#as if i’ve watched the cutscene movie

[goldensunset]

Psst... would you consider emulating 358/2 days now that you have successfully emulated a ds game (I just really love days and think everyone should be able to experience the original game because the cutscene movie doesnt do it justice)

ah… ‘tis an intriguing idea indeed, dear anon…

[nyctoheart]

I watched my friend stream the beginning of re:coded on the DS, and it seems like such a polished/thoughtful game with its visual details that fuck, if he doesnt finish it, maybe I’ll buy a copy and play it myself!

[sonic-adventure-3]

i just played a bit of sadx for the first time and wow i know shockingly little about it. did you guys know that sonic adventure is good. ‘cause it’s good

[recusant-s-sigil]

If I watched a ff7r cutscene movie would it ruin my life

[arc-misadventures]

Nora has a new game to torment her friends with because why not? And to give her favorite people a small break from FMK. The game: Would You Rather. Her first contestant/victim, Jaune. Because why not? He can do with a nice change of pace. He seems to almost expect Nora to ask FMK at this point. Gotta keep him on his toes ya know?

Jaune WYR: marry Tifa or Aerith from FF7?

Jaune: WYR

Nora: Hey, Jaune! I got a new game we can play!

Jaune: If it’s anything like, MFK, MFE, or BMI I will strap you to a chair, and make you watch dog movies.

Nora: How is that a threat?

Jaune: Sad dog movies where the dog may, or may not die in the end!

Nora: (Horrified gasp!)

Nora: You’re a monster!

Jaune: I am my monsters gatekeeper, Nora. Keep on pushing my buttons any further, and I will let them out to play~!

Nora: Ahhhhh?!!?!

Nora: WYR!

Jaune: Eh?

Nora: Would You Rather!

Jaune: Eh?

Nora: Would you rather marry, Tifa, or Aerith from FF7!

Jaune: …

Jaune: Haaa… Okay, listen up, Nora. I have never played, FF7, I’ve seen videos… well, it was more of a movie considering how many cutscenes there was in that remake they did. But, I barely know anything about FF7, and the characters in it.

Jaune: I know they’re both… terrorist, rebels? One of the two, they’re interchangeable. They’re involved in this weird love triangle with, Cloud. I think…?

Jaune: I know, Aerith is the flower girl who dies, and that made everyone sad… for some reason.

Jaune: And, I know, Tifa is the eye candy/waifu of the, Final Fantasy series… at least I think she is…? All because she has… did…? She has a big rack!

Jaune: And, there was that whole, Italian fiasco…

Nora: The what?

Jaune: I know the bare bones about the game! So I’m going to have to pick, Tifa!

Nora: Because of her boobs?

Jaune: Because of her big boobs!

Nora: Really? I thought you would make a more in depth, and well thought out choice.

Jaune: Nora, if you look at the pair from just from the character designs, you can choose between either the cute flower girl, or the hot brawler babe. Who do you choose?

Nora: What?! Kind of choice is that, flower girl, or brawler babe? How can you rationalize a choice like…?!

Jaune: Ruby is the cute flower girl, Yang is the hot brawler babe. Who would you rather?

Nora: …

Nora: Yang…

Jaune: Because of her boobs?

Nora: Because of her big boobs…

Jaune: Ha! Told you.

///

I do know the bare bones about the games. Never played them, and I don’t care for RPG’s. There’s no replay value to me.

[essycogany]

Here’s a personal take!

The Sonic Prime 3D models have the best facial expressions seen from the modern cast. Why? Well, I’ll explain with my 0 experience in 3D animation. I’m only explaining as an observer. Not a professional. Anyways, onto the fun.

First of all, let’s talk about the current models in the games. The animators became better at animating them in Sonic Frontiers.

You can tell effort was being put in, but Frontiers still has limits due to the structure of Sonic’s face and eyes. I’ve seen fan animations with this model which animates him wonderfully. But no matter what, he’s still going to have limitations because his hands are too big, eyes are too far apart, mouth looks like it was made to only stay on the side, and more issues. The design frankly looks dead. Even in motion.

In all fairness, this character was built for a 2D design due to it being inspired by Mickey Mouse. But Sonic Unleashed (because they used different models like Dream Team) proves this character CAN be expressive in 3D with a good workable model. It’s not the animation that’s the problem in Frontiers. Here are similar expressions from Sonic Prime and Frontiers.

See how wider the expressions are in Prime? It allows their faces to be more flexible and warped. Prime!Sonic has rounder eyes making his head look easier for his facial structure to have an array of expressions. It’s kind of close to Sonic Dream Team with the minor tweaks of the OG models. Which is why the expressions in that game looked so good. ESPECIALLY when animated.

It’s even why other designs are able to have great facial expressions. The eyes being close together just works. While the OG looks like he’s pushing expressions that’s near impossible to push. Yes, it’s still expressive, but you can see how limiting it is because the eyes aren’t supporting the face. And his mouth is always stuck to one side.

Onto more compliments to the Sonic Prime models. They emphasize the hight differences too. I personally think Sonic and Shadow look like mixtures between their 06, modern, Boom, and movie designs. They have long quills like 06. Their entire look is inspired by the modern designs. Their eyes are shaped similar to Sonic Boom and they have cool textures like in the movies. Other characters count but it most notably is for the two hedgehogs.

The hands are smaller like in the movies and Boom. The pupils being bigger gives volume to the faces. I also adore their fur and quill patterns to give the designs flare. Their gloves have little details too. I especially love how they can change the quills for Sonic and Shadow and make them look similar to a 2D style. Usually they’d make the quills smaller in the games to get that 2D look but Prime Shadow and Sonic are able to have long quills while the animators adjust them however and whenever they need to.

Their mouths are also well animated and smooth when transitioning to different sides of the face. The characters body shapes are also 100% better. While the Game model looks too straight the Prime model has a pear shape torso that are also given to Boom and Movie Sonic respectively. The Prime models look like they were made for action scenes.

I know some people complain about the eyes not going down, but honestly it’s what makes the expressions weaker when used in 3D. I’m glad they have a balance of it sometimes to allow the expressions to get their points across. I really appreciate the colors on everyone also. They look lovely and bright with help of the lighting.

The few critiques I have are due to multiple watches but they’re not a HUGE deal.

1. I can easily see their necks at points.

2. The mouth animation looks weird when characters makes an O shape and the tongues/teeth are jarring.

3. I wish their hands weren’t so flat and skinny. Other models had their hands shaped like Disney characters, but Prime’s hands can look flat sometimes.

These are just nitpicks though.

Even compared to the CGI cutscenes while still good I think Prime conveys a subtly previous models didn’t do too often. Of course the CGI looks amazing and it still holds up, but the nuance in Sonic Prime cannot be ignored. Hope my take makes the slightest of sense.

Stay Creative! 💜

[halfmoth-halfman]

My MWIII Thoughts

I’ve finally taken the time to get all of my thoughts about the new campaign together and put them in a single post. There are no spoiler tags since the game is officially releasing today/tomorrow, but everything is under the cut with a warning. I have a lot of things to say here, so I’ve tried to organize it point by point. The points I think are most important are first, and I ask that you take the time to read through them. If you want to skip to the points about characters and that death, the beginning of those sections is marked with red, but be prepared to scroll.

I watched the custscenes, with gameplay, all the way through once and I’m not doing it again. I tried to go back to specific scenes to reference in this post, but even that was a lot for me, so if my timeline in here is a little screwy don't fault me too much.

If you just want my quick, overall thoughts: This campaign was two hours of egregiously incoherent, poorly written, shoddily thrown together military propaganda, even more than the cod games usually are, and your money would be much better spent donating to help Palestine - there are links to do so in this review, marked with green, as well as boycott information, and the same donations links are also provided on this shorter post if you want to go directly to them.

(There are spoilers below, and this is long. I'm not kidding. Do not click the readmore unless you are prepared to scroll.)

Military Propaganda/Islamophobia

I spoke about this some already here and here because I felt this was an important enough topic that deserved its own post.

Call of Duty has never been has never been the game where I expected to see proper representation of the Middle East or Middle Eastern politics. It is first and foremost military propaganda. More than that it is American military propaganda. Just like with every superhero and pro-military movie post-9/11, it should be expected that you’re not going to get any kind of meaningful insight or depth when it comes to Middle Eastern storylines and characters, but there is usually more of an effort to hide the Middle East = Terrorist subtext.

To say I was shocked at how overt and blatant the Islamophobia was in this game is an understatement. We get four deaths of named characters in this game. Two of whom are Middle Eastern women, Dena and Samara, from the country Urzikstan, the fictional combination of Syria and Afghanistan and home to terrorist group Al-Qatala (real subtle, right?). Both of these women are associated with the ULF, the Urzikstan Liberation Force, Farah’s group of freedom fighters whose goal is to free their country from foreign subjugation with Samara no longer being an active member. Both of these women are introduced in this game. Both of these women are minor characters. Both of these women, Samara in particular, are trying to live their lives peacefully now that their country has been freed.

Both of these women are given deaths more brutal and more shocking than the other two deaths of two main characters in the series.

We meet Dena at the beginning of the game when we’re first re-introduced to Alex and Farah. We see her have a heartfelt reunion with Farah, and the two have a conversation while driving where Dena expresses her concerns about wanting Urzikstan to remain peaceful but assures Farah that everyone will support her. After, Dena is suddenly shot in the chest, and Farah is forced to take control of the vehicle they’re in, which ultimately flips over and we get Farah’s first death fakeout.

It’s in this cutscene that we see a lingering shot on Dena as well as her corpse being thrashed in the car as Farah tries to take control and as it flips. We are given a Middle Eastern woman showing hope for her country that the peace she has fought for will be maintained only to then watch her die for shock value and a fakeout for another character, and watch her body fly across the car as it flips. We don’t get that with either of the other two gunshot deaths in this game. Soap’s is just as sudden, but we see it coming, and there are no shots of his body being thrown about, no closer views of his face like there are with Dena. Shepherd’s is entirely off-screen and all we’re left with is a shot of him lying face down on his desk - no blood or bullet wound in sight.

Notably, the only other person we see a comparable amount of blood on in this game is Makarov, the enemy of the series.

Samara, who gets the worst death in this game, in my opinion, is a retired ULF soldier we’re introduced to on a plane. I’ll start by saying I was under the assumption this may have been the reboot replacement for No Russian, the mission in which Makarov and Co. shot up Zakhaev International Airport to frame America for terrorism in the original series, and the mission that was teased after the credits in the MW2 reboot. We get the scene of Makarov and his men at the airport before boarding the plane, which could just be a nod to the original mission. However, until there is an official reboot of the No Russian mission, I’m going to assume this was Activision’s new take on it. 

In this mission, we learn that Makarov plans to use this plane bombing to frame Urzikstan, Farah and the ULF specifically. The thing is, as Big Mak and friends are in the airport preparing to board, we are shown that the ULF is already being blamed for the missile attack on Arklov Military Base from the previous mission where their missiles were stolen, capped with Konni’s chemical gas, and one was detonated. There’s even a news sequence showing that the world already thinks of the ULF as a terrorist organization, and has not-so-quietly thought that for years. That makes this upcoming scene feel not only unnecessary but like a deliberate choice made by Activision to be extra cruel to a Middle Eastern character. 

We see Samara text with her family and are shown a picture of her husband and children before the man next to her begins speaking to her in Arabic. He compliments her family and, I assume as we’re not directly shown, gets the No Russian text - a text, for those who have not played the original games, meaning to not speak Russian to not tie the terrorist act they’re about to commit back to the Russians. The Traveler, as he's called, then reveals that he knows who she is, knows her family, and knows that she is a former ULF soldier and fought the Russians. He then pulls a gun on her and Makarov and Konni take the plane hostage, purposely speaking Arabic and declaring this is for Urzikstan. 

We are then forced to watch as Samara fights back, but is ultimately taken to Makarov where a bomb is strapped to her chest. He gives his usual cryptic speech, and over-explains to the audience what’s happening before diving out of the plane D.B. Cooper style. 

Samara is then dragged to the back of the plane by a Hijacker, where the remaining passengers are, kicking and fighting and trying to reason with him to stop. He pauses and we then get this exchange:

Hijacker: Are you a terrorist?

Samara: No…

Hijacker: You look like one.

He then puts a gun in her hands, tosses the cellphone that will let her stop the bomb, and shoves her into a crowd where we have to watch her struggle to explain what’s happening to her and that she needs the phone to a crowd of people that are either afraid of or angry with her. She is shoved to the ground by a random man, forced to fight through people trying to tackle and beat her, and, when the phone is finally within reach in the hands of a scared passenger, the plane blows up. 

I want to emphasize that most of this is a cutscene. There are a few button presses for the player to try and get the phone, and you are allowed to look around and try to fight back, but that is quickly stopped, and you are forced to sit and watch through Samara’s perspective. The end result? There’s an investigation for who may have done this, and you play as Farah collecting evidence from the crash site so Makarov can’t frame the ULF. The mission succeeds, because it’s a story mission and it has to, Makarov is unable to control the narrative so people can only suspect the ULF did it but can’t prove it, and Samara…died for nothing. All of that was so people could suspect the ULF was a terrorist organization, which the game has previously gone out of its way to establish was already happening before Makarov got on that flight. This entire sequence and the mission after added nothing to the storyline other than the brutal forcing of a Middle Eastern woman to hijack a plane 9/11 style and die a death worse than two of the series’s main characters.

Two side characters, two Middle Eastern women who have never existed before this game, are put in this game solely to die in ways where their deaths are more emphasized and graphic than a character we’ve played as since the series began, and one of the main villains. 

There is a genocide happening in Palestine. Islamophobia in the United States, and the West as a whole, is rising to post-9/11 heights. There is already so much propaganda being spread in an attempt to dehumanize the men, women, and children who are being murdered by Israeli forces, to justify the actions - the war crimes - of the Israeli forces. Could this be a sloppy attempt at Activision trying to mirror real-life stereotypes and how quick the media is to jump to the Arab = Bad narrative? Possibly. I don’t think it is. I think this was a deliberate change from the original No Russian mission in which America is framed for terrorism, made by an American company that makes games meant to garner interest and support in the American military, during a time when the American government is being criticized for funding and aiding an ethnic cleansing. 

As slapped together as this game was, I don’t believe they couldn’t have changed the campaign in the time since the situation in Palestine escalated to this level. I firmly believe it was a purposeful choice to write that scene, to film that scene, to keep that scene. 

It is blatant, it is clear, it is as in-your-face as it can possibly be. It is not something this fandom gets to ignore because they don’t like the campaign. It is not something this fandom gets to overshadow with Soap’s death as poorly written as it was. It is not something this fandom gets to stay silent about while also posting about #freepalestine. 

I have never expected the best when it comes to Islamophobia from the Call of Duty games or its fandom. I’ve never expected anything beyond mildly okay. Call of Duty is military propaganda, I know. The fandom is known for its racism and it’s not getting better, I know that especially. But I don’t see how anyone, in the times we’re living in right now, would be able to look at this and not acknowledge it for what it is. 

It is the purposeful brutalization of Middle Eastern characters. 

It is propaganda.

It is racism. 

It is Islamophobia. 

It is wrong. 

Engaging Critically/Acknowledging Privilege

While I may be stepping back from the CoD fandom, I understand that not everyone is going to. For some people, these games are a comfort or an escape. I’m not here to call for a boycott of Call of Duty or Activision while there are more important boycotts to be focusing on - and you can find more info on them here & here.

What I am asking, particularly of those of us in the fandom that are not being directly affected by what’s happening in Palestine, is that there is more acknowledgment of the level of privilege that we have and that people learn to engage more critically with the media they consume. 

It is a privilege to play a game like Call of Duty and not have to think about the propaganda. It is a privilege (and ignorant) to say “it’s not political”, “it’s just pixels”, or “it’s not real”. It is a privilege to be able to just turn the game off and never have to think about war, and the impact of the representation of the characters, and the real-life events that these games base themselves on. And this isn’t just a CoD issue, this is something that should be considered with every piece of media you engage with. 

There is no such thing as a “politics-free” book/movie/game/show. Everything carries the biases - conscious or subconscious - of the person or people who created it. There is no such thing as media or fiction not having an effect on real life, especially in a fandom for what is essentially War Crimes: The Game.

I’m going to take a quote from this post by @yeyinde.

"It’s incredibly egregious to pretend that the media you consume isn’t based, in some part, on real life or has no repercussions outside of it just being fiction. And it’s especially dishonest to say this isn’t the case within the COD fandom when people have said that the erasure of Gaz from the fandom in favour of a white character is traumatising. The portrayal of the Middle East is traumatising. The portrayal of Makarov in fiction as an uwu-sympathetic babbie is traumatising. The portrayal of the military as heroes is traumatising. These are real people expressing real emotions and bringing up important matters that impact them long after they’ve logged out of tumblr. Just because they stop being relevant to you after that does not, and SHOULD NOT, matter. Their trauma, their feelings, and their interpretations shouldn’t be ignored in favour of some catch-all excuse to limit your responsibility as a consumer to think critically about the media you’re devouring just because it has no consequences for you."

Fiction mirrors real life whether you want to admit it or not. It shows real biases, and it affects real people. Participating in fiction and the surrounding culture does not magically absolve you of consequences. It does not suddenly mean you get a free pass at things like sexism, racism, ableism, colorism, romanticization of abuse and sexual assault, etc. just because your escapist fantasies are conveniently free of people who are different from you.

It may be your fiction, but it is someone else’s non-fiction, and you do not get to decide that it isn’t or that the impact doesn’t matter because it’s about fictional characters.

I'm going to link another post from @yeyinde with another quote here.

"It’s easy to get swept up into something when you have no tangible ties to the effects of what’s being portrayed, which can lead to making dismissive or hurtful statements out of pure ignorance. My biggest gripe was the excuses being laundered out and (either unintentionally or intentionally) giving the creators a pass for what they created and the harm they caused other people to experience. Just because they did not experience the same trauma, it does not diminish its impact on others. This is a very important distinction, which I think was being missed."

Does this mean you can’t ever write or read about traumatic things, or that you can’t enjoy the CoD games ever again? No. 

But I need you all to understand that you can criticize the media you enjoy. You should criticize the media you enjoy. Criticism does not mean never letting yourself enjoy a piece of media again. Criticism does not mean trying to get a character or creator “cancelled”. Criticism does not automatically equal hate.

Criticism is an act of love, and it is necessary when deconstructing and confronting biases - both yours and other people's.

Resources To Support Palestine

The lovely @moondirti provided some organizations where you can donate to support the humanitarian aid in Gaza with the note:

It's important to acknowledge that, while limited aid is being allowed through, recent negotiations have allowed your charity to reach the people of Palestine.

DOCTORS WITHOUT BORDERS

PALESTINE CHILDREN RELIEF FUND

UNITED MISSION FOR RELIEF – PALESTINE EMERGENCY

ANERA

Onto the actual game.

The 141

I don't know what happened during development between this game and MW2, but the relationship between the members of the 141 is severely lacking. We get the usual Soap and Ghost banter for one mission, because, let’s be real, that's what got a lot of people into the last game, but that's about it? There’s nothing new, nothing added to their relationships, and the game sticks to the same duos (Ghost/Soap & Price/Gaz) that we’ve had for the past two games. Even Soap and Ghost’s banter during the attack on Milena’s private island doesn’t have the same impact on the characters as their banter during the Alone mission in MW2. They get a few lines about Soap admiring Milena’s cars and Ghost taunting him about marrying an Oligarch, and…that’s it until the cutscene where they interrogate her.

There’s maybe a few quippy lines here and there, but overall the 141 gives off the same feeling as a group of semi-friendly co-workers that sometimes work on the same project rather than an actual team that has shed blood, sweat, and tears with each other.

This would’ve been such a great time to explore deeper into the team dynamics, show us pairings we don’t get to see as often and build on those relationships, make us really feel for these characters on a personal level. In the original series, you got a feel for every character and their team dynamics, and the player felt the impact of each death as they watched the other characters react (something I’ll talk about later). With this game, we get…what? Four men that desperately need a lozenge throwing a few sassy one-liners at each other and giving each other a harsh pat on the back like a bunch of dads at a barbecue?

I feel like so much of the heavy labor regarding the 141 in the reboot is done through fanfiction at this point because this game especially gives us barely anything to go on, and that’s such a missed opportunity on Activision’s part considering how so much of MW2’s popularity came from the relationship built between Soap and Ghost. It all just feels so hollow and surface-level; there’s no depth here, no attempt to build a connection from the player to this group as a team. In my opinion, Activision relies too heavily on the older fanbase’s connection to the original series, and the newer fanbase’s self-created characterizations, to fill in the blanks so they can leave these characters as empty and vanilla as possible in order to appeal to a broader audience.

And they’ve still somehow managed to fail at that. Speaking of failing...

Graves and Shepherd

Graves should’ve died in that fucking tank, and I will stand by that opinion even after I die. It was such a cop-out to have him live, and for him to suddenly come back with the excuse, “Well, I wasn’t in that tank, blah, blah, blah.”

This is supposed to be a game series where characters die and stay dead. The characters die. Some die heroically, some die horrifically, some die quickly, some die painfully slow, most die bloody, but they die. It’s a staple of the series, like Game of Thrones pre-season 5. I don’t know if Activision didn’t know what to do with his character, or if they realized he was semi-popular with the fans and decided to magically bring him back via deus ex remote-controlled tank, or if they were trying to “subvert expectations” and give us all a little surprise plot twist, but it sucked.

Also, no one checked the tank for a body? That seems to be something everyone has a problem doing in these games, and I don’t know what Activision thinks that does for the 141, but what it does do is make these elite military officials look incompetent as hell because their “dead” enemies keep coming back.

There was nothing different that Graves did in this game from what he did in the previous game. We get the same air support mission from him that we got last game, and really that’s it. Okay sure, he’s working with Farah now, that’s a little different, but what did he do in that mission? Give her vague instructions on where to find some GPS trackers and then give her more vague instructions on where to find the missile containers to slap the trackers on? He could’ve easily been replaced with one of Farah’s people who scouted ahead, or Alex, or a decorative cowboy hat, and the mission would have gone the exact same.

Other than that he spends the entire game hiding behind Shepherd like a scared child up until the end when he ultimately turns on Shepherd, and even that felt so blah. He faces no consequences for his (racist) actions in Las Almas other than Gaz refusing to shake his hand, he faces no consequences for betraying the 141, going so far as to lie that it even happened in front of Congress, and he gets off completely free as far as we know. There was no point to his character, no point to bringing him back, no point to him being in this game at all, and if I find the Activision employee who decided to keep him alive I will be throwing hands expeditiously. 

Shepherd was…there, I guess? I’m sure he was meant to be a menacing, sly, back-stabbing character, but he came off as more irritating than anything. His rescue mission felt akin to being forced to babysit your annoying younger sibling who questions everything you do. They give you a cute little nod to the OG series with his cutscene with the 141 in the snow (because Activision has to rely on nostalgia and easter eggs since they know this game is emptier than the promises of an absentee father), but most of it is spent with Shepherd preaching about how great he is and threatening the 141 like he’s been doing the entire game. I’m sure he’s supposed to come off as clever, outsmarting the 141 and tricking them into rescuing him - this big, bad, battle-hardened General - but all of that is undercut by him getting captured to begin with.

The General Shepherd in the original series killed two of the player characters. How am I supposed to be intimidated by this nagging grandpa briskly jogging through the snow behind me in his ugly pajama jumpsuit? Even his ending is lackluster. He’s outwitted in front of Congress by Graves of all people, and then we get a cutscene where Price shoots him off-screen. That’s it. There was no satisfaction like in the original series, no triumph, no sense of vengeance, only a tired feeling of thank god I don’t have to deal with this anymore. This constant attempt at build-up in this reboot series of Shepherd being this looming figure over the 141 ends not with a bang, and not even with a whimper.

Makarov

I’m going to start this off by saying I mean absolutely no hate to Julian Kostov, Makarov’s actor, he definitely did his job.

Unfortunately, that job was playing a random Russian man that happened to have the same name as the Vladimir Makarov from the original series. He’s literally just a dude. There’s nothing particularly menacing about him, nothing that really screams Leader of an Ultranationalist group, nothing that would set him apart in a line-up of kind-of-gruff white men. I wasn’t expecting him to be some over-the-top supervillain, but he feels too normal, too regular, too everyday. Maybe that was the point Activision was trying to make - that having a villain with too-sharp features, eyebrows with in-your-face arches, and two-toned eyes is realistically too much - but it feels like they leaned too far in the opposite direction to compensate.

How am I supposed to take Makarov seriously when they gave him such big, brown, babygirl eyes? Though I realize this may be a character model issue because everyone in this game seemed to have huge doe eyes at one point or another (looking directly at you and those unblinking baby blues, Soap).

The first time we get a proper cutscene with Makarov, he shoots one of his own men – one who had questioned his plan in the rescue mission – and he gives some passionate Make Russia Great Again speech that involves a lot of big gestures, promises of showing the world “true power”, and him being weirdly touchy with one of his men. It’s not a bad scene, and I think Julian really shines here as Makarov. It’s a little in-your-face for me, but overall not a bad introduction to what is supposed to be the overarching big bad for the rest of the series. It gives you a good enough sense of danger, and just enough worry for the main crew as they get ready to go up against this guy.

Unfortunately, the rest of the game doesn’t really follow through on that. Makarov spends more time monologuing, asking his men “philosophical” questions about prisoners and guards, and cryptically foreshadowing at the 141 than he does doing…anything. We are told about all of the bad deeds he’s done. We are told how evil he is. We are told that Makarov needs to be stopped at all costs. The only problem is, we aren’t shown any of that. We see the aftermath of Verdansk, a distant explosion after Makarov has been captured, but we never see Makarov do any of that. When we do get to see Makarov, his men are doing all of the dirty work while he stands around and looks evil. It’s his men fighting and killing guards to get him out of prison, his men attacking Farah and her soldiers, his men launching missiles topped with biochemicals, his men forcing Samara to blow up a plane, his men guarding Milena and his finances. The most he does during any of these scenes is order his men around and give evil villain speeches to give the audience exposition about why he’s doing all this.

We probably see more of Makarov’s shirtless Tinder pic than we see him in action. 

In the original series, we see Makarov being at the forefront of his movement, unafraid to get his hands dirty. He is part of the group that commits the massacre/terrorist attack on Zakhaev International Airport, he kills the two FSO agents protecting President Vorshevsky, he’s the one who shoots and kills Yuri, and that’s only part of what we see in-game. Sure, we’re told about his other crimes, but we’re shown enough to back up the claims that he is evil. In this game, he kills two people himself, one of them being his own soldier that I mentioned earlier, and the other being Soap (and we’ll get to that later). Two extremely lackluster deaths that are over before you get the chance to really digest them. Maybe he kills more people during the intro mission when you rescue him, but it’s during gameplay and easily missed when you’re too busy trying to fight your way out of this Arkham-esque prison. I think I could look past it if he wasn’t also present during some of the scenes where his men are carrying out his atrocities for him, but instead, Activision chose to have him in the background standing there…menacingly. 

I don’t want to say Makarov was a bad villain; he was certainly better than Shepherd and Graves. I just think Activision made very strange choices with his character that resulted in him becoming this weird mishmash of an average monologuing movie villain and the micromanaging boss that stands over your shoulder, and it took a lot of the “oomph” out of his character for me. 

Soap's Death

I hope whoever made this decision at Activision has to live the rest of their life constantly feeling like they have to sneeze and are never able to. What the fuck happened here? In what world did Soap’s death make any kind of sense here? This felt like they knew fans were expecting someone to die (and they already retconned the yeehaw war criminal) so they put a bunch of names in a hat and had some poor unpaid intern pick one out. 

I have not been quiet about how much death I wanted in this game. I expected at least two deaths, with one of them preferably being Price. Going into this I was prepared to lose characters, and I was prepared to lose them to a heroic sacrifice, to an exhaustingly epic gunfight, to an explosion in a clocktower, to literally anything, but I was not prepared to lose a character to bad writing. And that’s what Soap’s death was. There is no build-up to it throughout the game other than a cryptic, “I’ll see you again, MacTavish.” from Makarov in a flashback scene. There’s no exploration of Soap’s character arc, his background, his family. There’s nothing.

Price and Soap try to defuse a bomb, Makarov shows up and his men overpower them, Makarov goes for the kill on Price, and instead shoots Soap when Soap tries to stop him. The entire cutscene can be summed up as A Series Of Conveniences. Makarov conveniently gets to Soap and Price just as they’re about to defuse the bomb, the officers they have with them are conveniently incompetent to stop any of Makarov’s men, Makarov’s men conveniently don’t notice Soap getting up to stop him from shooting Price, Ghost and Gaz are conveniently one second too late save Soap, and a train conveniently passes by to let Makarov make his escape. It’s over in less than a minute, and there’s little to no reaction from the surviving 141 members before the game starts shoving in your face that there’s a bomb you have to defuse that has conveniently not gone off yet and was conveniently missed in all of the gunfire.

Aside from the bullshit way it happened, the most disappointing thing here was the cutting of Soap’s arc and the lack of reaction from Price, Ghost, and Gaz. There was no growth for Soap in this game, no building of his story that would make his death feel like a satisfying conclusion. We just got the same Soap we’ve had in the rest of the series, and then he was gone. And the fact that we got absolutely nothing from the team in that moment was so…frustrating. Yeah, Ghost kneels by his body, and gives a brief, “Johnny!” but that’s…it? Price says nothing. Gaz rushes to the bomb and says nothing. After that moment in the cutscene, Ghost says and does nothing. There’s not even a hitch in their voices as they finish disarming the bomb. In Soap’s original death, we got Price screaming and begging over his body. We got to see his grief and pain and hurt at losing someone so close to him. Here we get…them standing over the body, a cut to black, and then a funeral cutscene that doesn’t feel earned full of commiserations that feel empty, hollow, and generic. 

Maybe I’m too nostalgic for the Captain MacTavish we had in the original series, and the death they gave him that was impactful enough that people still talk about it to this day. Maybe there’s something meaningful here that I’m not seeing. Or maybe Activision can’t write for shit and rushed Soap’s death without a care just like they rushed this game as a quick cash grab to ride the hype of MW2.

Whatever the reason, these characters deserved far better.

Soap deserved better.

And I deserved to see a rebooted Captain MacTavish.

Gameplay

This section is going to be short because I didn’t spend money on this game to actually play it, I only watched gameplay. The general consensus seems to be that this game is nothing but glorified DMZ, and I can’t disagree with that. Supposedly, at least two of the campaign settings were ripped straight from Warzone, the Gulag and Verdansk Stadium, and I think that really shows how much of this game was slapped together because Activision wanted to hurry to release so they could capitalize off the CoD hype as much as possible. The combat is the same in every mission, the air support mission is as boring as ever, the NPC AI is all over the place, and the character models constantly shift from being really good to mobile game bad within the same cutscene.

I’m not saying I could do better, but I don’t think I could do worse. You can take that however you’d like.

The Writing/Storyline

Starting off, I’m going to say this with my whole chest:

Main story content should be in the main story, and not in optional or additional content.

Look, I don’t mind an easter egg here and there in DLC. I don’t mind the mention of a big bad in an extra, paid quest to build up hype. What I do mind is when the understanding of the main storyline of your game is dependent on things that happen in content that players are required to complete outside of the main game. 

Do you know how we found out Alex was alive? An optional Raid.

Do you know how we learned Graves was a little bitch and wasn’t in the tank? An optional Raid.

Do you know how we–

You get my point. These kinds of reveals should have been in the main storyline because they pertain to the main storyline. Otherwise, you have people reacting with confusion because the main campaign was all they played, and they were left under the assumption that Alex may or may not be dead, that Graves burned in that tank in Las Almas, that Farah’s brother (Remember him? Activision doesn’t.) was alive and out there somewhere, etc, etc. It feels like they’re trying to do what Marvel does when they interweave their cinematic universe with their television shows: leave references to things only the more committed audience - the audience who will watch every show, play every game, see every movie, buy every DLC - would understand while punishing everyone else. It feels lazy on Activision’s end, and cheapens any kind of suspense they may leave us with going forward.

I wouldn’t even be surprised to see something like “Oh, Soap died and Makarov escaped at the end of the main campaign? Just kidding! They revealed in the newest Raid that Soap actually survived, and Makarov got hit by that train at the end.”

Outside of that, the whole storyline just feels unnecessary. This whole game feels unnecessary. I know there are rumors that this was meant to be a DLC for MW2 that got extended into a full game because Activision wanted more money, and if I didn’t already believe that, the writing would confirm it for me. Nothing feels fleshed out. Not the story, not the plot, not the characters. It all feels very surface-level and shallow, like more of the exact same thing we got in the last game, but somehow worse. The banter between the 141 is just not there, the tell don’t show when it comes to Makarov, the rapid POV switching, it all feels so thrown together, so last minute, like the writers had no idea what they wanted to do up until release. 

One thing that really bothered me was the constant death fakeouts. It felt like every mission something awful would happen and one character would be left with their fate unknown in a dramatic cut to black as a cheap way to build suspense…only for that suspense to be immediately undercut by showing them alive in the very next cutscene. This happens with Farah (twice), Price, Alex (partially, there’s no cut to black, but there is a fakeout that he has been captured), and Laswell all within the first half of the game. At some point, it starts to get irritating and kills any and all suspense going forward. I was spoiled on Soap’s death, I knew it was coming before I watched the cutscenes, but by the time I got there, I was almost expecting Soap to show up in the next sequence without a scratch on him. Up until that point, I had stopped caring when characters were in danger because the writing led me to believe everyone was safe. There’s a way to build suspense, and every writer understands that, a majority of the time, less is more, so I don’t get how this went so unbelievably wrong. 

The characterization is also so weirdly off. In what world would John “Somebody has to make the enemy scared of the dark. We get dirty, and the world stays clean.” Price not immediately take a kill shot when he has Makarov in custody? Soap was ready to kill every person he talked to in this game, so why did he let Makarov live? Why would Gaz advocate for giving Shepherd a gun after his multiple betrayals that he shows no remorse for? Why would Farah continue to begrudgingly work with Graves after learning about Las Almas? Why is Makarov over-explaining his plans to his victims?

I’m not saying I expect Shakespeare-level writing from a Call of Duty game, but I expect something better than whatever this is. 

I don’t know who Activision hired for their writing team, but there are so many instances here where I almost have to believe that they may not have hired one at all.

Overall Thoughts

I wish I had a time machine so I could go back to who I was before I watched this campaign. This whole game was nothing but a DLC lazily stretched to two hours with assets taken from other games and a storyline that was slapped together using blindfolds, a dartboard, and too much alcohol. Please do not use your money to buy this game. Your money would be much better spent donating to help Palestine.

[lulu2992]

My beaded creations

Have I ever told you about my handcrafted beaded jewelry collection?

Don’t answer that, I know I haven’t.

Well, I’ve been making bracelets, necklaces, rings, and other stuff for years now, most of them inspired by things (such as games or movies) that I like, so I thought it would be nice to finally share and talk about my creations :)

Part 1: Seed beads

One of the first video game series I fell in love with, back when I was 14-15, was The Legend of Zelda. Of course, I had to make Zelda jewelry!

Hyrule Crest bracelet, made with gold and clear beads.

In 2011, I played Skyward Sword and became… a little obsessed with Ghirahim :’)

A bracelet inspired by Ghirahim’s final form, and another with his name (and a reference to his white outfit).

Rings inspired by Ghirahim’s final form (top) and cloak (bottom).

2011-2012 was also the time I fell in love with two pieces of media that are still very dear to my heart and that, in a way, almost changed my life: the movie Sucker Punch and the video game Far Cry 3. They inspired many creations.

BABYDOLL and VAAS sets of rings, made with seed and alphabet beads.

By the way, I made a lot of stuff using alphabet beads, but that will be in Part 2.

Bracelet with Babydoll’s “full” name, M.REEAS, and two orbitoclasts.

BABY and DOLL rings.

A VAAS ring.

Bracelet inspired by Far Cry 3 with the word INSANITY written in symmetry, in turquoise blue and iridescent grey.

In 2013, I played Tomb Raider, the first game of the “Reborn Trilogy”. Years later, I also played (and enjoyed) its two sequels.

Bracelet inspired by Lara Croft’s journey, with the words I SURVIVED and an arrow.

In 2013 and 2014, I discovered two other video game franchises I still love today: Hitman and BioShock. The first titles I played at the time were Hitman: Absolution and BioShock Infinite.

Two rings, one inspired by Agent 47’s iconic suit, and the other by the AD scar on Booker DeWitt’s hand.

A recreation of Elizabeth’s medallions: the cage and the bird.

Later in 2014, I played the rest of the BioShock series.

Bracelets inspired by the tattoos on Jack Ryan’s wrists, made with clear and black beads.

In 2015, I was introduced to the Compilation of Final Fantasy VII and specifically to Advent Children. I’ve never played the games but, to understand the movie, I watched all the Crisis Core cutscenes and read extensively about the story of FFVII and even Before Crisis. Many tears were shed for Zack and Aerith in the process.

Three rings inspired by the Remnants of Sephiroth, Kadaj, Loz, and Yazoo. The letters K, L, and Y are blue because of their eyes and the lifestream. The fourth ring simply has the letter S in clear silver beads surrounded in black for Sephiroth.

Rings for Zack and Aerith. The blue and silver ones were originally pink and blue but accidentally ended up in the washing machine. A “happy” accident, after all, because they look nice too and, considering what their story is, the absence of color creates a new symbolic meaning!

In 2018, Far Cry 5 came out, but I only created these recently:

Top: a ring with three J for the Seed brothers, John (blue), Joseph (yellow), and Jacob (red). On the other side, an attempt at the Eden’s Gate cross.

Bottom: a ring for Faith Seed, and what is supposed to be flowers on the other side (Bliss flower in the center and two pink ones like the ones on her dress). The letter F is green on a clear background, but if you look closely, you may notice three iridescent clear beads too. Combined with the F shape, they form the letter R, for Rachel.

This year, I also made sword bracelets inspired by The Legend of Zelda, Sucker Punch, and Mulan (1998):

The Master Sword, Babydoll’s katana, and Mulan’s sword.

And these are from a while ago, but here are game controllers. The Wiimote + Nunchuk can’t really be worn as jewelry; I just felt like making that.

To be continued in Part 2 :)

[secretsnowclub]

I found a weird old Gamecube survival horror game??? Can you help??

I’ve recently started collecting older video games, specifically all the survival horror games that I was too afraid to play as a kid. Now that I’m older and have a salaried job, it’s nice to be able to court that younger version of me and buy all the stuff my family couldn’t afford. Plus the games are fun. Everything from Resident Evil to Rule of Rose, Fatal Frame to Parasite Eve. I love being scared and these games work their hardest to do it and sometimes succeed.

Before I play them, I like to go on youtube and watch retrospectives, reviews, and old ads for them, so I can sort of get settled into the headspace and learn about the creation of them. But there’s one that I’ve stumbled on that I’m unable to find anything about. Almost like it came out of nowhere.

I found this game at a used game, movie, and music store just off the red line in Chicago. It’s called Soul Cemetery for the Gamecube. A survival horror game about a detective returning to their hometown to investigate the mysterious death of her father. It’s very obviously inspired by Resident Evil, featuring the tank controls, fixed camera angles, and similar graphics, not to mention the focus on zombies which wander the town. There’s also some Silent Hill influence with a heavy use of snow (instead of fog) and ambient music throughout. 

It seemed like a very generic sort of game after the opening cinematic and wandering around the opening area, but then it started to reveal itself as something more. The controls were straight forward but also had some interesting things about them. You aim and shoot like in RE, but there’s also a button to “hum,” which makes the detective slow her run to a walk and hum a tune, which changes with each area and sometimes changes within each area depending on exactly where you stand. 

There’s also a dedicated “smoke” button, which plays a unique (albeit short) cutscene where the detective smokes a cigarette and says a little something about the area, or what just happened. It almost feels like the journal mechanic that games like Life is Strange have, where the character recaps the last chapter in their own words, only you get to control when it happens and how often. 

Both of these things kinda took me off guard and drew me into the game in a way I didn’t expect. There are no save rooms or safe rooms like in a lot of survival horror games, so these two things were like getting a break for the spooky scary stuff whenever I needed it, while also getting to hear the thoughts of the character. 

This got kinda freaky when the detective started saying things about me during these moments. The game must read your memory card and system data or something because the further I got into the game, whenever she’d smoke she’d say stuff to me about how late I was up, or about the weather (possibly reading the month??? Idk if Gamecubes have location data). In the light of day these things aren’t that scary ig, but after getting killed by zombies after playing till 4 a.m. it was definitely giving me goosebumps.

It was extra creepy when the detective would do these things without being prompted. The further I got into the game, the more she would indulge in humming or smoking without me pressing the buttons. At first I thought maybe my hand slipped, but no, it’s almost like she has a mind of her own. And these self-indulgent moments were often the scariest.

I played through the entire thing in one sitting, it was maybe 5-6 hours. There were some obvious levels included in a lot of survival horror games, like a spooky motel with zombies, a dark forest with this weird moon spirit creature who is like the main bad guy of the game, and an empty town center where there’s a boss battle. About halfway through, the detective finds herself at her childhood home and that’s when shit really started to freak me out. I don’t know how to explain it other than her house had the same layout as mine? Maybe it’s just a coincidence because the game takes place in an unnamed midwest town, and maybe the houses here are just copy-pasted anyways. But it was spooky. Her living room was my living room, her bedroom was mine, the kitchen was mine. Even the spooky stairway into the basement was in the same place. 

Back in her parents room, her mom is a zombie. There’s no music. Just the looped MP3 of the zombie groans. Whenever you press the button to aim, the detective would hesitate and tell me not to do it. It was only after the mom had attacked and killed me once that I could actually return to the room and shoot the zombie. Immediately after, the detective took control and started humming this really broken, solemn tune. It felt so recognizable but I can’t figure it out. I did my best to record it here:

It’s been stuck in my head ever since.

After the run in with the mom zombie, the detective continues humming that tune, allowing me to walk slowly through the house. I returned to her bedroom and was able to “interact” with her childhood bed. The detective climbs in, the humming breaking up more and more until she falls asleep.

There’s a few esoteric and surreal images that flash on the screen. I didn’t expect them, so I couldn’t take pictures, and when I went and played through the game again, this entire section didn’t happen. Idk if it’s just like the order of events was different, or if it was how I killed the mom or how I explore after? Idk. But the images were these brutal close-ups of the mom zombie. Like, real photos, not just rendered. There were startling, and even if I can’t get them to pop up again, I feel like they’re still fresh in my mind.

The detective wakes up in her childhood bedroom after a second and is different. She’s a child. Her character model is smaller, she doesn't have her gun, and her entire control scheme is different. Most of the buttons are replaced with the “hum” thing, which has her doing that same haunting hum from before. As a child, she can still wander around the rest of the town, and it’s still overrun with zombies, now there’s just noway for her to defend herself.

I felt kind of stuck and frustrated with this as the zombies kept killing me and I didn’t like hearing the MP3 child scream over and over again, so eventually I turned the Gamecube off and on, and when the game loaded up, the detective woke up in her childhood bed as an adult, like none of that stuff happened. I was able to continue the game but was unable to beat the final boss. I think there was something I had to do as a child to be able to? But I don’t know. The game was very confusing at that point and, like I said, when I tried to replay it, the child-thing didn’t even happen. 

I think if the game has a guide or even just, like, any information online I could have made sense of it. It’s a weird take on survival horror that really did get under my skin, I just wish I could finish it, or at least figure out what some of the weird stuff in it was doing or trying to do. If you played this game when you were younger, were there any guides you followed? Or do you remember anything? The only thing I was able to find was a shitty scan of the game manual, but even that I’m having a hard time deciphering…

Any help is appreciated!

[phasesgurl]

After seeing everyone go nuts over the flames or disaster thing in the series I wondered what they’d change if 06 was brought into SCU. Here’s what would happen if I were in charge (but I’ve never played the game and am only partway through watching the cutscene movie so forgive me if I miss something)

-Starts with the Wachowskis and Whipples watching the ceremony like in the game

-Let’s keep Elise in, even though she’s not iblis’ seal. Eggman will only need her for her knowledge, not power. And she’d be older than in the game (more on that in a minute)

-Sonic and Wade go to save her. Sonic distracts Eggman, Wade gets Elise out, Wade and Elise later fall in love

-Silver is a Whipple of the Future, and says the family has both humans and Mobians in it. (I might have him mention he's fourth in line for the throne of Soleanna)

-Elise tells Wade that the one who wields the flames of disaster is the seal for iblis, and that their control over their sorrow keeps him in. Wade knows that it’s Knuckles and is not worried because he has never seen Knuckles be sad

-Let's cut down the number of times Elise gets rescued and recaptured. It gets tedious after, like, the second time.

-I'm not sure if I'd keep the whole Team-Sonic-gets-yeeted-into-the-future thing. It does explain why Silver is trying to kill Sonic, but to save time it might be easier to just have him mention it to Wade, who is constantly trying to keep Silver and Sonic from fighting. After that the two hedgehogs make peace.

-simplify the Mephiles thing by removing the specter of darkness and having him contained some other way, maybe just removing him entirely. Still kinda unsure bout this one.

-Sonic dies. If Mephiles isn't in it, Eggman will do it.

-Knuckles cries, unleashing Iblis. Silver gets himself, Knuckles, and Sonic out of there, despite the fact that Knuckles wants to stay and beat the **** out of Eggman.

-We get a scene where Sonic is in the great battleground in the sky, and gets to talk to Longclaw and possibly Maria.

-then he wakes up in the world of the living, on the kitchen table of his own home. He sees Maddie, Tom, Wade, Elise, Tails, Silver and Shadow. The last one make him like "wait when did he get here?!?!"

-Elise tells him they used the chaos emeralds to bring him back. Silver tells him Knuckles ran off, probably to try and avenge him.

-the three hedgehogs use the Chaos emeralds to go into super state and defeat Iblis with help from Knuckles

-When Knuckles first sees Sonic is back he assumes he is hallucinating.

-when he learns it's for real, he runs over and hugs Sonic for the very first time

-not sure how the game ends so let's just say Silver stays with Wade for a while before going back to the future and everybody lives happily ever after, or at least until the next movie.

Thank you for reading this! :)

[tarn-ati0n]

What is the first ever horror movie?

Oh Buddy, you just triggered an unskippable cutscene.

So, obviously, Horror in film already existed prior to 1920, but those were only short 5 minutes clips that couldn’t be really called „Horror“

No, the first actual Horror Movie released on the 26th February 1920. And it’s a German one.

„Das Cabinet des Dr. Caligari - Ein Filmschauspiel in 6 Akten“

„The Cabinet of Dr. Caligari - A film spectacle in 6 acts“ Was a Silent Movie directed by Robert Wiene and tells the tale of a sleepwalker (A Somnambulist) who is paraded around as a Circus attraction by the Ringmaster Dr. Caligari during the day, and commits gruesome murders in his name by night. It was a gigantic milestone for the History of cinema and an important part of german expressionism.

It was one of, if not the first Movie to have flashbacks, multiple Plot-Twists and many other things that we would consider a staple of today’s Cinema. But most importantly, this is the movie where so many horror movie tropes originated. It was technically the first Slasher. The whole „The Monster/Killer falls in love with the woman“ thing first appeared here. Honestly as a semi Horror fan myself it was really neat seeing this Movie for the first time and going „Hey, I know that Trope!“

Speaking of seeing, HOLY SHIT I HAVE TO TALK ABOUT THE SET DESIGN BECAUSE OH MY GOD.

OHHHHHH MY FUCKING GOD.

When I say that this Movie is an important part of German Expressionism, this is what I’m talking about. LOOK AT THAT SHIT!

The Geomatry is so off, everything fells like chalk, Nothing is ever actually rectangular, the sets look so fantastical I want to inject this set design into my Veins. And this design isn’t just for the set, all the Characters look so unique as well! I especially love how the set sometimes works like an Actor itself. Windows are shaped so that they point towards certain parts of a scene. Light falls in weird places so that it highlights important aspect. Scenes that are supposed to take place at day and Scenes that are supposed to take Place at night have a different hue. It’s fucking awesome man.

The shadows on their faces, the weird and rigid movements, OUGH i am biting on this.

You can see that so many other Directors, namely Tim Burton, took so much inspiration from this film.

Genuinely, If you have even the slightest bit of interest in the History of Horror and Cinema, do yourself a favor and watch this Movie. It’s a treat. Personally, I’ve already seen it like 5 times, and it always manages to pull me into this sort of trance. Everything about the movie is so unique and special, I can’t explain it. I’ve purposefully avoided most Spoilers, so again, if you’re interested watch it.

Personally, I recommend this restored version from 1980. The music had to be replaced, but tbh I don’t think it does this movie any injustice. Also it has english subtitles, but since it’s a silent movie, you won’t need to read much.

[violynt-skies]

please where the fuck are all the sonic fans

bc i need someone to hold my hand and meticulously explain or tell me how to learn all of the general overarching sonic lore in an step by step - easy to follow and chronologically ordered way please im begging 😭

bc i wanna join in the fun and be in the know but sorting through all of that content and material and not knowing where to start and what goes with what by myself is too overwhelming for me and it makes it sound more like work than smth id actually enjoy LMAO 😭

i’ve always liked watching sonic content but i don’t know anythingggg about the background and origins of the characters like shadow and rouge (besides the fact that they get along and that maria dies lmAo)

friend suggested watching cutscene movies cuz i’m really not the biggest gamer or let’s play watcher but there’s also like a gazillion games and idk which ones to start w so yknow

there’s just too much bro 😭

someone needs to turn this into a college course powerpoint or smth istg ahA

[romanceyourdemons]

Watched Hardcore Henry the other day. Beautiful experience- it was like watching one of those 3 hr long 100%! ALL CUTSCENES REAL VIDEOGAME MOVIE videos. Brought me right back to my days as a hopeless, perpetually miserable middle schooler with no friends and nothing better to do than watch thousands of hours worth of throwaway video some content farm put together. Also made me think real hard about 1st person perspective- has there been another movie shot entirely in 1st person? It feels like a gimmick that some low budget indie horror would dip its toes into. Is it just too difficult to translate conventional movie making techniques into 1st person? Would "Hardcore Henry-ing" a movie by remaking it entirely in 1st person from the protagonist's POV improve any movie? Anyway 2/4 stars for Hardcore Henry. It's an hr and a half and perennially on youtube, so there's no reason to not watch it. There's also no reason to watch it. Whatever. I'm not the only slowly rotting bag of meat endowed with free will on this spinning pile of shit, watch it if you want to.

i’ve meant to watch it since i saw its trailer in theaters lol, maybe i’ll get around to it one of these days. i believe a philip marlowe movie from the 40s has also used the technique, but from what i understand the camera rigs are incredibly unwieldy and physically very hard on the actors’ necks and backs, and the results tend to underperform at the box office. but with advances in camera technology it does seem like something low budget horror could grab onto and run into the ground

[fuck-you-upmusicbracket]

Across 110th Street (Bobby Womack)

Across 110th Street/Pimps trying to catch a woman that's weak/Across 110th Street/Pushers won't let the junkie go free/Across 110th Street/Woman trying to catch a trick on the street, ooh, baby/Across 110th Street/You can find it all in the street

"I grew up hearing my father play this song during car rides, but I fell in love with it last year after watching the Jackie Brown movie. It is such an earworm! I cannot get it out of my head. And I'm not complaining--it's great."

Epliogue (The Stanley Parable)

"Every single one of my friends know that I’ve bawled my eyes out at this song at least once. I’m a sucker for strong music, and the fact that I’m hyperfixated so hard on this damn game does not help. Listen. This game is a rollercoaster. From start to ‘end’, it is a rollercoaster. It presents itself as goofy and lighthearted, haha there’s a British guy following you around who reacts to your choices. It’s very silly, the jokes are funny, it doesn’t take itself seriously. Until it does. The Narrator, who supposedly created the game and takes great pride in it, is showing off his game’s success and reminiscing over the thing it used to be, in a place he calls the Memory Zone. Then, he stumbles upon a collection of negative reviews that make him realize that his game may not be all that he thinks it is. He’s desperate to please his players, and so he sacrifices himself and his time and creates a skip button, so that players who don’t want to hear his voice can skip through his dialogue. The time between skips gets longer and longer until he’s gone. Stanley is finally able to leave the room he’d been trapped in, and is met with open desert. A wasteland. He still hasn’t learned his lesson, even through billions of years (someone did the math) of solitude, and how much that affected him (and potentially killed him), he still desperately wants to please those who play his game. And so he puts together an expo to show off his ‘new features’. As he prepares to present it to Stanley, there’s a swell of hopeful and triumphant music. This is important. One of the exhibits is these figurines. If you collect all of them, there is supposedly ‘no reward’, but it actually unlocks an ending where the Narrator decides to release Stanley for good. This is the last step to unlocking the Epilogue, given to you by a mysterious entity who greets you every time you open the game. In the Epilogue, it’s mostly cutscenes. Stanley wanders the desert wasteland, while this music plays. The Narrator is not present. The Epilogue is a culmination of everything Stanley and the Narrator have gone through together, against each other and then against the world. The Epilogue takes place when the Narrator is gone, leaving Stanley to only wander alone with his memory, with no silly voice to keep him company. It’s a time where Stanley can only bring back memories about the Narrator as he faces survival in the desert. Alone. I cry every time the music swells during the sandstorm bit of the cutscenes. But at the very end of the song, when the music dies down, Stanley once again stumbles across the Memory Zone. The place that the Narrator once held dear, that held all his favorite memories, now dilapidated and half-buried in the sand. The place where the Narrator once enthusiastically showed off positive reviews of his game. The place he was proud of, hidden away where the developers would never see it. And. And do you know what this song does. When the Memory Zone comes into view. It fuckjgn reprises the song from the Narrator’s expo, once triumphant and swelling as he showed his creations off with a grand flourish, now quiet and sorrowful as you come across the memory zone without him present. And if the swelling of the sandstorm scene doesn’t hit me first, this bit fucking floors me. Every single time. The Stanley Parable: Ultra Deluxe is a silly game about choice. It is also a game about companionship, and trust, and hurt, and grief. And during the true ‘ending’ of the game, before everything starts anew, when that music is playing, it’s the result of every single moment these characters have experienced, come together in one song, and a bunch of cutscenes. THAT is why this song fucks me up. sorry i dont know wtf possessed me just now but yeah. This game is a little obscure and many MANY people who have played it have not made it to the Epilogue, so I highly doubt it’s gonna make it very far into the tournament. But fuck if it can make me cry,"

[goldensunset]

first they complained that nonnumbered kh games come out on like eleven different consoles from eleven different companies thereby making it inaccessible and difficult for the average consumer to be able to play all of them (pre fm or collections) and now that the nonumbereds are releasing on a console virtually everyone has (phones) they r still mad about it. blehgh

and like y’know. tbh that isn’t a ridiculous complaint. the series has historically been inaccessible. it’s still inaccessible to me (because i personally can’t justify the financial investment of a playstation; i’ve poured everything into my switch) but like that’s my issue not theirs lol. (i mean i am mad that they kinda like acknowledged there’s a demand for kh on the switch yet made it cloud-only which is almost disrespectful and totally not gonna happen here. but like. i can get over it). i don’t see anyone out there actually complaining about kh being a playstation series like lbr that’s totally fair

BUT they’ve updated them with the all-in-one-playstation collections now! if you have a playstation there is no excuse! it’s not that hard and not that expensive! smh!!! and yeah, even with the updated collections now you do sorta miss out on some of the stuff that was removed or changed from the original versions. the mobile games only offer theater mode now. but like… it’s ok to have to go on youtube or wiki or second-hand sources to dig up old easter eggs and trivia sometimes…

and it’s ok to not have physically played every game yourself!!! like i honestly think if you take every single game up until now into account you’d be hard pressed to find a person who’s done literally everything from the console games to the handheld games to the mobile games etc themselves. like i’m sure they exist but there aren’t a lot of them. it is perfectly fine to just watch cutscenes. and if you care about the story of this series as a whole you really need to

like… i get it. it’s a video game series. one would expect to be able to play a video game instead of essentially watching a bunch of movies. that’s fair. but if you care about kingdom hearts as a franchise, whether you’re an old nostalgic vet or a newbie, doesn’t the story matter to you??? wouldn’t you do what it takes to be immersed in this world in order to fully understand the story going forward? if it’s just the gameplay you’re after like idk man i feel like you could find a similar style of gameplay as a replacement out there but idk

point is. one would have to be completely blind at this point to not realize that the mobile games are full of lore that are relevant to sora’s own journey and especially will be going forward. nomura has made it clear he’s not forgetting about sora and he’s never gonna replace him as the protagonist and heart and soul of the series. it is simply not possible to jump between numerical titles and still comprehend this stuff. this is where the series is going. there’s this thing in fiction called plot progression where some narrative threads will be resolved and left behind while new ones will be picked up. and it’s up to the author to determine this, not the nostalgia of fans. either drop the series as a whole or get on board with where it’s going

the original khχ came out like what, 10 years ago? almost half the runtime of the franchise. it is not new anymore. this is not new information. anyone who still hasn’t bothered to pay attention to that whole storyline at this point, even given all the hard work that fans have put to make it more accessible to either casuals or specifically stubborn people like that, then like. skill issue tbh.

and people complaining it’s all way too complicated? man.., find another series. i feel like it should be self-evident that this series is not known for narrative simplicity. it’s known for making everyone insane in a good way. even back in kh1 stuff was always kind of wild. everyone’s beloved kh2 is especially where we start ramping up the insanity. i fail to see how all that’s ok but the concepts of more keyblade wielders and like a lengthy timeline aren’t. after 20+ years it should be evident that things aren’t so simple and clean.

rant over *drops mic*

[hatosaur]

FINALE THOUGHTS.........AAAUAUGHKGHSLFJSLJFSLJFSLFJSLFJ

i’m fuckin floored.

i’ve been feeling this way since the first episode, but it really and truly feels like i finally got to experience the last of us the way people did in 2013. i was so late to the series. i’d watched the cutscene movie before, but i only really played the first game AFTER i played the second.

i acknowledge the things they got wrong about story, the pacing issues, the misunderstanding of ellie’s character in ep 8, but this show is so, so special to me. to see these characters in a whole new light, re-examined for the new medium, was everything i could’ve ever wanted from anything in the franchise.

when i got hyperfixated to tlou in 2020, i didn’t really know exactly why. i thought, “maybe it’s because i’m a pandemic and so are they, ellie’s a lesbian who has a complex relationship with her father, and so am i.” but now i know that it’s because it’s a dark game about a dark world where dark things happen BUT it’s not about the “darkness of humanity” like everyone says; it’s about love. that’s all it’s ever been about. that’s the beauty of the series.

(sure hope i’m not sounding like craig when i talk about it like that lol)

i don’t really know why i doubted whether or not they could pull off the last stretch in 44 min, but they did; in fact, they knocked it outta the fuckin park. obviously, it felt much longer in the game because of gameplay segments. the episode itself felt like it ran for just as long as it needed to.

we got the good ellie and joel bonding bits! these really showcased what we can’t really see in the game. what’s artful about the game is that during the parts where ellie is spacing out because of what happened in colorado, the story relies on us observing how different she is from before and feeling that sadness that what had happened changed her, with joel and in his stead; in the show, however, it’s all joel. we get to see his sadness over seeing how different she is and that’s the strength of the show. the fact that joel’s emotions and feelings are emphasized and used as the narrative driving force for what he does in the final act. i think i’ll be defending these changes in character for the rest of my fuckin life.

side tangent: i love the subtle differences between game-ellie and show-ellie. i talked a LOT about the differences between the joel’s, but never really the ellie’s. in the scene where joel and ellie look at the giraffes, game-ellie is so optimistic about her “purpose” to the point of brushing off the potential consequences joel brings up. show-ellie is quietly hopeful, more reserved. both reacts fit their versions; game-ellie focused a lot on the bright side, whereas show-ellie’s trauma is entirely different because of the different and admittedly minor circumstances presented by the show. with that, we’re able to see how different the outcomes where and i think it’s fascinating.

it’s strange to think about, since ellie’s whole thing is being a brash kid, but overall, game-ellie was more apologetic, squeamish in a flighty kinda way, and anxious. show-ellie is meaner, more ferocious, more foolhardy; it’s like they jacked her characteristics up a few points. i like this new vision of her a whollllle lot. there’s really no beating her being played by an actual kid too. major plus.

back to the episode. the star of the show was obviously the big scene in the hospital. i LOVE this scene. you’re not in joel’s shoes this time. you have to watch him kill every. single. person. that he encounters in the hospital. it’s different to play the video game and do this yourself because you’re meant to be joel; now you have to watch what you probably did (if you played the game), free of control of the situation, and witness the weight of this decision. it’s shot to gruesome and horrifying that this one guy is killing an entire building of people.

and it’s only further shown how monstrous the act is when joel enters the surgery room and speaks in monotone, like he’s a machine on autopilot.

from there, the episode plays out pretty much the same way it does in the game (EXCEPT for joel’s lie. which i found interesting. like what is this change going to do later on?) and it ends just as beautiful. no extra scenes. just the cut to the credits. what a show.

this post is already long but i find it funny how in the bts, bella’s like, “ellie knows he’s lying,” probably because that was what neil intended from the getgo and he informed them of this, but it’s so crazy because people spent years debating what it meant (which, again, i missed out on and will never know the complexity of because i played part first 😋✌). def one of the those moments where i envy the people going in blind because i’d lose my mind.

ANYWAY. really great show. i loved it soooo much. i give it a 9. generous i know but it’s tlou, cmon. cannot waitttttt for season 2 and for people to shit themselves all over again in anger.