncharted. They use very real conflicts that have real-world consequences for people in which actual lives are lost to inject gravity into their narrative and then quickly discard it for the sake of shenanigans once the wise-cracking starts when the tone shifts gear and the characters themselves take centre-stage in the foreground.

Here’s the thing.

The character’s are enough. I *love* these characters. Their story is fantastic. Nadine’s and Chloe’s story was the best and most cohesive of the entire series. Also it only took me roughly six hours to play thru and I only feel like half of that was wasted! That’s still probably being too generous but I’m grasping for positives, here. Still - I don’t know why the senior production team has never had confidence in the core of their product which is the charm of their characters and the play dynamic - Uncharted is primarily about *seeing* and *doing* - for the most part, unfortunately, separately.

The dialogue between Chloe and Nadine is extremely interesting, it is absolutely the best thing in the game, yet it keeps getting interrupted by stupid gameplay beats due to poor timing of rolling up on level locations. Uncharted 4 was supposed to have locations hidden around levels where you could engage in dialogue between characters but I barely found them - why hide such interesting content in your game?? It’s completely absurd. Then the only few I did find were between Elena and Nathan altho I really don’t think those were meant to be hidden, and they were so poorly written and I hated them so much, I didn’t care to discover any more. Again - no disrespect at all to Nolan North and Troy Baker whom I absolutely adore and respect, but I didn’t find anything engaging or interesting *at all* about the brother narrative. I didn’t care one bit what that nonsense was about. What about Sully? Where’s Sully’s story?? I’m just so - so glad we got a story for Chloe, and that at least Nadine got some great screen time too as a part of it and that it all presented so well.

Before I continue to praise what went well, there are a few things I can’t let pass. While the driving has thankfully improved and controls quite well now, the exclusion of a minimap or GPS HUD element is interesting. I’m fairly certain it’s intentional as to not detract from the game’s clean, cinematic look, to not break immersion, but this just generates a horrific breakdown in actual player experience for me. Without any navigational assists, I constantly got lost and stopped every 20 meters to check the map, frequently driving into dead-ends, off cliffs and past where I wanted or needed to go. The game isn’t a 30 hour open-world experience with distinct and varied landmarks the player will familiarise themselves with and learn to navigate by, for the most part the level is fairly homogeneous in object geometry.

Some of the puzzles take far too long to mechanically execute, in particular the smashy-slashy statue block jumpy stupid whatever it’s called one and the sliding shadow motif. It doesn’t matter that neither actually takes too long once you know the solution, it’s that they feel long and then are actually over-long and also not interesting to mechanically execute. This is due mostly to clunky character animation and animation smoothing, and part of Naughty Dog’s overall obsession with being cinematic which is something I’ll return to towards the end of this piece, something which has been a strength but will ultimately be to their detriment. While cinematic visuals might be a benefit for traversal, it’s something that absolutely does not suit puzzle-solving. In the example of the statue-block puzzle, the hard reset each time the player is hit means laboriously jogging all the way back to the beginning and starting again - it’s just poor puzzle design having to begin again from a full reset. There’s no satisfaction in having to remember the whole thing and while I didn’t look up the solution online, I’m willing to bet many people will have just dialled up a clip on YouTube and copied it without figuring it out themselves. This is a failure of connecting what’s satisfying about moving in your game and what’s satisfying about solving puzzles, something Crystal Dynamics understood far better in the Tomb Raider reboots, in particular the second outing (Rise of) with their much more environment-centric puzzling.

The sliding shadow puzzle just simply takes way too long to jog around the space, then clip onto the hot-zone for each lever, wait for the animation to lift it, wait for the animation for the pieces to slide, rinse, repeat. Once you know what you have to do, it’s overly frustrating actually having to do it.

It brings me to a weird quirk of design where the puzzle designers perhaps don’t understand something that the environmental designers do. Maybe they didn’t get the same little notes in the Slack channel, or Trello board or Teams pin or whatever. Uncharted level-design has almost no back-tracking, less in each successive game, and it’s almost entirely absent from Lost Legacy - you’d have to look closely to realise you’re navigating the same area you came in thru and almost always moving over it in a different way that’s been modified - now it’s flooded, now there’s a bridge, now you’re swinging or leaping or climbing where you weren’t etc. I feel like this is the Hidetaka Miyazaki Souls/Borne effect of level design in which environments are designed to be both realistic and practical.

Great! Good for the level designers. Did the puzzle designers not get that note? Maybe they did. I need to stop thinking that every poor optimisation is a symptom of ignorance - that’s bad form on my part. What’s more likely is it’s a symptom of either bad leadership, poor tool implementation, lack of time or too narrow or strict an observation of representative vision - by which I mean - they can’t change the way the characters move or animate just for puzzles, because it has to be consistent with the cinematic representation of the game as a whole - and that sucks lemons. It means the overall play experience suffers for the sake of the overall cinematic experience except executing a puzzle isn’t cinematic unless it’s expansive...

Like the positive example I’ll give of the light reflector room. Shoplifted from Uncharted 2′s giant knife that has Nathan climb all over a giant knife, Lost Legacy’s light reflector room has slightly less climbing but is a much larger space, more impressive and a much better example of good puzzling in Uncharted. It’s not difficult to solve but again (I think again?) I’ll argue that you don’t come to Uncharted for difficult puzzles - you don’t come to Tomb Raider for difficult puzzles, either.

The puzzles in these games should be mostly environmental because they feel good solving them, and solving them should be more about the doing - the playing - and the playing should be moving - running, jumping, climbing etc.

Both the giant knife and the reflector room are a joy to execute because they’re fantastically realised - large cavernous environments that aren’t annoying to navigate, that give you time to appreciate both the scale of the spaces and the details the designers and artists have put into them. Lost Legacy’s is more impressive because you do a lot more puzzling and spend much more time in its vastly larger space, culminating in combat that usually I would be ho-hum about, but I guess exhibits more animation and destruction tech which while scripted, is still impressive nonetheless given how extremely difficult it is to have interactivity still occurring.

I have a few things I want to mention before I begin to wrap up, given it’s going to be a very long wrap - I’d say I’m taking cues from Joseph Anderson but I’ve always been this verbose.

The medallion puzzles were excellent, in part perhaps because they felt like the closest thing to the Tomb Raider reboots’ challenge tombs. Some of them were silly and lazily implemented, the worst offender being you just had to shoot mans and get the medallion from the lock-box that the mans had put it in (pfft), but the best ones were integrated into the environment such that you may well have walked past or thru areas that were puzzles before you knew what they were. This brings up one of the most interesting things I’ve been turning over for quite some time now. Ben Croshaw aka Yahtzee aka Zero Punctuation may have first mentioned “chest high walls” in his first Gears of War video, but it may well have been an Uncharted game. I don’t remember but he will have thrown in mentions of all the generic cover-shooters as a catch-all for how the environments immediately telegraph that Combat™ will happen. It’s a particularly astute remark and speaks volumes of video game design - developers always seem to have very specific design language to separate traversal, combat and puzzling. While I clearly don’t care for combat most days, and yes - I do acknowledge there are some practical concerns for combat that can’t be avoided, I always envisaged design that blurred the lines between puzzle and environment so that you never quite knew what was and wasn’t a puzzle. Everything should be the puzzle. In some senses, Cyan’s old Myst games were a bit like this but in a very rudimentary and crude way - sure, they’re quite old now, but even those had very clear not puzzle areas. It’s a complex and subtle subject, but something of a study of games like Fireproof Games’ The Room would be in order. Understandably smaller scale, but the thinking behind it is definitely adjacent.

Final notes - the young Indian girl in the prologue has amazing animations that you’ll miss entirely unless you swing the camera yourself. A whole team of people or a single animator has spent hours on those animations - that a director or team leader hasn’t forced the player to see and appreciate them is a disservice.

Every section where you have to do something under pressure like run from mans shooting at you or dash through a lengthy section of crumbling cave network etc. is a horrible play experience of not knowing where to go. They’re trying to inject excitement by applying pressure but there’s no clear guidance and no dependence on player skill, so you end in bizarre fail-states due to going in completely the wrong direction that glitches cameras or scene time-outs resulting in check-points and the whole thing just doesn’t scan as a cinematic experience. I hate hate hate them - you’re subject to the same musical swell that’s supposed to be like a movie only to fail again and it comes off as b-grade and pathetic. Every game has had this problem and it is just straight bad design.

Three? Four? Games in a row, Naughty Dog have recycled;

being pursued on foot by an armoured vehicle crashing through level geometry while you have to run and occasionally shoot/fight mans,

driving down a shanty-town on a hill pursued by an armoured vehicle - perhaps the same one as previous scene

a big chase scene of lots of vehicles jumping from vehicle to vehicle shooting and/or punching mans that may or may not include...

a train combat sequence where you start at the back of the train and work your way to the front of it shooting mans as you go

This lacks creativity at this point. I think duplicating these once each - so you do them twice total across the franchise is fine, but they hit the same beats in the same way - exactly - every time they appear. It just strikes me as Naughty Dog just not knowing what else to do. At one point, I think it was in Uncharted 4, when driving down the shanty-town on the hill, I literally had a brain-fart not knowing which game I was playing because I swear we did it in 2 and 3. Did we do it in 3?? Look, I don’t know. But it’s getting old. At least we didn’t do it in Lost Legacy, but we did the train and I’ve had enough. I’ve had enough of doing the same things in the same way. It could have been a train but it should have been in a way that just wasn’t just another Uncharted train. It hasn’t worn thin, it’s worn out.

Overall, the games look great... but playing them feels like they’re stuck in PS2 and early PS3 era philosophies, like Naughty Dog haven’t evolved and don’t realise that people’s brains function much quicker and can process more, or that the media we consume, the games we play function at a higher level and we can digest more, we’re capable of processing higher functions. I’ve been playing Ubisoft’s The Division 2 and enjoying it more the more I play, much to my surprise. I understand the intent behind the gameplay is extremely different to the single-player experience of Uncharted, however there are some parallels in what it achieves animation wise;

The Division is also a cover shooter but of-course as a multiplayer, open-world live-service game, its intent is to telegraph to the player that the entire environment is a permanent play-space in which to always be playing. It utilises an information-rich GUI that is an always-on system with button icons telling the player what button to press over what surfaces to snap to, vault over, climb up, run to (and snap to cover), open and loot, interact with etc. I don’t know if these can be turned off but I like them on. It’s a pretty amazing feat that almost every environmental object has been mapped as a snap-to-cover and/or climbable object. For this reason, the character movement in Division is pretty quick and snappy, however it still manages to have a decent degree of natural human kinetics in the character rigging which is amazing. This means if you move-off from standing still, there’s a slight delay as your “weight” shifts, same if you change direction. When I say “snap” to cover, it’s not actually instantaneous, your character makes a movement and takes time to do so, yet it’s still not sluggish. Somehow the developers have worked at fine-tuning a balance between not-instant, but not too slow.

This is something that even in Lost Legacy, I feel Naughty Dog simply can’t do. The animations are decent during play - they’re outstanding during cutscenes (we’re getting there), but character models have a really awkward relationship with the environment. They clip awkwardly with ladders and buttons and wheels - with puzzles and levers - getting the grappling hook to prompt is again better than Uncharted 4 but still not ideal. I had far fewer glitch-outs than 4 too, which was a significant improvement, but I still had to animate back and forth a few times to get into hot-zones appropriately and with character kinetics not quite right, it wasn’t exactly easy.

And again to be fair, this stuff is suuuuuper difficult. I don’t mean to talk about this stuff like it’s cooking instant ramen. It’s so freaking tough. Rigging and mapping interactive character models has to be one of the most stupendously difficult things a developer has to do - making it work with all that scripting, getting it to play nice with all those assets and lines and lines of coding for the full experience. I have so much respect for game developers and what an astronomical task it is. So when I say I prefer one development team’s product over another’s, I don’t mean to say that the other team is absolute garbage - there are so many things that might contribute to that final product and we have no idea what’s been going on at Naughty Dog. If the team leaders and producers say they’re happy or even if they don’t, and the decision is made to ship, there’s nothing more they can say or do.

If there was one thing I absolutely loved about this game, it was the two main characters and the story that was told about them. I can excuse the main text as the catalyst that brought them together - even to the point that it’s a story about Chloe ultimately deciding what’s important to her. My issue with this comes full circle with the setting being in a real world conflict. There’s a bit of white savour complex in there in that Asav might be the narrative’s antagonist, but he at least is local. It’s not clear exactly what Chloe’s ethnicity is and I’m not here to judge what her stakes are in it because clearly her character has a sense of home and place in India, but she certainly also has a complex sense of being an outsider. So the point is not to judge, but the game also is unclear on its positioning other than she’s the heroic vehicle of deliverance. See what I mean about theme? This is what I mean by you could have just as easily written almost an identical story about Nadine and Chloe, with very similar interactions, tension, redemption and resolve - even with an antagonist, conflict and a happy ending, but either treated real sociopolitical issues with better care or not set your game in them at all. I’m all for setting games in the real world, but if you’re going to do it, do it right. I’m not the person to ask.

I need to be careful not to direct that criticism at the base-level developers nor at Claudia Black who is the manifestation of Chloe’s voice because she does an amazing job of bringing her to life. The casting of Laura Bailey voicing a black South African Nadine was much more awkward given Nadine’s ethnicity wasn’t decided when she was cast - again that’s on Naughty Dog’s leadership, but I won’t knock Laura Bailey for it. It’s easy to say she should have resigned, perhaps she should have, that’s an economical question only Laura can answer and I’m sure it’s not an easy one. Suffice to say, VO work isn’t lucrative.

What a side-track.

I don’t think I ever cared about Nathan. I think I always cared about Elena, and not because WAIFU and also not because WHITE KNIGHT or whatever other bullshit reasons stupid alphagamerz will spit from their frontheads. Elena’s just more interesting, probably because Nathan is written like a design document and Elena’s written like a human being. Naughty Dog want to create a game about adventuring with lush expansive environments, shooty mcshooting and light puzzling. They want it to be cinematic and unrivalled in its quality and they have the smarts to build the tech around it, with Sony’s help. Backed by Sony money, they take VO seriously and do a great job at creating that cinematic experience, coupled with some above-par for video games narrative writing. The problem this introduces for me is Nathan’s raison d'être has to justify everything - action, tension, stupidity...

Nathan Drake really is the design document.

I feel like he’s just the unfortunate side-effect of being central to the game, and it’s typical of my character to just not dig the focus of things and get into subtexts a whole lot more. Often I get into things in the periphery, things adjacent - I don’t love or hate Shakespeare or for that matter Baz Luhrmann but Romeo + Juliet ‘96 is an amazing film and not at all because of the eponymous Romeo and Juliet and again, not for Leonardo di Caprio (spit!) or for Claire Danes (she can stay) but the absolutely divine cast of supporting characters (John Leguizamo will live in my heart forever oh baby).

That Nathan makes stupid decisions is already something that turns me off. That he makes poor decisions because... he’s an orphan? Because... he was bullied? Because... his brother left him? This is why he’s not transparent with his wife? Actually, he’s quite realistic. Except the people like him I’ve known in my life aren’t heroes - they’re pathetic or unreliable or abusive or dangerous. Elena is an adult. She’s not perfect either and that’s also great because neither am I. As a side character she has the conceit of being more nuanced, but as the contra to Nathan, she’s also mature versus his childishness. OOOOAAAAH EVERYONE LOVES A LOVEABLE MANBABY OOAAAH COMEON LIVE A LITTLE EVERYONE’S GOT A LITTLE CHILD STILL IN THEM SOMEWHERE yea fine, I get it, like I’ve said before, yes - he embodies the recklessness and playfulness in us, but that’s a confusing position for a game that frequently tries to ground itself in real world conflict to be taking. You’re reducing him to that but injecting complex and nuanced characters like Elena and now eventually both Chloe and Nadine? I’m telling you now - any male that doesn’t know when it’s appropriate to grow-up, when the time to set aside the playfulness and be TRUTHFUL AND TRANSPARENT WITH HIS PARTNER is a dangerous person and FUCK THAT NOISE. Nathan, as much as I do absolutely - make no mistake - adore Nolan North’s voicing - ends up being another Homer Simpson - as long as you laugh at his stupidity, you’ll excuse it, and you’ll excuse the hurt that’s done by it, and that shit doesn’t fly with me. His redemption was not earned. I say again - Elena should throw him into the sea.

Nadine ends up being a fantastic character, even if she’s given less narrative time, she’s a great example of her behaviour telling more story in contrast to Chloe getting to reveal her past and it’s nice to see them play off one another. I feel Nadine and Chloe as characters hit great story beats in ways Nathan didn’t get to with pretty much any of the other characters in four games - not Sully, not Elena, not his brother, not even Chloe - all told, we never actually get any back-story on Nathan and Chloe and I think we’re better off for it because I don’t care.

Having a quick squiz around tumblr reveals the obvious and rampant shipping of Nadine and Chloe and I couldn’t be happier. I think Naughty Dog knew what they were doing. There were so many moments. Those moments were for us. I think they were subtle enough that the fragile manbabies would have missed them but there’s no fooling us. Some of the babyboiz would have been seething thru their mouthbreething hairmouths and I’m sure probably took to the internet but that’s OK, they can remain unfucked incels for the rest of their lives or worse, serviced by whatever unwashed creatures want to dare fondle them in the dark. The elephant ride and that whole conversation was almost enough for me to forgive the absolute disaster that was Uncharted 4. It was given enough time to breathe, it was absolutely beautiful, and just when you thought they were going to terminate it and apologise for making things too awks, it concludes just perfectly and you get a phone picture that doesn’t have Nadine in frame, yet her presence in that picture is definite, pervasive and emotional. Again, some people may have completely missed it and maybe it chalks up to life experience, but as completely contrived as an artefact of complete fiction as that whole sequence might be, it was one of the most wonderfully tender moments ever created in a video game and I wonder if it makes the whole affair worth it.

In the Uncharted 4 piece, I threw in a few barbs about the most meaningful interactions, and in Lost Legacy, what I really loved was Chloe taking photos of things she thinks are beautiful and interesting on her phone, and feeding the elephant - these were the most meaningful interactions in the game. I love that the photos on the phone didn’t serve any gameplay utility at all, they were there because her character wanted to document her travels, because she thought what she was seeing was cool, and any time in the game, you could pull out your phone and look at what you’d seen. It was such a good and important decision to have the very first picture to be the Indian girl in the market, as that rather than the local conflict, does more to ground you and Chloe as a character in the setting. The game never forces you to look at it as a reminder, but you know it’s there.

I did steal these from the internet, sorry - so if they’re yours, let me know and I’ll be happy to take them down - this one in particular, seeing as it’s a photomode capture. I should have taken my own but I don’t do photomode caps on my first play-thru and there’s no-way I’m replaying this ever again.

It took five games for Naughty Dog to finally get some decent character writing, but a part of me still feels they couldn’t have existed without all the dross of the other games. There’s this immense amount of back-story and labour both the developers and the players had to slog thru to get to this point, and I feel as tho we get here and there’s just too little to show for it. I still really enjoyed the story that was told, the sense of character I felt, but a lot of that was contingent on the Uncharted universe in situ. Lost Legacy feels like a combining of all of Naughty Dog’s narrative motifs - the earnest redemption, the moment of tenderness and connection centred around peaceful animals - it’s a greatest hits of Naughty Dog in the best way possible because each narrative beat hits perfectly. I’m glad I played it with two characters who endeared themselves so much to me, that I truly cared about.

I’ve spend a lot of time praising the strengths of writing for at least Lost Legacy, but for each thing I’ve enjoyed about at least these two characters, there have been so many things I’ve been critical of. I feel like in order to get to the tiniest bit of enjoyment, I had to suffer thru so much. Honestly I don’t know if it really was worth it. It’s hard to know given that who I am now and where my tastes are and have developed as a consequence of my experiences, and I definitely would not replay any of those games again - so where does that leave me? I can’t go back and play The Last Of Us and I absolutely won’t play the second game, I just can’t do Naughty Dog games now, I don’t have it in me.

Naughty Dog have spent the better part of two decades developing tech for visual fidelity specifically for the Playstation hardware platforms (PS3 and 4). They’ve also been doing it by overworking their staff, many of which have left out of frustration or necessity. The problem they face is that as industry tools in general improve, there will no gap between games developed by Naughty Dog and any other contemporary studio from a visual perspective. Make no mistake - the Uncharted games are absolutely chock-full of objects, geometry and animation - somehow miraculously so on the Playstation platform in comparison to other games with the exception of other first-party and exclusive games receiving similar support from Sony such as Guerilla Games’ Horizon Zero Dawn and Sucker Punch’s forthcoming Ghost of Tsushima. There are probably other similar examples for the previous generation on PS3.

Yes, there’s a certain style of game Naughty Dog create as far as narrative goes but because it’s becoming more cinematic, that style is judged more and more by cinematic standards and at best it’s barely semi-professional aside from the outstanding voice work. There are few striking visual motifs that set Naughty Dog games apart from a design perspective, and the gameplay and mechanical constructions that once distinguished them at least a little from others are ever diminishing at increasing rates - more-so as their work practices make the level of quality they set out to achieve ever more unsustainable.

Lost Legacy encapsulates a lot of what I feel about video games as a whole at the moment - as an industry and as a culture. It’s a snapshot of a culture that’s achieving wonderful, beautiful things that are in ways huge - immense, yet somehow can feel so small in comparison to some of the challenges it faces. It’s an industry and culture experiencing a period of great upheaval, where after years upon years of malpractice, terrible things somehow still endure. It’s a space where sometimes it feels like a battle to find the tiniest shred of beauty buried in the dirt and ash, and there doesn’t seem to be an end to the frustration that working thru it brings about while grass-roots labourers continue to be burned.

Like many things in life, both at my age and at the level I guess a person gets to at the exposure rate of a thing, I’ve cut back a great deal on my engagement time with video games, so I’m a lot less patient with the functions and mechanisms of a game. There’s a labour element of video games that I feel developers might think is somehow necessary and there’s a component of that which is true, just not quite in the way they think it is, and it takes a unique frame of thinking to break out of traditional design to understand it. Again I’m not saying there’s anything special about how I understand games - there’s nothing at all original in my thoughts - I’ve shoplifted them wholesale from a hundred other people back from when I used to read Gamasutra and even now when I read designers and the people I follow and talk to on Twitter etc. There’s also absolutely nothing wrong with traditions and the people that enjoy them - just because they’re not my thing any more doesn’t mean they’re bad. It just means I’ve moved to something else and I shouldn’t engage with them.

That, I think, is what I’m waiting for. Kentucky Route Zero, Howling Dogs, Dear Esther, Everybody’s Gone To The Rapture, a whole bunch of others - these are the games I feel are pushing past the boundaries of tradition. Then the moments Uncharted takes itself out of its traditions - Nadine and Chloe’s elephant ride, Chloe’s phone pictures, Elena and Nathan’s house tours especially as Cassie - that’s when I think now you’re running! Run with it! Look, I’m still playing The Division - I’m still moving and shooting and enjoying it.

But we can do so much more. Many developers are doing more. We as an audience need to play more All of us together need to do and play more.

(The epilogue is me figuring I talk a lot of shit about AAA games and nary a word about KRZ, Howling Dogs, Dear Esther and the rest and I get it, but oooooo howdy is it really difficult for me to talk pragmatically about games I actually love)

14 notes · View notes

eeemarvel · 5 years ago

Text

It’s Billy, boys.

I originally wrote this quite some time ago as a part of chapter 30 but I decided I didn’t need it so it’s bonus content now, I guess. This happens right at the beginning of 30 before Victor gets a call from Phichit. Since this didn’t make it to the final draft, the editing is really lazy. I’m honestly only posting this to get out of working on the next few chapters lol. Also, Billy is definitely a trip, I know. Anyways, without further ado...

Victor had no clue if Yuuri was Red Specter or not. He was exactly where he started. It didn’t change the fact that Red Specter was still very real, no matter who he was beneath the mask which meant that if he couldn’t come up with a satisfactory offer by midnight, it was likely that History Maker would get hit. This was his last (and only) bet, he realized as he got off the elevator a floor below Yakov’s office. This floor, the Artillery and Design floor, always smelled like singed fabric because it was where the super suits were made… but it still didn’t account for the burning smell. Billy, a man with round pink cheeks, a long green mohawk, and coke bottle glasses looked up when the glass doors slid open for Victor. Billy beamed and cheered like a redneck on the fourth of July when he saw Victor.

“Victor Torch! Just the tight assed hero I was looking for!”

“Billy,” Victor greeted him and the other cheering technicians with a nod. “Is it ready?”

“You bet your wintry butthole, it is,” Billy said and beckoned him closer with a finger. They walked to the back of the lab, passing metal tables and clunky equipment, all of it glinting with a futuristic sheen as he passed. Some of the technicians were bent over sheets of fabric that seemed to be radiating electricity—it made Victor tingle in the strangest way as he passed, while a few of them made alterations to suits that were actually familiar to him. He guessed Spotlight tore their suit recently, when he saw a squat little technician pushing a button on a giant sewing machine for the all too familiar pink ensemble.

“It’s back here,” Billy said, “for safekeeping.”

“I appreciate that,” Victor said.

“It’s in good condition,” he commented as he stopped at a long, dark, glass wall at the very back of the lab. He punched in a few codes on a keypad. A rectangle of light appeared a little ways away from them and Billy led him to it. “You were careful, even back then,” he complimented Victor as he took a little remote out of his lab coat pocket. The rectangle of light was actually a door behind the glass, a door to a small closet with a revolving rack. In front was a prototype of Victor’s current suit: black, sleek, and shimmery. Billy clicked his remote and the rack spun around to show the suit Victor had worn two years ago. It was similar, but royal blue instead of black. He kept clicking, letting the suits spin by, each of them taking an era with them as they went. He cringed at a fuschia one with lapels—he was feeling a bit melodramatic then.

“It’s always been a pleasure designing for you, Winter Nikiforov, because you’re not just a man of justice, you’re a man of art. A renaissance man,” he kissed his fingers, “you get me.”

“I always have,” Victor smiled, lying.

“Heeeere we goooo,” he sang as they found the suit Victor wanted. He thought it would fit Red since he was much younger when he first wore this. Red was smaller than him. It was black which fit his MO… he tilted his head, unsure as he took in the swaths of revealing mesh across the chest, the sparkling crystals on the shoulders and hips. It was sturdy, he knew that for a fact, and very well made because Billy made it himself. But it wasn’t exactly low-key. Heroes never dressed to blend in.

And it was a bit…risque. He had to be honest. Even Chris’ suit wasn’t this suggestive and it was Chris. Victor was only nineteen when it was made, when he told Billy exactly what he wanted: something that would make his opponents uncomfortable. He was feeling cocky because he was starting hero training years before what was normal, and he was young… he felt free and invincible for the first time in seven years. It gave Yakov a heart attack at the time and even Lilia disapproved. In the end, Celestino convinced them to let Victor explore… He thought there were still some old newspapers somewhere with him wearing this on the front cover under scandalized headlines...

The fire was back, that sensation that he now recognized as a red light—a sign that something was off. He bit his lip. He shouldn’t think about Red in this suit, even if he was planning on offering it up. It didn’t matter what he looked like in it or what Red thought of it or anything that just crossed his mind, because the only thing that mattered was protecting History Maker.

There was no mask. That was what was missing. That’s why he felt weird picturing Red in it. Of course he’d feel this way trying to imagine Red Specter’s face… it was confusing, disconcerting, uncomfortable, nerve-wracking, all those things...

“Billy…”

“M’lady?”

“Have you ever considered… making a mask for this?”

“Are we talking Robin style with just the eyes, or are you thinking more of a Batman-exposed-chin thing, or like a full faced Red Specter deal, because the answer is yes, Snowflake. Yes, I have considered making a mask for all of your suits. Why don’t you step into my office?”

“Uh.”

“Just…” he said awkwardly as if he had just realized the entire lab was his office, “look at this.” He pulled out his phone and opened a few files. He scrolled through digital scans of sketches he’d made, all very impressive, and then actual prototypes that Victor was interested in for himself. Of course, his ability gave him the power to disguise his face easily so he didn’t need a mask but… he still kind of wanted one now that he was looking.

Focus. He wasn’t clothes shopping (unfortunately). He was completing a potentially life saving transaction. He pointed at a full mask with crystals elegantly crowning the area where the wearer’s hairline would be. “You already made this one?”

“You betcha.”

“I like it.”

“Roger dodger,” he whistled a tune and pushed a blue button on his remote. The revolving rack disappeared into the closet ceiling, pushed out by another rack. This one carried pieces that Victor either changed his mind about or ones that Billy started but lost interest in, scraps of abandoned ideas. He clicked the remote so that the rack whirled around until they got to the mannequin heads, some bare and others wearing masks that Victor had never seen until now. Billy pointed a remote at one.

“Look good to you?”

“Yes,” Victor said, because it did, although he wasn’t sure Red would appreciate something so flashy. Especially not since the thief seemed to gather fashion inspiration from the shadows under his bed. Well, if he didn’t like the design, he could have it altered. What mattered was that it was nano-tech and made with pure Pandora’s Iron. “I’ll take it,” he said.

“Okey doke, will that be debit or credit, sir?” Billy chuckled at his own joke as he pressed a button to make the glass doors protecting the closet open. He reached up and gingerly removed the mask from the mannequin. “Isabellaaaaaa!” He shouted over his shoulder and a young mousy looking girl came scuttling around a corner.

“Sir?” She squeaked.

“Can you please get a box for me? Big enough for a suit?”

“Yes, sir,” she nodded frantically and squeezed her eyes shut. Victor heard a soft whoosh sound and when he looked up, he saw a large white box soaring above him. It glided gracefully down next to Billy who thanked her before she scampered away. Billy neatly packed the suit under the mask before sealing it and handing it over to Victor.

“Merry Christmas, baby boy,” he crooned.

“Thank you,” Victor said with an impressively straight face. He’d been practicing since he was sixteen, though Billy had gotten progressively more… Billy as Victor grew older.

“I’m curious. Is this for Yuri?”

“I—what?!”

“I mean, I don’t really mind if you give it to the little furball because he’s kind of family and we all put up with him but I’m concerned about the whole… accountability thing with Yakov and the red tape and the chain of command is a whole thing—”

“Ah—oh, you mean Yuri Plisetsky…” Victor groaned, dragging his hand down his face.

“Uh… how many Yuri’s are there? Oh!” He snapped his fingers, “that hot doctor from your Instagram! My girlfriend loves him! He’s got this kind of secret-sexy-vixen-by-night-and-sad-puppy-by-day vibe going and it drives her wild. She stalks him like he’s an insta famous kitten or something,” he said with a tone of pride Victor found strange.

“He’s not a doctor, and...no,” he shook his head, “It’s not for Yuri P. I just want it for... nostalgia’s sake.”

Billy nodded thoughtfully, rubbing his chin. Then he slapped both his hands on Victor’s shoulders, startling him, “That’s so weird. Have fun!” He called for Isabella again as he left Victor, getting straight back to work.

He thanked all the technicians on his way out and took the elevator down to the first floor so he could wait in the lobby. He plopped down in a chair and set the box on the floor beside him.

#bonus content #hr bonus content #hr #hero reform #billy #adt #victor nikiforov #victor #yuuri on ice #yoi fanfic #yoi fanfiction #yuuri on ice fanfiction

13 notes · View notes

tonyglowheart · 5 years ago

Text

@imaginaryelle replied to your post:*me sipping tea* (x)

I would really enjoy seeing more of your thoughts on this, if you ever want to share them.

:’) a lot of my thoughts are salty rants and I’m TGCF on main right now so uhhh not at the moment but if you wanna hmu on like a chat thing of some sort I probably will eventually rant about my dislike of The MXTX Antis and the Problematic Culture people and the purity culture wank :’)

actually you know what, since I’m a parody of myself and I’m like always mood of "and another thing,” I’m just going to. go for it ig

so my biggest thing, is with the MXTX antis/MDZS wank/MXTX wank. is like....god it FRUSTRATES me so fckn much lmfao in so many ways and on so many levels. like listen. I’m not saying there isn’t stuff to critique in MDZS. But there’s people who are first off: critiquing the writing quality, when I’m like “there’s like a 90% chance you’re reading the EN translation, and probably from ExR, and honestly I know it’s not fandom etiquette to critique fan content bc we’re all doing this for free out of passion, BUT I do, in fact, have some major issues with ExR’s translation quality, and also I lowkey feel like they have a strong traditional yaoi bias and sometimes it leaks through in how they handle certain things.” Big mood of this twitter thread about how when you’re reading in TL you can’t be criticizing the writing bc you’re already reading it filtered and like. you gotta consider things like the TL’s own personal biases or takes, etc. Which I feel like some people don’t in their critique, or at least they don’t take the time to acknowledge it and instead start spinning off into more and more impassioned reactions to perceived slights or faults.

The other thing is like. I admit when I first read MDZS - which I did while simultaneously watching bc I was kind of using CQL as a vehicle to get into MDZS, I had the HARDEST time trying to read ExR’s translation when I was going into it cold many many many moods ago rip - I was also squicked out by the explicit scenes shown. It did remind me a lot of traditional yaoi tropes, and I wasn’t into it. HOWEVER I was also a psych major, and I want to point out that the T/N’s do read to me as having a strong yaoi bias, and also before ExR redid their site they had large “SERVING YAOI AND BL” banners on EVERY page lol. And I think that also primes people to see things a certain way. (I just. am :/ about ExR also bc like... their whole vibe as a “yaoi scanlator” and also I. can’t be sure the TL wasn’t 17 when they were tl’ing it lmfao,, and they did the whole rant - which fine they apologized for, but I think sort of reflects on a general attitude still w/ the team - about how some other TL had bad quality or something, but their existing TL has a lot of clunky English phrasing and actually a lot of editing issues, too, I was creating myself a back-up copy from their site and like google docs was already catching a bunch of typos and tense issues and such :’) and that’s beyond clunky EN translation phrasing. I just am like. they have a patreon lol, so I can’t say ExR is doing it wholly not-for-profit/dollars, and also like... it’s not like they’re licensed? I get that within scanlation circles, there’s an etiquette of “first come first serve,” but with translation, I think fans are only served with more translations? but I also care about the original work lol, I mean I get the vanity of “I want MINE to be the AUTHORITATIVE tl” bc I feel that mood too, but also I’m like. fam you didn’t bid for a license lmao.)

But yeah like. My petty gripes with ExR aside lmfao, I think when you look at WangXian, the whole “it’s yaoi tropes” gets really strawman. Like from a Watsonian perspective, I mean like... both WWX and LWJ really ARE useless virgins, lol, WWX’s first kiss was stolen by LWJ and his whole idea of sex comes from porn; LWJ is GusuLan and like. yeah. Who is teaching them about lube? certainly not porn. (but this also gets into the whole. like people saying explicit material is “problematic” because it doesn’t show “realistic” sex and I’m like. fam it’s smut, not a sex manual.) And like... they’re both kinky and WWX has a pregnancy kink, and like... good for them I guess?

From a more Doylist perspective..... I think for me, I’m like. well why not? gay media doesn’t have to be uwu to be “Valid,” and like, the people who start attacking mxtx personally because of the way she chose to write WangXian, or saying she’s homophobic because of WangXian or she doesn’t have the range... I already Know they didn’t read TGCF or SV lol. (and yeah SV is more “problematic” but I also think it’s VERY genre aware and both satirizes and also plays with and subverts some of the typical genre “problematic” things. not everything, but like. again the whole idea that non-mainstream media needs to be held to a higher standard to not be cancelled? I don’t hold by that). [But more on the Doylist thing: it’s dumb to me that people react like it’s a moral failing of non-straight works if they don’t fit EXACTLY their personal idea of what a thing should be. And this comes up EVERY time there’s some new thing. hell it’s not even just lgbt-related stuff; Hamilton, Crazy Rich Asians, etc all had nitpicking. Which again, isn’t invalid! but also like. :/ because we DON’T have enough representation right now to pick, and my take is always: the solution is to get to the point where we can pick and choose and can afford to have bad media just like the straights/whites do :’)]

The thing about WWX and LWJ is neither of them, as they’re written in canon, fit within “traditional yaoi” seme/uke stereotypes. The kiss I see people rail against as “dubcon” and also their sex scenes but I’m like. yeah I think it’s fine to say it’s not your cup of tea but to say that that makes them traditional yaoi rapey tropes I’m like. Fam that’s not it lol. LWJ is shown as being SO incredibly responsive and attentive to WWX’s wishes and desires. I mean that’s examples of his passion exploding out, but we consistently see LWJ being respectful of WWX’s wishes and autonomy even when it like. fucks him/them over :’) like when WWX was so hell-bent on hurtling down the mo’dao route :’)

plus also WWX literally fantasizes about them retiring as farmers and he’s the one out working the fields and LWJ is staying at home weaving lol, like c’mon, ya wanna talk gender roles, let’s talk about this.

the other thing is the whole mxtx anti stuff about “she’s homophobic” and “she’s a filthy fujo” and I think there’s issues that people aren’t considering, which I don’t know as much about but I feel like it informs my consideration of mxtx - such as like... not everyone’s internet is as wide open as, like, the West. I don’t know so much about Chinese censorship other than it exists, but I’m like. I think this would affect people’s access to resources which would inform them about how things work/where people are with LGBT thought? It reminds me of when young tumblr kids trash talk older queer people for using terms they see as “problematic” now, and I’m like “you really gotta pause a moment of (1) have some empathy (2) consider the person’s individual personal and cultural context.” MDZS wasn’t made for a Western audience in mind lol, it’s not going to reflect Western values! And China has a different history with its LGBT progression and it’s m/m media, which I don’t know enough about to comment specifically, but I think it’s incredibly disingenuous to judge it based on Western standards. A lot of people probably don’t realize they are! in that it doesn’t even occur to them, which is why they feel so free with their judgment! But also I’m like. lowkey THAT’s a problem for me bc of like. cultural imperialism lmfao. and also reflective of EN-language imperialism, when people are judging EN tl’s they’re seeing on face value without realizing or considering that they’re...reading... a translation... and that translations are NOT in fact direct one-for-one and that there’s a LOT of considerations that go into both translating and reading a translation of a work.

I think the points antis pull up against MXTX is like... stuff she’s said before in interviews - and I don’t know from when, but I imagine years ago at this point - where she was asked about shipping the other characters in MDZS, and she said something I think about how to her, she wants to write in a way that “preserves realism” or maybe she believes in (I only read a TL of it, so I hold the exact phrasing with a grain of salt), and for her, not everyone is gay so she doesn’t write all of her named characters gay. and I’m like. whatever that’s her prerogative as the author. And I think there’s also something that I don’t know if it’s an official “rules”/”guidelines” she wrote bc again I’ve only seen secondhand/thirdhand sources, but it’s something mxtx-antis also quote, where she said to not break up the main couples and also don’t “reverse” them. but again when we’re getting into the shou/gong dynamics, that’s where I don’t feel comfortable commenting because I don’t know enough about the sociopolitical implications of these terms and how they interact within that fandom/community subset. But I do think people need to be taking the stuff they read - ESPECIALLY if they’re only reading it in EN - with a grain of salt. or like a big ol pinch of it.

edit: I know more about this now lmao and I know exactly which question people use piecemeal of vilify her. Here’s a recent-ish translation someone did. Read it through - the WHOLE thing, and think about the wider context.

But also in general I just don’t think anyone is valid when we start getting into ad hominems lol. Especially when I feel like they’re not really taking a moment to consider what wider contexts and influences might be at play and instead are playing Tumblr telephone with outrage and virtue signalling

sidebar: I also fucking HATE CQL purists lmfao. I don’t feel like I’ve seen or encountered anyone saying CQL fans are less valid than novel fans except in the sense of CQL fans getting defensive about their dislike of the novel - which, whatever, people have opinions - or decision not to read the novel and saying anyone saying they HAVE to read the novel is gatekeeping - which I hold to less but mostly bc I think it’s a fundamental misunderstanding of fan language, some of us say you HAVE to read it not in a neckbeard way but in a I’m so desperately passionate and I want more people to know about this way, kind of like how the “I hate you” in fan language GENERALLY means “I love it so much and I can’t stand it”? - but I HAVE seen people say the novel “ruined” wangxian, or CQL people who seem to be like... purity-wanking, like idk if you were around but god after Infinity War and the number. of fckn ironstranges. posting in the tags. about “love how healthy our ship is” and I’m like. this is still anti culture/purity wank but the other side of the coin 8). I encounter sometimes this lowkey attitude of CQL (or other adaptations) “redeeming” MDZS from the author, and I’m like. y’all are wack lmfao. There’s people wiht MDZS or even TGCF main, and they hate mxtx? and they say shit like “mdzs was only good on accident”? and I’m like. can you just leave lmfao. if you hate her then why are you here. (bc they’ve mental gymnastics this into a virtue ethics thing about “o the work is good and therefore morally fine but the parts I don’t like are because mxtx is morally bad and unworthy and tainted it, and CQL with its Purity has Redeemed it” but I’m like. this is because of censorship lmao. The team did a FANTASTIC job working the character dynamics and story, but like it also is directly because of censorship.)

like I... have more thoughts than this lmfao bc ofc I do, but anyway, here’s... some of them lol

#imaginaryelle #replies #living la vida salty #*

44 notes · View notes

datingsimreviews · 5 years ago

Text

Hustle Cat

Hustle Cat is a Short but cute dating sim that lets you choose your gender and date either male or female characters!

Beware spoilers incoming!!!

Summary:

So first of all I’d like to say I very much appreciate having a game where you can date girls as a girl. That always makes me happy to see.

Hustle Cat is about a cat café which is actually a coven of witches. The employees are cursed to be cats when they leave the café unless they can figure out their own individual magic. Each route focuses on a character discovering their true selves, a bit of romance with the main character and their chosen partner dating and defeating this rust witch named Natch that’s trying to get the café for himself.

It’s a good game, but it’s very short. Compared to other dating sims I played each path felt kind of rushed, I wanted more information on the characters and more development, but I very much appreciated the fact that there were cute cats and that this was a very pro LGBT game.

Not everything is perfect though. I encountered a lot of bugs while playing which hampered my enjoyment. My game crashed once minimum every route. Luckily they had a great auto save feature so I barely lost any progress but it feels like the auto save feature was there for the crashing. I wish the crashes just didn’t happen. There’s also images in the gallery that are glitched or at least all walkthroughs say you can’t find anything because they’re glitched.

The protagonist:

Avery is our protagonist and you can choose their skin tone and gender which is fun. You would think that with so many choices this protagonist would be someone you could project on and all. And I’m sure it’s easy for some people to project on Avery but I had a little trouble because I couldn’t change Avery’s name despite the game not being voiced and the fact that Avery’s magical talent is trash. It’s funny to think about but it doesn’t scream epic to me. I like it, a lot of people would have the magical power of “bending trash” but I wish we had seen more of it. Avery’s never able to beat Nacht the rust witch on their own despite their forceful nature. I would have loved to see the power in the player character.

Avery’s fine though.

Landry:

Landry was the first character I romanced, a sweet and sensitive sort of guy who helps you during work. He likes building cat trees which is fun.

Out of all the guys Landry has the most backstory I think or at least, the most “feels complete” backstory. Landry is an Adept so he has innate magical ability that lets him see through glamorous. He saw a kid at a bar once who was a witch and was trying to be invisible and the kid cursed him in to “have his heart explode if he ever lost his temper.” He felt a burning in his heart and ran off and met the owner of the cat café who’s solution to the problem was to double curse him into a cat??? Idk why this guy’s solution to everything is to turn it into a cat.

Landry hates magic because of this so he’s reluctant to learn magic from you. He eventually does and develops powerful lightning magic. He finds the kid and after a fight the two talk it out and kinda become friends? Turns out the kid just cursed him to have heartburn for an hour and he panicked.

He’s pretty strong and I like the side character of the kid in his route. I also like how he and the main heroine love pizza together. His route feels the most complete.

Hayes:

Hayes is the introverted barista character. I always like the shy glasses types so I was really interested in romancing him, and it was nice to see his character type!!! He’s got horrible anxiety which is why he doesn’t really talk to people and enjoys being a cat to de-stress. His anxiety is portrayed as an actual mental disorder instead of just cute shyness and he and the main character learn good coping techniques to help him through it.

His magic is to…Make anything he speaks through Poems happen??? It sounds OP and I’m not quite sure how it works but I would love to see how his magic developed more. He liked writing poems but if he messes his poems up and can’t find a rhyme his body turns into static.

I love that despite his anxiety he loves big romantic gestures. That’s cool.

Finley:

Finley was my favorite character because her interactions and dialogue just felt so organic. Once the main character and her got into a romantic relationship her relationship felt like a real relationship, or at least something I would like to experience. When she thinks that the main character and her might not make it she asks if they live if Avery will cosplay with her.

Finley’s really into video games, and is kinda nerdy. In the other routes she ships the main character and the person they’re pursuing. She’s also just really bubbly.

She’s the social media expert and to get traffic for the café she’s become an internet famous cat because she can control what her internet persona can do to do cat stunts that normally wouldn’t be online. Good for her monetizing that curse for cash.

She can block people in real life or report them, that’s her magic. If someone doesn’t really care about the internet though she has to come up with a phrase that resonates with them in the same way #blocked does.

I also like how at the end of her story she and the main character become vigilante superheroes.

Mason:

Another lady character! And this time she’s the silent and buff type. I loved Mason in the other routes because she was the only one who didn’t learn magic and still stood against Nacht because he never seemed to predict someone would punch him and was just so strong.

She does end up learning magic in her route (fire magic) but I’m not sure why it’s fire. Everyone else had something else that mimicked their personality or what they liked to do besides Landry. Mason’s really into cooking and I thought she’d have cooking magic.

Her route was very sweet and made me cry. It focused on her and her grandpa and how he thinks she’s just a delinquent so they don’t talk anymore so now to spend time with him she’s been visiting him as a cat instead. It was sweet to make them close again. But it was also the route where I realized how short the game was, or just how short it felt.

Mason was sweet and I love the muscle-y lady type but I would have loved more development between her and the main lead. I just wanted a whole lot more.

Reese:

Reese is Graves’s Apprentice and the only one who knows about magic before all this. I always wondered in the other routes why he turned into a cat if the reason they turned into cats was because they weren’t practicing magic.

In his route you learn that despite his boasting he’s not very good at magic because he’s practicing his father’s type of magic- drawing. His father is a designer and loves to draw. Reese’s talents actually have to do with sewing though and he develops sewing magic, which lets him open up portals or enchant clothing.

I wanted to see more of his magic actually happen because I’m still not sure the rules of his sewing magic. But his route was nice. He felt like he played off of Avery’s stubborn personality well.

He’s kind of a tsundere and very full of himself. In the other routes he has a crush on Graves despite knowing him all his life so it’s nice to help him out of that. In his route you barely talk about his crush on Graves and it’s only implied in the other routes. It feels like there should have been more drama concerning the fact that he has a crush on someone else in his own route.

Graves:

The final character is Graves the manager of the cat café and the oldest character (I’m not sure how old but there’s definitely a significant age gap there). He’s the one who cursed everyone into being a cat and the reasons weren’t clear until his route. I was excited to see all the secrets be uncovered like why Nacht is after him and why he doesn’t really teach you anything and why he curses people.

In his route however it feels short and rushed. His and Nacht’s relationship is only implied. It could have possibly been romantic and Nacht was just a jealous ex who turned to hunting people because he was mad??? I’m not sure.

He explains he cursed everyone to be cats because witches can sense magic and they weren’t strong enough to defend themselves so he glamoroued them. And apparently he’s cursed to not talk about magic??? I’m not sure his route just feels so rushed.

He himself isn’t a bad character. He acts very gothic and vampire like when in reality he’s not a vampire or scary he’s just a dorky LARPer. It’s funny. His magic is cat magic so to deal with Nacht he takes Avery’s advice to just curse him into a cat. When his solution to everything before was to turn it into a cat. Should have come up with that yourself buddy.

His route was by far the weakest for me, not only because it felt extremely short and didn’t answer a lot of my questions but also because I couldn’t get into the romance. There’s this line he uses when he learns Avery’s 19 where he’s like “I had no idea, you’re so mature!” which is just a classic…bad line to make people feel like they’re older and get in an age gap relationship.

I feel like he could have been done all right but he didn’t gel with me.

Overall the game is a good game. Very short but cute especially if you like cats. I really wish there was just…more content in the game though. But it’s very LGBT friendly which definitely is cool!!! I’m always desperate for w/w content in dating sims because it’s rare to come by. So thank you Hustle Cat for that. And I’m sure other people feel represented by it too.

The bugs definitely annoyed me though. Also side note that I realized while writing this review, the gallery is very clunky and not organized by characters. And in a dating sim that’s definitely something that they usually have.

#hustle cat #dating sim review #lgbt dating sims

7 notes · View notes

nighttimepixels · 6 years ago

Note

Heyhey Night! I have a buncha questions after seeing all your animations and they're just so cool so! I hope this is ok!! Can u animate normally too, or only pixel? Not that that's bad, just wondering! What's ur preferred kinda animation? Do u prefer lipflaps or lipsyncs? What's the hardest part of the animation process?? What's ur favorite?? Any part u don't like? What's a thing people don't see that u put a lotta time into? Do u have a fave animation u've done? Thank u btw for all ur art!!

Oh stars, okay, yeah- I’m happy to answer all these!! I’ll break them up so it’s easier to read X) And awww geez thank you so much for your support, sweet anon! It really makes my day when people say they like anything I’ve made, and stars knows it’s all the more true with the sweet sweet time sink that is animation (´•̥̥̥\\��\\•̥̥̥` )

I’ll also put this under a cut since it gets a bit long :)

Can u animate normally too, or only pixel?

This one cracks me up a little, don’t worry about it XD I totally can! In fact I enjoy it a lot - and... gods, animation software is a nightmare and a half, to be honest. That’s the biggest hurdle.

I do just straight up love pixel art and the aesthetic I can achieve with it, but I do at times miss ‘normal’ (non pixel?) animation, heh. Especially sound-syncing! I do all my pixel art in Asesprite which imo is the best pixel art program, not to mention made by an actual pixel artist - buuuut it doesn’t have a sound file option. Which makes sense! Er, frankly, most pixel artists wouldn’t... use it to animate like I do? More for games, or for looping gifs? So I can’t complain much, it makes a lot of sense that it’s a low dev priority.

Now, when it comes to other animation programs... I’ve tried a lot. Unfortunately, the ones that are preferable for the feel I like are either way out of budget (stares at TVPaint in the distance) or... well, have too high a learning curve for my single-person workflow, really. (OpenToonz, sigh...) And a lot of the free programs are good for getting a start in animation, but once you get to a certain point you really feel the limitations (whether it’s workflow, sound import, exports, trying to make something more finished than a rough...).

Then... there’s animation programs I just don’t like, and a lot of those are angled towards bone-style animations (nothing wrong with those, they just don’t fit my style? and are too much time investment for a single artist to output more quickly...), or are, well, freakin’ Adobe Animate.

I... gods, I do not like Animate (formerly Flash). And I made a whole 2 minute+ animation in it a couple years ago! (It’s very rough and bad and doesn’t make sense, pfff, not gonna link it XD) It’s... clunky, and vector oriented, and freaking lines don’t go where I want them too, and it tries to predict too much?? It’s hard to put to words, gah. For me, my animation style would be much more... raster oriented. Flow, hand drawn inbetweens, yaddayadda. Animate’s great for... plenty of things, but not for that kind of animation. There are far better animators than I who make it work with freakin’ aplomb though! So really, it’s just my taste, haha.

.... Er, that got long! I’ll cut off more rambling about animation software and tl;dr boil it down to “I love animating period, but turnaround is something I have to keep in mind as a freelancer, as well as budget, and my current focus is pixel animations for a number of reasons.” X)

What's ur preferred kinda animation?

I’m not exactly sure what this one means! Between pixel and non-pixel? Er, they both have their pros and cons, so I couldn’t say! But if I have to break down my current animations into categories, I’d say I have cutscenes, loop environments, and the broad game-like animations...

The first would be something like this animation feat. teasing Edge, the second would be something like this one with skesgo’s Starlan and Cinnamon, and the third is... everything else! From headsprite loops to ‘small’ characters running and so on.

Honestly, they’re all a lot of fun for different reasons! Cutscenes are generally the most challenging, but they give me the chance to push my limits and try and pull off something cool, whether I’m having to conserve frames (to keep the cost of a commission down) or whether I’m going more all out (which is a pricey commission, or a fun personal project, lol).

Loop environments are their own challenge - it may not look like it, but I put a lot of thought into how to make them look as natural as possible! From timing of talking characters, to where to place a blink, to exactly how many frames it’ll take to ‘soften’ a motion (so people aren’t just snapping between major poses) and so on - it takes... a lot of time to animate even simple scenes well, so I do a lot of mental math on how I can keep things affordable when someone approaches me for a commission. And frankly, I totally undercharge;; but I do my best!

Game-like animations are just fun. They range, they’re silly, to intense (I’ve animated fight animations before for game concepts), to indulgent, and beyond! Headsprites are always a delight, especially if I get to push the expression X) and I love tiny things (I mean... I am a pixel artist...) so getting to make lil tiny babs even just walking can be fun - and also, a lot more time consuming than you might thing, esp if you wanna make it smooth, like this lil Frisk I did last month or so:

Do u prefer lipflaps or lipsyncs?

oTL

B... both??

Okay, lipsyncing basically is very time consuming. AND, I freakin’ love it. I love puzzles, and when it boils down to it, that’s what super fun & expressive lip syncing is (some Ghibli animations are the heckin’ best for this)...

and, I’m a pixel artist, without sound-syncing capabilities in her main art program oTL Yeah, I can export frames and line them up and check but... gods, it’s so time consuming. I’ve tried it out of desperation - but for even five seconds of sound (sayyyyy a lil Vine...) that’s hours upon hours of transferring back and forth just to check.

So even though I love lipsyncs, they’re too time-consuming (and ergo, if I’m being commissioned, often too expensive) to do often! Someday I’d like to get back to doing them more often, but for now, practically I stick to/’prefer’, in the loosest terms, to do lipflaps. For the layman, this is that ‘two frame’ (maybe three) open-closed style of animating mouths- however, I’m working on ways to keep that style, but make it more expressive! It depends on the project - and in commissions, I’ll pretty much always prioritize giving the client a little more body animation than mouth animation, unless it’d really fit what they’ve requested.

What's the hardest part of the animation process??

.... damn, this is a tough one! Sometimes I’d say it’s the initial concept work - but it depends on what I have to work with. Sometimes that parts a breeze - and honestly freeing, bc I can take the time to try and push what I’ll do with it!

Roughing is one of my favorite parts, tbh. It can be tricky, sure, but getting to go from keyframes to in-betweens & smears to adding the flairs of secondary motion (think hair swishing, or coats flaring, etc) is so exciting and satisfying.

From there it’s all refining, and tweaking...

Hm. Honestly, the hardest is probably the initial cleanup and lining. It’s cool to see it come together, but it feels so much slower, and it can drag - and then you find bits that actually don’t translate well from the rough stage, so you have to go back and rework, and oof it can just drag in this phase, heh. Plus, I’m always tempted to add more frames, but it’s not always realistic - I’m a perfectionist, to say the least, so I’m constantly having to leash myself back so I don’t turn a project into a half-a-year undertaking, pff.

What's ur favorite??

Probably gave myself away talking about the roughing stage X) It’s just loose and fun and free! But seeing it all come together is also damn satisfying too, so that’s not to say I don’t like the refining portions either...

Outside of that, I also really like the beginning of the color stage! .... Before having to translate shadows/highlights to each and every frame *shudders*. That gets tedious, but it’s so critical! Anyways, though, I heckin’ love colors. I always have a rough palette in mind at the start of the process, but I go ham and play with it as a little break and a true test when I get to actual slap together a full frame with full color, highlights/shadows included! It’s exciting, like a preview of the finished product, basically :D

Any part u don't like?

Heh, by the time I get to shadows/highlights, I tend to be getting impatient, I suppose. It’s not that I don’t like it - I definitely highly value it, and if it was the only thing I was working on in an animation that’d be different, but as a one-woman team I’m just raring to be done at that point; it’s very nearly the last thing I do, after all, so it’s a struggle to focus. X)

I suppose one that always gets me is more complicated backgrounds. It’s a work in progress, as I’m getting better and finding the fun in them for sure! But I’m still not where I want to be in translating ‘background concept’ to ‘finished background’ - it feels more stiff than my animations, I guess. So it’s a frustrating part... but hey, it’s part of it! And learning to embrace the challenge is a big help.

... I just always have to make sure I have a big cup of coffee and a good jam playlist going when I sit down to do ‘em, in the meantime.(=▿= ||||)

What's a thing people don't see that u put a lotta time into?

Definitely the coloring. This goes for both backgrounds and the animated characters themselves. It’s... never as simple as it looks? It’s time consuming, and while some parts of frames can be copy-pasted, I also put subtle work into the animations that mean that some pixels are off so it ends up being marginally faster to just recolor, but then there’s shadows, and working in pixels means that if I miss one then there’s a flickering pixel mid-animation, and sometimes there’s an unconnected line and then you bucket fill the whole damn thing, and gods know I’ve got colored lines so I have to be exacting with keeping the same ratios highlighted vs darker in shifting frames...

*deep breath*

... Yeah, basically the coloring is super time consuming. And balancing bg coloring with animated elements in the image itself is a whole extra challenge on top of that. For 99% of my animations, I can damn near guarantee I’ve spent at least twice as much time coloring it as I have animating it.

Do u have a fave animation u've done?

*looks at my goblin hoard of animations in horror like I’ve been asked to choose a favorite child*

... Stars above, I can’t choose! I love them all, and at this point a good portion of them are commissions- it wouldn’t feel right to choose!

*...carefully covers the hoard’s metaphorical ears*

... also, that said, I can admit a soft spot for any of them that involve humor. I tend to get to do extremely expressive faces and action there, even if I have to ration the frames, so it turns out really fun X)

And though rough and I’ve definitely done stuff I’m more proud of, I still crack up at this one I did a while back of the nonsense ‘ass’ joke between Red & Stretch... their faces were too much fun XD I’ve gotten waybetter since then though, Big Oof, I see so many things I can fix; might go back and redo it someday.

Honestly, though, I just freakin’ love animating! They all have their ups and downs andI always put a lot of love into them and find a way to have fun with it and try to push any emotion/theme (when applicable). I like to think it shows, but idk, that’s something I have to leave up to you guys X)

#night answers #about animating #phew there were a lot-!#thanks so much for your interest #hope these answers made sense! :D #Anonymous

51 notes · View notes

the-jellicle-duelist · 5 years ago

Text

Ryan’s Top 10* Video Games of 2019

I don’t write blog posts but it’s time for Video Game Top 10 Lists for 2019 and I have no where good to put it! So congrats tumblr you get it. I’ll also tweet about it but in a much smaller scale. Anyways if you don’t care that’s fine! But if you do! It’s under that read more baby!!

*there’s always more than 10

First, some honorable mentions.

Dragon Quest 1

Dragon Quest 1 is the oldest JRPG (I won’t check if this is true) and I finally got around to it this year when it come out on Switch. The nice thing about Dragon Quest 1 is that it is masterful in its simplicity: you are one person. You fight one monster at a time. You go to one town at a time (mostly). You are on one quest (again, mostly). There’s only a few handfuls of anything like weapons, items, spells, monsters. They all work really well in concert with each other, and the package as a whole is this cozy, comfy less than 20 hour JRPG experience that I really enjoyed.

Best MMO I Refused to Get Addicted to in 2019

Final Fantasy XIV

I sure did hear a lot about Final Fantasy XIV this year. From podcasts to people just talking about it on twitter it seemed to be in the cultural zeitgeist this year. I downloaded the client and put about 15 hours into the base game. If I would have had the right combination of time/money/depression at that time I know I would have gotten deep into it. I’m fine that I didn’t, I think. But the potential was there.

Okay list time here we go:

10. Baba is You

Baba is You is this a coding game? You’re manipulating verbs that are represented by blocks, and pushing them next to noun blocks, to make the objects in the world do things, so that you can get Baba to touch the win object, usually a key. It’s great fun! It got really difficult around the third world and I had to put it down but boy did I like messing around. There were several wonderful “YOOOOO” type moments, and the puzzles when you solved them were great for making you feel very cool and smart.

9. Sekiro: Shadows Die Twice

Sekiro: Shadows Die Twice is From Software doing From Software shit in a way I wanted to like way more but ultimately it’s Here on this list. I liked Sekiro fine but it didn’t click with me like Dark Souls 3 or Bloodborne has in the past. The best parts of Sekiro for me were nailing difficult and tight blocking windows, which gave me an absolute rush every single time. I only got to what I assume was about half way through the game, so I don’t know if this changes later, but for a From game where the bosses were for the most part A Person, the boss encounters were interesting and varied. Also the world design was stunning.

8. Dragon Quest Builders 2

Dragon Builders 2 rules, first off. I wanted to put it higher on this list but I think it fell short because it was so heavily iterative and didn’t do a whole lot to progress itself from the first game. But, there were several quality of life improvements, and there was a big cool area to build in that was permanent and part of the story. I think if they added some more cool things, and made the dialogue not be such a slog to get through, this could have been way higher up on this list.

7. Kingdom Hearts 3

God, Kingdom Hearts 3. I was convinced for about 7 years that KH3 would not only never come out, but it would keep getting bad handheld games until I died. But they finally did it, they made the thing. It felt like a PS3 game which is the wildest thing. (It probably was a PS3 game for a while). It was very fun to play mechanically; the part of KH that was always pretty good was the action RPG stuff. The story is bad tho! The reasons you go to the different world’s is the thinnest it’s ever been, and there’s almost no real lore until the last two hours where you get all of it at once. KH3 was clunky, but I still liked swinging the keyblade and shooting fireballs.

6. Judgment

Shout outs to Judgment: I own it. I never played it. It is number 6 on my list. This probably says more about how I felt overall about games this year than it does about Judgment. Judgment comes from the Yakuza studio, and by all accounts it was so close to that vein, that I am confident and comfortable putting it at this number 6 spot without having ever launching the game. I have second hand accounts that it slaps, and will do for me everything Yakuza does for me, which is fine. I just ran out of time.

5. MiSTer FPGA

I love MiSTer. Wow do I love MiSTer. It’s got everything: old games, tinkering, assembling parts. If you are unaware of the MiSTer device, it’s a custom FPGA board with add-on boards, that developers have written Cores for classic consoles that all run in this FPGA environment. As opposed to emulators, an FPGA as I understand it is mimicking real hardware and then running games ontop of it. It’s a great device, and plays the things it plays (NES, SNES, Master System, Genesis, Game Gear, Gameboy, Gameboy Color, Gameboy Advance, NeoGeo, loads of Arcade games,and more) really well. I have really enjoyed playing games on it, and tinkering with it this year. I spent a lot of my time this year with it.

4. Slay the Spire

This is where the list starts to get Real. Wow does Slay the Spire rule! Holy shit. Rogue like, deck building, choice making, hard as fuck, big time strategy, unique characters. It’s really got everything. And it’s dense. This was absolutely my “just one more X” game this year. I put hundreds of hours into it. The way all of the cards interact with each other, the way you can really craft so many kinds of specific decks in each character, in each run, really worked for me. The ever-growing engines you could make, and the way that, even if you have a not great deck, it never feels bad. It’s one of the few rogue likes where you feel like when you’ve lost it’s your fault in a good way. It’s tuned to feel good no matter what. It’s tuned to feel tense. God Slay the Spire rules. And there’s a new character on the way? fuck.

3. Monster Hunter World: Iceborne

I loved coming back to Monster Hunter so bad y’all don’t even know. They added a ton, so many good monsters that I love to fight. Tigrex? yes. Zinogre? Yes. Velkhana? YES. The variant monsters are great, too. I just love Monster Hunter World so much. The clutch claw rips ass. This game is so good, and chunky, and feels good to play. I really mastered the bow this time around, but I started off with Hammer again because I will always have a torrent love affair with Hammer. Clutch Claw Grab with the Hammer is the best feeling you can get from video games.

2. Pokemon Sword/Sheild

Good Pokemon games! They’re good! It was nice to go through all the motions of a new pokemon game this year: rumors, leaks, having a reaction to all the starters and their evolutions, getting my hands on it, catching them all. It’s just a good Pokemon game. It’s not the best one (Black and White still got that crown) but it’s good. And I like a majority of the new designs. I like how they culled the dex to a nice, satisfying but manageable number. Anyone who’s mad please fuck off.

1. Fire Emblem: Three Houses

WE ALL KNEW THIS WAS COMING. Anyone who follows me on twitter, you know. God where do I start. So, I played all the way through Three Houses six times. I did two runs of Golden Deer, two of Black Eagles, one Blue Lions, and one Church of Seiros. I love all of my students. This game hit hard for me for a few reasons: they did Fire Emblem again, but its bigger and there’s more moving parts. More need for spreadsheets, which is stuff that I eat up. Yum yum good. Adding an overworld even in the scope that was as small as, the Monastery School, to this Fire Emblem was a BIG risk because they have been down this road before, and have not really nailed it. But I think with Three Houses they struck a really good balance, and it never overwhelmed me. They took a big page out of Persona’s book here which did wonders for me. You have this big map and it LOOKS scary, but in reality with fast travel and the limited number of actual activities/quests, you can do everything you want very quickly.

The thing that shined that brightest was the characters. I love them all, even the ones that aren’t cool, and even the ones that are Bad. I love all my kids. I have a lot I could say about how having all of these story routes, with their inconsistencies and their only slightly subtle variations bummed me out, but I did think if you take a macro look at the plot, this is one of the only well-written Fire Emblems ever. There was like, magic and dragons and things like this, but the thing that worked for me was their commitment to keeping the story grounded in the people that were in it? It was a story about three lands, vying for power in their own ways, and the actions/consequences that would follow. They really leaned in to the human part of it. It was not as much Kingdoms doing Politics, it was people doing things, and I think that worked for me.

Honestly the weakest parts of FE:3H was the Fire Emblem parts. The classes are just okay, and they took out a lot of the limitations of weapons/magic and so it was really a class change system about skills mastery, which I think they didn’t hit a home run here, but it was fine. And I liked doing it, clearly. The maps were a little samey in, especially in the first Part of the game.

All of this said, FE:3H slaps so much fat juicy ass and it is absolutely my game of the year for 2019.

#video games #top 10 #top 10 video games 2019 #dragon quest #final fantasy xiv #baba is you #sekiro #dragon quest builders 2 #kingdom hearts #kingdom hearts 3 #judgment #mister fpga #slay the spire #monster hunter world #monster hunter world iceborne #pokemon sword #pokemon shield #fire emblem three houses

3 notes · View notes