#but also when asked whos the best united player after his era he said it was difficult to judge when you dont win trophies lmao roast them

[ugartecoco]

[hutchhitched]

Social Commentary in The Ballad of Songbirds and Snakes, Part III

Part 3. Yeah… There’s a whole lot going on in the last third of the book, and I may have had to put it down a few times because I got really excited about how she wove the new book with the original trilogy. I know some people thought Part 3 was over the top, but I found it purposeful and deliberately on the nose, and I think that’s why it works. If you want to see my thoughts on the rest of the book, here are the links to Part 1 and Part 2.

 Major spoilers below:

Tagging some who asked me to and/or are interested: @the-tesseract-wrinkling-time​, @shesasurvivor​, @everlarkedalways​, @xerxia31​, @infinitegraces​, @panemposts, and @endlessnightlock​. Some others are tagged throughout.

 Before we move on to Part 3, I have to backtrack to something from Part 2 I forgot to include in the previous meta (I blame being up till 7 am and only getting four hours of sleep for that). In Chapter 18, Reaper stabs and rips the Panem flag and then uses it to cover the fallen tributes. The reaction of the mentors is shock and horror that the flag has been treated in such a manner. There’s a lot to unpack here. First, desecration of the flag in the US (and I’d guess most other countries, too) is almost always guaranteed to get a reaction. There have been attempts to pass a constitutional amendment to make it a federal crime to burn the flag. Others argue burning the flag is something protected as freedom of speech. Yet, official guidelines for how to treat the flag are broken all the time by letting it touch the ground, not lighting it, not taking it down during inclement weather, and turning it into a massive symbol of patriotism by holding it horizontally on a football field. I saw someone make reference to the outrage against NFL players kneeling during the national anthem as being disrespectful to the flag (even though that was a suggestion of a military veteran, as opposed to sitting during the anthem instead) rather than being outraged at the actions those players were protesting (police brutality against African American men). So, who is it that rips down the flag? Reaper, the tribute from District 11. Rue and Thresh were District 11, as were Chaff and Seeder. All were portrayed in the movies by African American actors. It’s fairly clear in the books that it’s a predominately black district. In other words, it’s likely Reaper is also a black man who tears down the flag of a country that oppresses him so he can provide cover and give dignity to the dead tributes. Now, think about it from a “rebel” perspective, and imagine that’s a Confederate flag that was ripped down. I know in the books that the Districts are the rebels and the Panem flag is more connected to the Capitol, but still. The debate over the (mostly successful) removal of the Confederate flag from former slave states has raged in the US in the past decade. Probably the most famous image of that debate is when a black woman climbed the flagpole at the South Carolina Statehouse and ripped down the flag. Remove the flag of the government that oppresses you, which is what Reaper does.

 Something I find really interesting is the lack of technology in this book. Panem obviously has advanced technology, but it’s not nearly as present as it is in the trilogy. I’m gonna go out on a limb and assume that’s a result of the depressed economy, and by the time we get to the 74th Hunger Games, the economy in the Capitol has recovered and been used to develop new technologies and products that make life easier for citizens. That’s a post-World War II/1950s consumerism analogy if I’ve ever seen one. Post World War II affluence in the United States was a major factor in the development of new weapons and technology. Because American workers were making more and had savings and wages rose 100% between 1945 and 1968, Americans spent more, bought more, and paid more income tax. The solidification of capitalism as America’s economic system helped the US “win” the Cold War against the Soviets. Because Americans made more and were subsequently taxed more, the government had more money to develop new weapons and technologies. The first computer, the hydrogen bomb, vaccines for polio and smallpox, NASA, and the development of ICBMs all took place during this era. A strong economy typically makes people think the nation/government is strong. Not coincidentally, an early counterculture developed during the 1950s that protested against increased consumerism and senseless spending. The Beats/Beatniks/Beat Generation disliked that Americans spent so much money on frivolous things while others (African Americans, the rural poor, and so on) suffered. Sounds a lot like the Capitol citizens who spent lavishly and didn’t care about the districts. As a slight aside, Allen Ginsberg, one of the Beat Generation’s poets, wrote Howl, which calls out capitalism and repression. I wrote The Cry for @promptsinpanem’s prompt Howl in homage to that. Someday, I might actually expand it.

 In Part 2, I wasn’t sure who had the power, and I really couldn’t figure out Highbottom. That’s mostly cleared up for me by the end of the book. I was intrigued by Pluribus Bell’s (many bells, I love it!) story about Highbottom and Snow’s father before Snow left for District 12. It was the seed that let me hope we’d get more information, and we did. Crassus Xanthos Snow is Snow’s father. Crassus was a member of the First Triumvirate (Julius Caesar, Pompey, and Crassus) and helped transition the Roman Republic to the Roman Empire (from pre to post Hunger Games). He also gained power and influence as a soldier during the slave uprising of Spartacus (became a hero during a rebel uprising). Also, Xanthos is a city in Turkey that’s been conquered repeatedly but always recovers (Snow lands on top!). Highbottom’s first name is Casca, who was one of Caesar’s best friends, but he ends up being the first person to stab Caesar during his assassination. The break in the relationship between the two men is clearly why Highbottom turns on (young) Snow, and the explanation about how the Hunger Games come to be is a pretty big allegory to the betrayal of Crassus (Caesar) by Casca. Also, that explains why Highbottom didn’t ever really seem to be supportive of the Games, even though he was credited as their creator. ( @everlvrks)

 There are a lot of references to Roman names and places in this book and the trilogy. The Capitol seems pretty obsessed with the Classics and wants to reflect that type of lifestyle and elitism. During grad school, one of the books I had to read discussed the obsession America’s Founding Fathers (Washington, Hamilton, Jefferson, and so on) had with the Classics. They emulated Greek and Roman ideals. The District of Columbia (Washington, DC) is named after the Roman goddess of Liberty. Jefferson’s and Washington’s homes use classical architecture like domes and columns and many of the federal buildings (the Capital and White House) reflect that. Add on the Washington Monument (an obelisk—which are found all over in the ancient world) and the columns of the Lincoln Memorial and the dome and columns of the Jefferson Memorial, and well… The Founding Fathers were Deists who revered the Classics, which is why I (a religious historian) always laugh when people tell me the US was founded on religion. Yeah, and the Civil War wasn’t fought over slavery, either.

 Before this book, I would never have thought about Snow having a history with District 12 or a stint as a peacekeeper. I even looked ahead to the title for Part 3 and still didn’t realize that was going to happen, but it makes sense. First, Snow seems to have known Katniss much better than can really be explained. Her hunting outside the fence and her escapes to the Lake were never really solitary because he knew the area. He’d been there before. He’d visited Lucy Gray in the Seam, been to the meadow, and so on. Some people may see that as too much, but it absolutely fits with the draconian oversight of the Capitol during Katniss’ time, and it indicates why Snow was so intrigued and obsessed with her. Second, Snow’s experience in the military would have worked wonders for his political career. He won the Hunger Games, served as peacekeeper, visited the districts, became the youngest person to qualify for officer training, and went to the university. That’s a stellar resumé for a budding politician. Clearly, he was exceptional. Terrible, but exceptional (which is said about super-villain Voldemort in Harry Potter, too).

 I had to stop and put the book down and wiggle with glee when the tree appeared in the distance. I didn’t think we’d get the actual Hanging Tree in the book, but that might have been the most thrilling part for me. It wasn’t overt. She didn’t name it. She just set the scene, but I knew what it was. And then to have the hanging and the man yell out to his “love” and the mockingjays pick up his cry and for Snow to see a mockingjay and immediately hate it… Oh, good night, nurse. It’s just too much. That’s when I made this post. I’ll admit, I have a thing for lone, massive trees. My dad has one on his farm, and there’s a huge, very old Burr oak that’s a local tourist attraction close to where I went to college. I felt like I was driving down the road and seeing it rise from the distance, which I did way too many times during undergrad and grad school.

 References to the Covey having traveled and planning to again travel north were clear indicators that District 13 was alive and well (sorry for the on the nose pun) even back then. It seems obvious to me that Snow kept that information in the back of his mind as he took power and anticipated an eventual attack from there. The fact that his family’s fortune was destroyed in District 13 makes it even more appropriate that the final rebellion came from there, too.

 I didn’t like Lucy Gray in the first two parts of the book, and I’m still not completely taken with her. There’s just something about her I don’t quite trust, and I’m not convinced she was completely in love with Snow. Sejanus thinks she is, but I’m also not sure I trust him to be the most perceptive person either. I’ve discussed this briefly already with some others, but I’m still on the fence about her. I acknowledge that she doesn’t have the same power as Snow does, so it’s not possible by definition for her to play him, but I do think she’s manipulative. Peeta is, too, so that’s not necessarily a bad thing, but it does indicate she’s not exactly who she says she is. Lucy Gray’s job as a performer gives me even more pause because her living is made by putting on a show, by performing, by convincing an audience that what she’s doing is authentic. For lack of a better way to put it—If Lucy Gray is a performer, how would Snow ever know what’s real and what’s not real? Sound familiar? (This part’s for you, @lovely-tothe-bone.)

 The songs:

Deep in the Meadow—It’s a lot disconcerting that Katniss’ lullaby to her sister is a song Snow’s heard before out of the mouth of the woman he once loved. Equally disturbing to know that he’s been in the meadow, and I really thought that the song was going to be about Lucy Gray and Snow together there. I’m glad it stayed a lullaby and not a love song. I think it’s fabulous that Katniss and Peeta reclaim the meadow for themselves as a place where their daughter dances. It’s a little bit (a lot) poetic.

 The Hanging Tree—Well, now that we know where that story comes from, I like it even more. The only part of the book I didn’t really like was Snow thinking he had something figured out and then rethinking and then changing his mind and so on. There was a little bit too much of that as he tried to decipher song lyrics, and particularly with this song.

 The public domain songs—I grew up singing these songs (although with some slightly different words), so they all brought a smile to my face. Probably my favorite rendition of Keep on the Sunny Side is from the movie Oh Brother! Where Art Thou? The entire soundtrack is very bluegrass, and good bluegrass is delightful. And it’s nice to know what the Valley Song really is.

 Unnamed—Okay, so my favorite was the first one at the Hob (pp. 362-364). I’m no songwriter, but I could hear the tune, and it was very Lumineers (maybe crossed with the Dixie Chicks?). Upbeat and peppy and feel good, all the way. I also find it interesting that music and concerts are outlawed in District 12 once there’s a new base commander. An allegory on the tendency to cut art programs first? On the power of art as a motivation for action? Both?

 Which brings us to the star-crossed lovers of District 12, or something. Obviously, this brings up images of Katniss and Peeta, but probably the most famous reference is in Shakespeare’s Romeo and Juliet with the star-crossed lovers taking their lives. That’s often read as them being fated to die, which is something Snow seems to follow. He mentions his destiny and fate many times and doesn’t do a very good job of recognizing his choices. There’s one time during the Games when he resolves to do the right thing, but otherwise, no. Shakespeare does also say in Julius Caesar that the fault is not in our stars, but in ourselves (which John Greene used in his book title). Snow doesn’t want to take responsibility for what he does. He chooses to follow the rules instead of what is right. He’s legalistic instead of ethical. There’re a lot of philosophical and religious undertones to that, but I’ll let that float for a while.

 On page 386, Lucy Gray tells Snow, “You’re mine and I’m yours. It’s written in the stars.” I’ll be honest, I almost dropped the book when I read that. In Catching Fire, Katniss says the same thing about Gale, but she doesn’t end up with him. They aren’t fated. She ends up with Peeta, who she chooses to love. I should have known from that point that Lucy Gray and Snow would not end up together, but I still wasn’t sure how that was going to happen. I really did think she was going to break up with him or betray him somehow because that was the only thing I could think of that would make him stop loving her and turn into what he becomes. A broken heart is a really good reason for revenge, but what actually happens so much worse. ( @mtk4fun  and @norbertsmom )

 Snow and Lucy Gray decide to run away together, just like Katniss and Gale were going to in the original trilogy. Lucy Gray is worried the mayor’s going to kill her, and Snow doesn’t want to live without her. Except he realizes really quickly that he doesn’t like life on the run. It’s beneath him. He deserves better. He’s entitled to and fated for more, he thinks. On top of that, he’s passed the officer’s training exam, and suddenly there’s a way out of the pit into which he’s fallen. And then he lies to Lucy Gray.

 Lucy Gray’s said all along the most important thing to her is trust, and then he lies to her. He doesn’t tell her he had a hand in turning in Sejanus. He doesn’t tell her because he’s afraid of losing her, which is a selfish reason, not one to spare her feelings or to protect her. He lies to protect himself. By the time they get to the cabin at the lake, he’s decided he’s not going with her, and she’s realized he’s lied to her. And then the weapon he used to commit murder (for her or him?) is there. Snow snaps quickly after that. There’s a metaphor, I’m sure about him losing his hold on reality and self-control when he’s past the boundaries of civilization, but he falls really, really quickly. He goes from wanting to tell her he’s changed his mind to attempting to murder her. The only thing that really stops him is the snake bite, which is not fatal, but reminds me why I didn’t trust Lucy Gale. Was it deliberate? Did she leave him on purpose? Does she escape him, or does he manage to cut her down? Either way, he doesn’t choose love. Love, which is a selfless act, isn’t his end game. He chooses himself. He chooses being selfish and looking out for himself instead of others. He doesn’t like being vulnerable. He clinically plans to marry someone he doesn’t love, so he never feels exposed again. In short, he makes the opposite choice Katniss does, and that makes all the difference.

 A few other things because this is way too long at this point:

 Peacekeepers: Boot camp for peacekeepers was interesting and strongly resembles the process of the military stripping down differences and making each soldier part of a machine. Haircuts, uniforms, routines, and so on are all about stripping away his identity, and he hates every second of it. He’s too good for that, and there’s entitlement all over the place. That’s very different from the peacekeepers from the districts who join the military as a way out of poverty. I mean, Snow does, too, but only because he’s forced.

 Betrayal: Recording Sejanus and Snow justifying it was hard to read. It was harder to read about the execution. And then to have the Plinths take Snow in after he returns to the Capitol is absolutely the worst. Despicable behavior.

 Poisoning Highbottom: It doesn’t surprise me, and it’s exactly what the rumors in the original books were. Snow kills his rivals to ascend.

 Snow’s role in the Games: The Hunger Games change dramatically between the 10th and the 74th. It’s clear Snow has a significant role in how and why that happens. The tributes aren’t caged and are housed in luxury. The cattle cars are replaced with a high-speed train with lots of food. The tributes get stylists and prep teams instead of being unwashed and dirty. In other words, the treatment of tributes becomes more humane, which becomes even more problematic. At least Lucy Gray knew she was being offered up as a sacrifice. No one lied to her about what she was. The implementation of these ways to fatten the lambs up for slaughter is horrific and cruel and very Snow.

 Finally, the purpose of the Hunger Games changes for Snow by the time we get to the end of the book. They are no longer just a way to punish the districts. They’re a way to exert controlled warfare instead of a messy war between the Capitol and the districts. It’s still kids being forced to kill kids. The tributes are still kids in cages. They’re still “not from here.” The Capitol kids are to be protected, but the parents in the poor areas aren’t able to take care of their own. It’s all deliberate. Collins doesn’t pull punches about the treatment of migrant children in cages or the murder of schoolchildren. What she does is point out that we don’t really mean what we say about protecting children. We’re only outraged for our own, not for those who are different. Suzanne Collins doesn’t have time for white privilege, American elitism, tyrannical government, excessive capitalism, or excuses, and her book reads that way. I loved every word of it.

[blackkudos]

Willie Mays

Willie Howard Mays Jr. (born May 6, 1931), nicknamed "The Say Hey Kid", is an American former professional baseball center fielder, who spent almost all of his 22-season Major League Baseball (MLB) career playing for the New York/San Francisco Giants, before finishing with the New York Mets. He is regarded as one of the greatest baseball players of all time and was elected to the Baseball Hall of Fame in 1979.

Mays won two National League (NL) Most Valuable Player (MVP) awards, ended his career with 660 home runs—third at the time of his retirement and currently fifth all-time—and won a record-tying 12 Gold Glove awards beginning in 1957, when the award was introduced.

Mays shares the record of most All-Star Games played with 24, with Hank Aaron and Stan Musial. In appreciation of his All-Star record, Ted Williams said "They invented the All-Star Game for Willie Mays."

Mays' career statistics and his longevity in the pre-performance-enhancing drugs era have drawn speculation that he may be the finest five-tool player ever, and many surveys and expert analyses, which have examined Mays' relative performance, have led to a growing opinion that Mays was possibly the greatest all-around offensive baseball player of all time. In 1999, Mays placed second on The Sporting News's "List of the 100 Greatest Baseball Players", making him the highest-ranking living player. Later that year, he was also elected to the Major League Baseball All-Century Team. Mays is one of five National League players to have had eight consecutive 100-RBI seasons, along with Mel Ott, Sammy Sosa, Chipper Jones, and Albert Pujols. Mays hit over 50 home runs in 1955 and 1965, representing the longest time span between 50-plus home run seasons for any player in Major League Baseball history. His final Major League Baseball appearance came on October 16 during Game 3 of the 1973 World Series.

Early life

Mays was born in 1931 in Westfield, Alabama, a former primarily black company town near Fairfield. His father, Cat Mays, was a talented baseball player with the Negro team for the local iron plant. His mother, Annie Satterwhite, was a gifted basketball and track star in high school. His parents never married and separated when Mays was three. Mays was raised by his father growing up. His father worked as a railway porter when Mays was born, but he later got a job at the steel mills in Westfield so he could be closer to home. When two girls in Mays's neighborhood were orphaned, his father took them in. Sarah and Ernestine helped raise young Willie, who always saw these two as his aunts. His father exposed him to baseball at an early age, playing catch with his son by the time Willie was five. At age 10, Mays was allowed to sit on the bench of his father's games in the Birmingham Industrial League, which Mays remembered as attracting six thousand fans per game at times.

Mays played multiple sports at Fairfield Industrial High School, averaging a then-record 17 points a game in basketball and more than 40 yards a punt in football, while also playing quarterback. Since he started playing professional baseball while still in high school, he quit playing high school sports when he was 16. Mays graduated from Fairfield in 1950.

Professional baseball

Negro leagues

Mays' professional baseball career began in 1947, while he was still in high school; he played briefly with the Chattanooga Choo-Choos in Tennessee during the summer. Later that year, Mays joined the Birmingham Black Barons of the Negro American League. He had first caught the eye of Barons' manager Piper Davis in tenth grade, when Davis had Mays try out for the team. Davis encouraged Mays to work on hitting the curveball, coached him periodically for a couple years, and gave Mays a chance to play for the Barons starting in 1947, when Mays was just 16. When E. T. Oliver, principal at Mays's high school, threatened to suspend Mays for playing professional ball, Davis and Mays's father convinced him that Mays would still be able to concentrate on his studies. Mays helped Birmingham win the pennant and advance to the 1948 Negro League World Series, which they lost 4-1 to the Homestead Grays. Mays hit a respectable .262 for the season, but it was also his excellent fielding and baserunning that made him a standout.

Over the next several years, a number of major league baseball franchises sent scouts to watch him play. The first was the Boston Braves. The scout who discovered him, Bud Maughn, had been following him for over a year and referred him to the Braves, who then packaged a deal that called for $7,500 down and $7,500 in 30 days. They also planned to give Mays $6,000. The obstacle in the deal was that Tom Hayes, owner of the Birmingham Black Barons, wanted to keep Mays for the balance of the season. Had the team been able to act more quickly, the Braves franchise might have had both Mays and Hank Aaron in their outfield from 1954 to 1973. The Brooklyn Dodgers also scouted him and wanted Ray Blades to negotiate a deal, but they were too late. The New York Giants had already signed Mays for $4,000 and assigned him to their Class-B affiliate in Trenton, New Jersey.

Minor leagues

According to Mays, Eddie Montague had been sent to Birmingham to scout Alonzo Perry as a potential first baseman for the Sioux City Soos of the Class-A Western League, but Montague became interested in Mays instead after watching a doubleheader. Due to a scandal in Sioux City concerning a Native American's burial in a whites-only cemetery at the time, Sioux City decided not to take Mays, and he was assigned to the Trenton Giants of the Interstate League instead.

After Mays batted .353 in Trenton, he began the 1951 season with the class AAA Minneapolis Millers of the American Association. During his short time span in Minneapolis, Mays played with two other future Hall of Famers: Hoyt Wilhelm and Ray Dandridge. Batting .477 in 35 games and playing excellent defense, Mays was called up to the Giants on May 24, 1951. Mays was at a movie theater in Sioux City, Iowa, when he found out he was being called up. A message flashed up on the screen that said: "WILLIE MAYS CALL YOUR HOTEL." He appeared in his first major league game the next day in Philadelphia. Mays moved to Harlem, New York, where his mentor was a New York State Boxing Commission official and former Harlem Rens basketball legend "Strangler" Frank Forbes.

Major leaguesNew York Giants (1951–1957)

Mays began his major league career on a sour note, with no hits in his first 12 at bats. On his 13th at-bat, however, he hit a towering home-run up and over the left field roof of the Polo Grounds off future Hall of Famer Warren Spahn. Spahn later joked, "I'll never forgive myself. We might have gotten rid of Willie forever if I'd only struck him out." Mays' batting average improved steadily throughout the rest of the season. Although his .274 average, 68 RBI and 20 homers (in 121 games) were among the lowest of his career, he still won the 1951 Rookie of the Year Award. During the Giants' comeback in August and September 1951 to tie the Dodgers in the pennant race, Mays' fielding and strong throwing arm were instrumental to several important Giants victories. Mays was in the on-deck circle when Bobby Thomson hit the Shot Heard 'Round the World against Ralph Branca and the Brooklyn Dodgers to win the three-game playoff 2-1 after the teams were tied at the end of the regular season.

The Giants went on to meet the New York Yankees in the 1951 World Series. In Game 1, Mays, Hank Thompson and Hall of Famer Monte Irvin comprised the first all-African-American outfield in major league history four years after the color line was broken. Mays hit poorly while the Giants lost the series 4–2. The six-game set was the only time that Mays and retiring Yankee slugger Joe DiMaggio (Mays's boyhood hero) would compete against each other.

U.S. Army (1952–53)

The United States Army drafted Mays in 1952 during the Korean War (1950–53) and he subsequently missed most of that season and all of the 1953 season. Mays spent much of his time in the Army playing baseball at Fort Eustis, Virginia. It was at Fort Eustis that Mays learned the basket catch from a fellow Fort Eustis outfielder, Al Fortunato. Mays missed about 266 games due to military service.

1954-57

In 1954, Mays returned to the Giants and hit for a league-leading .345 batting average while slugging 41 home runs en route to his only World Series championship. Mays won the National League Most Valuable Player Award and the Hickok Belt as top professional athlete of the year. He also became the first player in history to hit 30 home runs before the All-Star Game and was selected as an All-Star for the first of 19 consecutive seasons (20 total). Mays had 38 through July 28, but around that time, manager Leo Durocher asked him to stop swinging for home runs, explaining that the team wanted him to reach base more so run producers like Monte Irvin, Dusty Rhodes, or Hank Thompson could try to drive him home. Mays only hit five home runs after July 8 but upped his batting average from .326 to .345 to win the batting title, becoming the first Giant to lead the league in average since Bill Terry hit .401 in 1930. The Giants won the National League pennant and the 1954 World Series, sweeping the Cleveland Indians in four games. The 1954 series is perhaps best remembered for "The Catch", an over-the-shoulder running grab by Mays in deep center field of the Polo Grounds of a long drive off the bat of Vic Wertz during the eighth inning of Game 1. Considered the iconic image of Mays' playing career and one of baseball's most memorable fielding plays, the catch prevented two Indian runners from scoring, preserving a tie game. Mays said he realized as he ran that he was going to have to make a running catch, which is why he did not turn to look at it until the ball was almost at the wall. The Giants won the game in the 10th inning on a three-run home run by Dusty Rhodes, with Mays scoring the winning run. The 1954 World Series was the team's last championship while based in New York. The next time the franchise won was 56 years later when the San Francisco Giants won the World Series in 2010.

Mays went on to perform at a high level each of the last three years the Giants were in New York. In the middle of May, 1955, Durocher asked him to try for more home runs. Mays led the league with 51. In 1956, he hit 36 homers and stole 40 bases, being only the second player, and first National League player, to join the "30–30 club". In 1957, the first season the Gold Glove award was presented, he won the first of 12 consecutive Gold Glove Awards. At the same time, Mays continued to finish in the National League's top-five in a variety of offensive categories. Mays, Roberto Clemente (also with 12), Al Kaline, Andruw Jones, Ken Griffey, Jr. and Ichiro Suzuki are the only outfielders to have ten or more career Gold Gloves. In 1957, Mays became the fourth player in major league history to join the 20–20–20 club (2B, 3B, HR), something no player had accomplished since 1941. Mays also stole 38 bases that year, making him the second player in baseball history (after Frank Schulte in 1911) to reach 20 in each of those four categories (doubles, triples, homers, steals) in the same season.

San Francisco Giants (1958–1972)

After the 1957 season, the Giants franchise relocated to San Francisco, California. Mays bought two homes in San Francisco, then lived in nearby Atherton. Manager Bill Rigney wanted him to challenge Babe Ruth's single-season home run record that year and did not play Mays much in spring training in hopes of using his best hitter every day in 1958. As he had in 1954, Mays vied for the National League batting title in 1958 until the final game of the season. Moved to the leadoff slot the last day to increase his at bats, Mays collected three hits in the game to finish with a career-high .347, but Philadelphia Phillies' Richie Ashburn won the title with a .350 batting average. Mays did manage to share the inaugural NL Player of the Month award with Stan Musial in May (no such award was given out in April until 1969), batting .405 with 12 HR and 29 RBI; he won a second such award in September (.434, 4 HR, 18 RBIs). He played all but two games for the Giants, but his 29 home runs were his lowest total since returning from the military.

Owner Horace Stoneham made Mays the highest-paid player in baseball with a $75,000 contract for 1959; Mays would be the highest-paid player through the 1972 season, with the exceptions of 1962 (when he and Mickey Mantle tied at $90,000) and 1966 (when Sandy Koufax received more in his final season). Mays had his first serious injury in 1959, a collision with Sammy White in spring training that resulted in 35 stitches in his leg and two weeks of exhibition ball missed; however, he was ready for the start of the season. During a series against the Reds in August, Mays also broke a finger but kept it a secret from other teams in order to keep opposing pitchers from throwing at it. In 1959, the Giants led by two games with only eight games to play, but won just two of their remaining games and finished fourth, as their pitching staff collapsed due to overwork of their top hurlers. The Dodgers won the pennant following a playoff with the Milwaukee Braves. As he did in New York, Mays would "play around" with kids playing sandlot ball in San Francisco. On three occasions in 1959 or 1960, he visited Julius Kahn Playground, five blocks from where he lived, including one time Giant players Jim Davenport and Tom Haller.

Alvin Dark was hired to manage the Giants before the start of the 1961 season and named Mays team captain. The improving Giants finished 1961 in third place and won 85 games, more than any of the previous six campaigns. Mays had one of his best games on April 30, 1961, hitting four home runs and driving in eight runs in a 14–4 win against the Milwaukee Braves at County Stadium. Mays went 4-for-5 at the plate and was on deck for a chance to hit a record fifth home run when the Giants' half of the ninth inning ended. Mays is the only Major Leaguer to have both three triples in a game and four home runs in a game. According to Mays, the four-homer game came after a night in which he got sick eating spareribs; Mays was not even sure he would play the next day until batting practice.

Mays led the team in eight offensive categories in 1962. He hit a game-winning home run in the eighth inning against Turk Farrell of the Houston Colt .45's in the Giants' final regularly-scheduled game of the year September 30, forcing the team into a tie for first place with the Los Angeles Dodgers. The Giants went on to win a three-game playoff series against the Dodgers, advancing to play in the World Series. The Giants lost to the Yankees in seven games, and Mays batted .250 with two extra-base hits. It was his last World Series appearance as a member of the Giants.

Before the 1963 season, Mays signed a contract worth a record-setting $105,000 per season (equivalent to $876,864 in 2019) in the same offseason during which Mickey Mantle signed a deal for what would have been a record-tying $100,000 per season.

In the 1963 and 1964 seasons Mays batted in over 100 runs and hit 85 total home runs. On July 2, 1963, Mays played in a game when future Hall of Fame members Warren Spahn and Juan Marichal each threw 15 scoreless innings. In the bottom of the 16th inning, Mays hit a home run off Spahn for a 1–0 Giants victory. He won his third NL Player of the Month Award in August (.387, 8 HR, 27 RBI). Normally the third hitter in the lineup, Mays was moved to fourth in the lineup in 1964 before returning to third in subsequent years. Mays took part in another long game May 31, 1964, when, after playing all nine innings of the first Game of a doubleheader against the New York Mets, he played all 23 innings of the Giants' 8-6 victory in Game 2. He was moved to shortstop for three innings of the game and grew so tired over the course of it that he used a 31-ounce bat (four ounces smaller than his standard) for his final at bat, in the 23rd inning.

A torn shoulder muscle sustained in a game against Atlanta impaired Mays's ability to throw in 1965. He compensated for this by keeping the injury a secret from opposing players, making two or three practice throws before games to discourage players from running on him. Mays won his second MVP award in 1965 behind a career-high 52 home runs. On August 22, 1965, Mays and Sandy Koufax acted as peacemakers during a 14-minute brawl between the Giants and Dodgers after San Francisco pitcher Juan Marichal had bloodied Dodgers catcher John Roseboro with a bat. Mays grabbed Roseboro by the waist and helped him off the field, then tackled Lou Johnson to keep him from attacking an umpire. Johnson kicked him in the head and nearly knocked him out. After the brawl, Mays hit a game-winning three-run home run against the Koufax, but he did not finish the game, feeling dizzy after the home run. Mays also won his fourth and final NL Player of the Month award in August (.363, 17 HR, 29 RBI), while setting the NL record for most home runs in the month of August (since tied by Sammy Sosa in 2001). On September 13, 1965, he hit his 500th career home run off Don Nottebart. Warren Spahn, off whom Mays hit his first career home run, was his teammate at the time. After the home run, Spahn greeted Mays in the dugout, asking "Was it anything like the same feeling?" Mays replied "It was exactly the same feeling. Same pitch, too." The next night, Mays hit one that he considered his most dramatic. With the Giants trailing the Astros by two runs with two outs in the ninth, Mays swung and missed at the first two pitches, took three balls to load the count, and fouled off three pitches before hitting the tying home run off Claude Raymond on the ninth pitch of the at bat. The Giants went on to win 6-5 in 10 innings.

Mays played in over 150 games for 13 consecutive years (a major-league record) from 1954 to 1966. Mays tied Mel Ott's NL record of 511 home runs on April 24 against the Astros. After that, he went nine days without a home run. "I started thinking home run every time I got up," Mays explained his slump. He finally set the record May 4 with his 512th against Claude Osteen of the Dodgers. In 1966, his last with 100 RBIs, Mays finished third in the National League MVP voting. It was the ninth and final time he finished in the top five in the voting for the award. In 1970, the Sporting News named Mays as the 1960s "Player of the Decade."

Mays had 12 home runs and 38 RBI through his first 60 games of 1967 but went into a slump after that. He came down with a fever July 14 and asked manager Herman Franks's permission for the night off but then had to play anyway after Ty Cline, his replacement, hurt himself in the first inning. Mays left the game after the sixth due to fatigue and spent the next five days in a hospital. "After I got back into the lineup, I never felt strong again for the rest of the season." In 141 games (his lowest total since returning from the war), Mays hit .263 with 83 runs scored, 128 hits, and 22 home runs. He had only 70 RBI for the year, the first time since 1958 he had failed to reach 100.

"Maybe if I played a little first base in 1968, I could keep from getting tired," Mays speculated in his autobiography, but he only played one game at the position all year. In Houston for a series against the Astros May 6, Mays was presented by Astro owner Roy Hofheinz with a 569-pound birthday cake for his 37th birthday—the pounds represented all the home runs Mays had hit in his career. After sharing some of it with his teammates, Mays sent the rest to the Texas Children's Hospital. He played 148 games and upped his batting average to .289, accumulating 84 runs scored, 144 hits, 23 home runs, and 79 RBI.

In 1969, new Giants' manager Clyde King moved Mays to the leadoff role. King explained to Mays that this was because he was not "hitting home runs like he used to." Mays did not complain about the move in public that year but privately chafed at it, saying in his 1988 autobiography it was like "O. J. Simpson blocking for the fullback." Mays hit his 600th home run off San Diego's Mike Corkins in September 1969. He said of the milestone, "Winning the game was more important to me than any individual achievements." Plagued by injuries that season, he managed only 13 home runs. Mays enjoyed a resurgence in 1970, hitting 28 homers, and got off to a fast start in 1971, the year he turned 40. He had 15 home runs and a .290 average at the All-Star break but faded down the stretch, only hitting three home runs and batting .241 for the rest of the year. One reason he hit so few home runs was that Mays walked 112 times, 30 more times than he had at any point in his career. This was partly because Willie McCovey, who often batted behind Mays in the lineup, missed several games with injuries, causing pitchers to pitch carefully to Mays so they could concentrate on getting less-skilled hitters out. Mays helped the Giants win the division title that year, but they lost the 1971 NLCS to the Pittsburgh Pirates.

During his time on the Giants, Mays and fellow player Bobby Bonds were friends. When Bobby's son, Barry Bonds, was born, Bobby asked Mays to be Barry's godfather. Mays and the younger Bonds have maintained a close relationship ever since.

New York Mets (1972–73)

In May 1972, 41-year-old Mays was traded to the Mets for pitcher Charlie Williams and $50,000 ($310,000 today). At the time, the Giants franchise was losing money. Owner Horace Stoneham could not guarantee Mays a pension after retirement and the Mets offered Mays a coaching position upon his retirement.

Mays had remained popular in New York long after the Giants had left for San Francisco, and the trade was seen as a public relations coup for the Mets. Mets owner Joan Payson, who was a minority shareholder of the Giants when the team was in New York, had long desired to bring Mays back to his baseball roots and was instrumental in making the trade. In his Mets debut on a rainy Sunday afternoon at Shea Stadium on May 14, 1972, Mays put New York ahead to stay with a fifth-inning home run against Don Carrithers and his former team, the Giants. On August 16, 1973 of the following season, in a game against the Cincinnati Reds with Don Gullett on the mound, Mays hit a fourth inning solo home run over the right-center field fence. It was the 660th and final home run of his major league career.

Mays played a season and a half with the Mets before retiring; he appeared in 133 games. The Mets honored him on September 25, 1973 (Willie Mays Night), where he thanked the New York fans and said goodbye to baseball. He considered making that his final game, but Payson convinced him to finish out the season. He finished his career in the 1973 World Series, which the Mets lost to the Oakland Athletics in seven games. Mays got the first hit of the Series, but had only seven at-bats (with two hits). The final hit of his career came in Game 2, a key single to help the Mets win. He also fell down in the outfield during a play where he was hindered by the glare of the sun and by the hard outfield. Mays later said, "growing old is just a helpless hurt." His final at bat came on October 16, in Game 3 where he came in as a pinch hitter but grounded into a force play. Mays had made his 20th and last All-Star appearance (20 seasons) and 24th All-Star Game appearance on July 24, 1973 when he was used as a pinch hitter.

In 1972 and 1973, Mays was the oldest regular position player in baseball. At age 42, he became the oldest position player to appear in a World Series game.Mays retired after the 1973 season with a lifetime batting average of .302 and 660 home runs. His lifetime total of 7,095 outfield putouts remains the major league record. Mays is the only major league player to have hit a home run in every inning from the 1st through the 16th innings. He finished his career with a record 22 extra-inning home runs. He has the third-highest career power–speed number, behind Barry Bonds and Rickey Henderson, at 447.1.

Legacy

Mays was a popular figure in Harlem. Magazine photographers were fond of chronicling his participation in local stickball games with kids. It was said that in the urban game of hitting a rubber ball with an adapted broomstick handle, Mays could hit a shot that measured "six sewers" (the distance of six consecutive New York City manhole covers, nearly 300 feet). Once he got married, Mays stopped playing stickball in order to devote more time to his family.

Sudden collapses plagued Mays sporadically throughout his career, which occasionally led to hospital stays. He attributed them to his style of play. "My style was always to go all out, whether I played four innings or nine. That's how I played all my life, and I think that's the reason I would suddenly collapse from exhaustion or nervous energy or whatever it was called."

During his career, Mays would charge a hundred dollars per on-air interview, more than the standard twenty-five dollars at the time. However, he would split the money four ways and give it to the last four players on the Giants' roster.

Post-MLB baseball

After Mays retired as a player, he remained an active personality. Just as he had during his playing days, Mays continued to appear on various TV shows, in films and in other forms of non-sports-related media. He remained in the New York Mets organization as their hitting instructor until the end of the 1979 season. It was there where he taught future Mets star Lee Mazzilli his famous basket catch.

On January 23, 1979, Mays was elected to the Baseball Hall of Fame in his first year of eligibility. He garnered 409 of the 432 ballots cast (94.68%); referring to the other 23 voters, acerbic New York Daily News columnist Dick Young wrote, "If Jesus Christ were to show up with his old baseball glove, some guys wouldn't vote for him. He dropped the cross three times, didn't he?" In his induction speech, Mays said, "What can I say? This country is made up of a great many things. You can grow up to be what you want. I chose baseball, and I loved every minute of it. I give you one word—love. It means dedication. You have to sacrifice many things to play baseball. I sacrificed a bad marriage and I sacrificed a good marriage. But I'm here today because baseball is my number one love."

Mays took up golf a few years after his promotion to the major leagues and quickly became an accomplished player, playing to a handicap of about nine. "I realized I could use a sport to keep me active once I hung up the glove," Mays said of golf. "I approach it the same way I did baseball. I want to win." He discovered during the 1960s "that people would pay tremendous amounts of money just to play a round of golf with me. And, what the heck, I loved golf." After he retired, he played golf frequently in the San Francisco area.

Shortly after his Hall of Fame election, Mays took a job at the Park Place Casino (now Bally's Atlantic City) in Atlantic City, New Jersey. While there, he served as a Special Assistant to the Casino's President and as a greeter. After being told by Baseball Commissioner Bowie Kuhn that he could not be a coach and baseball goodwill ambassador while at the same time working for Bally's, Mays chose to terminate his baseball relationships. In 1985 Peter Ueberroth, Kuhn's successor, decided to allow Mays and Mickey Mantle to return to baseball. Like Mays, Mantle had gone to work for an Atlantic City casino and had to give up any baseball positions he held.

At the Pittsburgh drug trials in 1985, former Mets teammate John Milner testified that Mays kept a bottle of liquid amphetamine in his locker at Shea Stadium. Milner admitted, however, that he had never seen Mays use amphetamines and Mays himself denied ever having taken any drugs during his career.

Since 1986, Mays has served as Special Assistant to the President of the San Francisco Giants. Mays' number 24 is retired by the San Francisco Giants. Oracle Park, the Giants stadium, is located at 24 Willie Mays Plaza. In front of the main entrance to the stadium is a larger-than-life statue of Mays. He also serves on the advisory board of the Baseball Assistance Team, a 501(c)(3) non-profit organization dedicated to helping former Major League, Minor League, and Negro league players through financial and medical difficulties.

Special honors and tributes

Following Mays's MVP season of 1965, Sargent Shriver, head of the United States Job Corps, and Vice President Hubert H. Humphrey asked Mays to speak to kids in the Job Corps. "Willie, the kids will listen to you. All you have to do is talk to them. They look up to you," Humphrey told Mays. Set to go on a nationwide tour, Mays passed out for five to ten minutes just before a meeting in Salt Lake City. He returned to San Francisco to rest, and Lou Johnson (whom he'd battled in a brawl earlier that year) stepped in to take his place.

In 1975, Mays received the Golden Plate Award of the American Academy of Achievement

When Mays' godson Barry Bonds tied him for third on the all-time home run list, Mays greeted and presented him with a diamond-studded Olympic torch (given to Mays when he carried the torch during its tour through the United States). In 1992, when Bonds signed a free agent contract with the Giants, Mays personally offered Bonds his retired #24 (the number Bonds wore in Pittsburgh) but Bonds declined, electing to wear #25 instead, honoring his father, Bobby Bonds, who wore that number with the Giants.

Willie Mays Day was proclaimed by former mayor Willie Brown and reaffirmed by mayor Gavin Newsom to be every May 24 in San Francisco, paying tribute not only to his birth in the month (May 6), but also to his name (Mays) and jersey number (24). The date is also the anniversary of his call-up to the major leagues.

On May 24, 2004, during the 50-year anniversary of The Catch, Mays received an honorary Doctorate of Humane Letters degree from Yale University.

On December 6, 2005, he received the Bobby Bragan Youth Foundation Lifetime Achievement Award for his accomplishments on and off the field.

On July 30, 2006, he was the Tee Ball Commissioner at the 2006 White House Tee Ball Initiative.

On June 10, 2007, Mays received an honorary doctorate from Dartmouth College.

At the 2007 All-Star Game in San Francisco, Mays received a special tribute for his legendary contributions to the game and threw out the ceremonial first pitch.

On December 5, 2007, California Governor Arnold Schwarzenegger and First Lady Maria Shriver inducted Mays into the California Hall of Fame, located at The California Museum for History, Women and the Arts.

On June 4, 2008, Community Board 10 in Harlem voted unanimously to give the name "Willie Mays Drive" to an eight-block service road that connects to the Harlem River Drive from 155th Street to 163rd Street, running adjacent to the Polo Grounds.

On May 23, 2009, Mays gave the commencement address at San Francisco State University and received an honorary Doctor of Humane Letters.

On July 14, 2009, he accompanied U.S. President Barack Obama to St. Louis aboard Air Force One for the Major League All-Star Game.

On March 19, 2010, he was inducted into the African-American Ethnic Sports Hall of Fame.

On May 6, 2010, on the occasion of his 79th birthday, Mays appeared on the floor of the California State Senate where they proclaimed it Willie Mays Day in the state.

On May 15, 2010, Mays was awarded the Major League Baseball Beacon of Life Award at the Civil Rights game at Great American Ball Park.

Mays has been mentioned or referenced in many popular songs. The Treniers recorded the song "Say Hey (The Willie Mays Song)" in 1955. The band Widespread Panic makes reference to Mays in the song "One Arm Steve" from their album 'Til the Medicine Takes. Terry Cashman's song "Talkin' Baseball" has the refrain "Willie, Mickey and the Duke", which subsequently became the title of an award given by the New York Baseball Writers Association. John Fogerty mentioned Mays, Ty Cobb and Joe DiMaggio in his song "Centerfield". His name was also used on the album The Freewheelin' Bob Dylan in the song "I Shall Be Free", and in Gil Scott-Heron's song "The Revolution Will Not Be Televised." Chuck Prophet and Kurt Lipschutz (pen name, klipschutz) co-wrote the song "Willie Mays is Up at Bat" for Prophet's 2012 Temple Beautiful album, a tribute to San Francisco. Mays is also mentioned in "Our Song" by singer-songwriter Joe Henry from the 2007 album Civilians. He is also the subject of the 1994 Americana music song "Homerun Willie" by John Dunnigan.

Mays was mentioned numerous times in Charles M. Schulz's comic strip Peanuts. One of the most famous of these strips was originally published on February 9, 1966. In it, Charlie Brown is competing in a class spelling bee and he is asked to spell the word, "Maze". He erroneously spells it M-A-Y-S and screams out his dismay when he is eliminated. When Charlie Brown is later sent to the principal's office for raising his voice at the teacher regarding the incident, he wonders if one day he will meet Willie Mays and will have a good laugh together about the incident.

Willie Mays Parkway and Willie Mays Park in Orlando, Florida were named after Mays.

Mays also appears on Calle 13's "Adentro" music video, where he gives to lead singer, René Pérez a bag containing a pair of sunglasses, a Roberto Clemente baseball uniform, and a baseball bat signed by him, which then was used by René to destroy his own luxury car, a Maserati, in an attempt to spread a message to youth about how irresponsible promoting of ostentatious luxury excesses in urban music as a status symbol, have them all killing each other.

In the movies Major League and Major League II, the center fielder for the Cleveland Indians is named Willie Mays Hayes. He was originally portrayed by a then-unknown Wesley Snipes, but Omar Epps replaced Snipes in the sequel.

1956 Willie Mays Major League Negro-American All-Stars Tour

In 1956, Mays persuaded many of Major League Baseball's biggest black stars to go on a tour around the country after the season had ended to play exhibition games. While much of the tour was undocumented, one venue was Andrews Field, located in Fort Smith, Arkansas, on October 16. Among the players who played in that game were Mays, Frank Robinson, Hank Aaron, Elston Howard, Monte Irvin, Gene Baker, Charlie Johnson, Sam Jones, Hank Thompson and Joe Black.

Presidential Medal of Freedom

In November 2015, Mays was awarded the Presidential Medal of Freedom by President Barack Obama during a ceremony at the White House. At the ceremony Obama credited Mays' baseball career with his own success, saying, "Willie also served our country: In his quiet example while excelling on one of America's biggest stages [he] helped carry forward the banner of civil rights", adding, "It's because of giants like Willie that someone like me could even think about running for president."

Willie Mays World Series Most Valuable Player Award

In September 2017, Major League Baseball announced their decision to rename the World Series Most Valuable Player Award after Mays, and it has since been referred to as the Willie Mays World Series Most Valuable Player Award. The first recipient of the rechristened award was Houston Astros Outfielder, George Springer.

Television appearances

In addition to appearances in baseball documentaries and on talk shows, Mays has appeared in several sitcoms over the years, always as himself. He appeared as the mystery guest during different incarnations of the long-running game show What's My Line?. He was in three episodes of ABC's The Donna Reed Show: "Play Ball" and "My Son the Catcher" (both 1964) and "Calling Willie Mays" (1966). Also in 1966, he appeared in the "Twitch or Treat" episode of Bewitched, in which Darrin Stephens asks if Mays is a warlock, and Samantha Stephens replies, "The way he hits? What else?"

In 1989, Mays appeared in My Two Dads, in the episode "You Love Me, Right?", and in the episode "The Field" of Mr. Belvedere. Additionally, he performed "Say Hey: The Willie Mays Song" on episode 4.46 of the Colgate Comedy Hour in 1954. Years later, Mays made a cameo appearance on a 2004 episode of Wheel of Fortune, while the series was taping on location in San Francisco. On February 10, 2010, Mays appeared on The Daily Show, discussing his career and a new biography, Willie Mays: The Life, the Legend, by James S. Hirsch.

Mays also voiced himself in the 1972 animated film Willie Mays and the Say-Hey Kid.

Personal life

Mays married Marghuerite Wendell Chapman (1926–2010), a woman who had been married twice before, in 1956. Mays said, "We decided to get married so quickly, we had to go to Elkton, Maryland, where you didn't have to wait." They adopted a son Michael, five days after he was born in 1959. Mays remembered driving Michael around the block as an infant to put him to sleep. The couple separated in 1962, with Marghuerite taking Michael for the majority of the time. They formally divorced in 1963. The divorce hearings often took place the mornings of Giants games, once causing Mays to be late to one. Eight years later, Mays married Mae Louise Allen. Wilt Chamberlain gave Mays her number in 1961, and they had their first date in Pittsburgh when the Giants were in town for a Pirates game. They dated off and on the next several years before Mays finally proposed; they were married in Mexico City over Thanksgiving weekend in 1971. She died on April 19, 2013, after a long battle with Alzheimer's disease.

Following Mays's 3,000th hit in 1971, the Giants presented Michael with a four-year college scholarship.

When Mays first joined the Giants, Forbes made arrangements for him to stay with David and Anna Goosby, who lived on St. Nicholas Avenue and 151st Street. "Mrs. Goosby reminded me of my Aunt Sarah, the way she took care of me," Mays said. "Her husband was a kind man who had retired from the railroad. They made me feel at home." Just before his marriage in 1956, he bought a home near Columbia University in Upper Manhattan. When the Giants moved to San Francisco, Mays bought a house in the Sherwood Woods neighborhood adjacent to St. Francis Wood, San Francisco in 1957. However, the purchase was initially met with backlash from neighbors who urged developer Walter Gnesdiloff to reconsider the repercussions "if colored people moved in". According to Mays, when mayor George Christopher heard he had been denied housing, he offered to share his house with Mays and his wife until they could get one. Ultimately, Mays and his wife moved into the house in November of 1957, and Mays wrote that when a brick was thrown through the window, "Some neighbors actually called to ask if they could help. So I didn't feel concerned about racial tensions in my neighborhood once the [1958] season was about to start." They only lived there for two years before moving back to New York. As of 2000, Mays lived in Atherton, California, in a house he bought in 1969.

A frequent traveler, Mays is one of 66 holders of American Airlines' lifetime passes.

In 2020, Mays will publish his memoir, 24: Life Stories and Lessons from the Say Hey Kid (with John Shea; St. Martin's Press, 2020).

"Say Hey Kid" and other nicknames

It is not clear how Mays became known as the "Say Hey Kid." One story is that in 1951, Barney Kremenko, a writer for the New York Journal, began to refer to Mays as the 'Say Hey Kid' after he overheard Mays say, "'Say who,' 'Say what,' 'Say where,' 'Say hey'". Another story is that Jimmy Cannon created the nickname because Mays did not know everybody's names when he arrived in the minors. "You see a guy, you say, 'Hey, man. Say hey, man,'" Mays said. "Ted [Williams] was the 'Splinter'. Joe [DiMaggio] was 'Joltin' Joe'. Stan [Musial] was 'The Man'. I guess I hit a few home runs, and they said 'There goes the 'Say Hey Kid."

Years before he became the "Say Hey Kid", when he began his professional career with the Black Barons, Mays was called "Buck" by teammates and fans. Some Giants players referred to him, their team captain, as "Cap."

[fawsldaily]

'Same sport, different game' has long been the unofficial tagline of women's football. But as it continues to grow and in doing so moves closer in proximity to men's football it is inevitable that some distinctions between the two sides of the sport will begin to blur. 

The question of how the women's game can ensure the preservation of its elements worth holding on to, whilst simultaneously needing to attract fans outside of its bubble, is one which it has been asking itself for some time now. There is no simple answer, as demonstrated when those with the task of balancing the scales openly admit they are not sure of the best approach to take.  

For the sake of its prosperity the women's game must tap into an audience which is more accustomed to the starkly contrasting culture of men's football; something so established and ingrained it permeates through to the very society we live in as society itself filters the other way. The nearer the women's game is positioned to something so influential the more likely its norms will change as a result, but there is still opportunity to control to what degree its customs are altered. If managed correctly it should one day be possible to look back and see a positive evolution as opposed to the loss of better days. There is, however, little time to decide how the game intends to achieve the former if events of Manchester United vs Liverpool on Saturday afternoon are anything to go by. 

Many things were said about Manchester United's vocal fan base in the days before they hosted Liverpool in Leigh. Many more things have been said in the aftermath. 

The commentary during the opening minutes of the match was dominated with talk of the club's ‘Barmy Army’ fan group. It echoed the positive sentiments of a BBC article published the day before detailing the group's origin, their song book and growing attendances. A particularly audible chant during the eighth minute prompted the commentator to again commend the group and their efforts creating an atmosphere. He was seemingly completely unaware that they had in fact just finishing singing about the visiting fans being so poor they resort to eating rats.

The chant in question was that of Park Ji-sung; once a player for Manchester United's men's team. Seven years after departing the club his chant was sung at a women's team match, all due to its punchline about Scousers and poverty. It is, therefore, the perfect example of the two most likely things to be brought into the stands on the back of importing too much of a fan base from the men's game and too soon - those two being, things which are unrelated to the women's game and things which should not be present in either. Park Ji-sung's irrelevancy to a Women's Super League match is not negated just because the final line of the chant referenced the opposition, and the nature of that reference ought to mean the chant be considered unwelcome at any match at all. It is hard for Barmy Army members to justify singing this particular chant on them not yet having material more suited to the women's team when they pride themselves so much on the existence of their women's team centred song book.

The point that new fans won't initially know the inner workings of a women's football crowd is a valid one, however. It has to be expected that their contribution will likely be what they do know, which is men's football. Often perceived to be the default in any case. A common argument being made in reaction to events at Leigh this weekend by those on the outside looking in has been that if women's football wishes to be treated equally it must be prepared to have the same elements as the men's game - warts and all. Many comments read like they had been left by people resigned to accepting that abuse is part and parcel now and you can't have football without it. It is easy to understand why somebody would resign themselves to that when also in amongst the reaction were comments from others carrying the disturbing notion that the sort of chants from the Manchester United fans are not even warts but are in fact enhancing a match day experience. Mocking destitution and death (as referenced in their chant related to the Hillsborough Disaster) is not an enhancer of anything. 

It is difficult to find fault in the principle behind the argument that women's football must adopt things from men's football, when it is an argument being made in the general sense. But when made in the context of fan base attitudes and behaviours, it does not in fact need to adopt what are warts. It is impossible to convince fans not to cross a line or to come back on the correct side of a line when they do not acknowledge the existence of one. It is critical therefore that the women’s game establish exactly where the line is as early as possible.

Preventing the adoption of the worst elements of men’s football will require a robust, zero tolerance approach with input from all sides. Including the existing fan base who must play a role and be prepared to police both themselves and new arrivals. It is likely not a coincidence that the one set of fans failing to read the room, or outright ignoring it, happen to also be the set with no grounding in women's football culture because their team is only just over a year old. Whilst it is not possible to force new match goers to adapt to the differences of a women's match, a club stands a much greater chance of their fan base growing into a positive asset if new match goers can at least enter a ground and see women's football culture on display. Recognising and then taking on board the differences will largely be an education achieved through good example. 

It is a shame then that the FA spent so many years catering to children and families rather than to the young adult and adult demographic who have been responsible for setting the crowd tone to date, and so are therefore the subsection who would be most likely to successfully set that necessary example moving forward. Had more of this type of fan been targetted earlier and more assistance been given for the establishment of fan groups then perhaps there would be enough of a vocal presence at matches to offset the introduction of anybody wired to make distasteful contributions.

It would be a continued shame if that demographic were now overlooked for a second time in favour of bussing in 'ready made' fans from men's matches, when it is the case that had this demographic instead been the target audience they could by now have developed into exactly what those bussed in fans will be, but crucially minus the problematic tendencies. The ‘source from elsewhere’ approach may shortcut to higher attendances, but, just as targetting children now so there is a fan for tomorrow came at the expense of building up the fan of today, an influx of fans too contrasting with the present will come at the expense of having a desirable culture in the future.

The young adult and adult demographic who have been part of the league are also key to establishing rivalry. The more seasoned the fan and the older they are the more able they are to recount previous meetings between their team and another. One argument made for bringing in fans from outside of the bubble is that it is a step towards lively atmospheres with needle, but the fact that we so often highlight the times such an atmosphere is present proves the women's game does in fact already have the ability to create such thing - the issue is that it isn't created often enough. This is not because there is something wrong with the current fans and their methods, it is because there isn't yet enough narrative and history which are two things vital to cultivating a partisan crowd. 

The Women's Super League is only nine years old. It has also been through multiple restructures and re-licencings at the same time clubs and squads have been becoming unrecognisable from one season to the next, meaning you can divide those nine years into three or four completely different and practically unrelated eras. Going back further than a season or two takes you into a time of little relevancy to what is happening on the pitch nowadays. It is an unfair and unrealistic expectation that fans regularly create an atmosphere to rival those seen in men's football when those men's football fans are often doing so with a lifetime of meaningful past meetings to reflect on. 

Of the eight founding Women's Super League clubs, only one fixture between them could really be considered a local derby but for the first two years it did not feel like one. Only in 2013, once some of Everton's better players had 'crossed the park' to join Liverpool who had finally become competitive and the power started to swing to the red half of the city, did the Merseyside Derby have the fitting significance. Almost 1500 fans travelled to Widnes on a freezing cold March night despite inches of snow on the ground to watch a Continental Cup match. The atmosphere whenever they faced each other during that period was exactly what is required and requested. Two seasons after the derby found its feet Everton were then playing in the second division and little of the Liverpool team which leapfrogged them into being best in the city remained, causing the few meetings between the sides in the years since to not manage to spark anywhere near the same level of passion in a crowd.

If we are affording ourselves time to grow the size crowds then we must also afford the crowd time to develop an identity, practices, stories and traditions. Such things can not be manufactured or come as a byproduct of transferring fans from men's stadiums because context is what makes the occasion.

Much is said about women's football being reluctant to the culture of the game changing with the introduction of new approaches but the fans being accused of having this attitude are the same fans wishing others would join in with their singing and bemoaning when an attendance is down from the week before. They are ones doing the utmost to create an atmosphere. The are the ones most open to changes which would benefit that goal. Their perfectly reasonable hope that change come with the respected condition that lines not yet crossed remain uncrossed should not be confused with a reluctance to welcome new people. Because to confuse the two will leave the door open for new people to cross the line and justify doing so on it being unreasonable to ask that they don't.

[timeless-hollywood-classics]

Mickey Rooney (born Ninnian Joseph Yule Jr.; September 23, 1920 – April 6, 2014) was an American actor, vaudevillian, comedian, producer and radio personality. In a career spanning nine decades and continuing until shortly before his death, he appeared in more than 300 films and was among the last surviving stars of the silent-film era.

At the height of a career that was marked by declines and comebacks, Rooney performed the role of Andy Hardy in a series of 16 films in the 1930's and 1940's that epitomized American family values. A versatile performer, he became a celebrated character actor later in his career. Laurence Olivier once said he considered Rooney "the best there has ever been". Clarence Brown, who directed him in two of his earliest dramatic roles, National Velvet and The Human Comedy, said he was "the closest thing to a genius I ever worked with".

Rooney first performed in vaudeville as a child and made his film debut at the age of six. At 14, he played Puck in the play and later the 1935 film adaptation of A Midsummer Night's Dream. Critic David Thomson hailed his performance as "one of the cinema's most arresting pieces of magic". In 1938, he co-starred in Boys Town. At 18, he was the first teenager to be nominated for an Oscar for his leading role in Babes in Arms, and he was awarded a special Academy Juvenile Award in 1939.[4] At the peak of his career between the ages of 15 and 25, he made 43 films, which made him one of Metro-Goldwyn-Mayer's most consistently successful actors and a favorite of MGM studio head Louis B. Mayer.

Rooney was the top box-office attraction from 1939 to 1941 and one of the best-paid actors of that era, but his career would never again rise to such heights. Drafted into the Army during World War II, he served nearly two years entertaining over two million troops on stage and radio and was awarded a Bronze Star for performing in combat zones. Returning from the war in 1945, he was too old for juvenile roles but too short to be an adult movie star, and was unable to get as many starring roles although there are numerous inexpensively made but critically well-received films noir with Rooney playing the lead during the post-war period and 1950s. Nevertheless, Rooney's popularity was renewed with well-received supporting roles in films such as Breakfast at Tiffany's (1961) with Audrey Hepburn, Requiem for a Heavyweight (1962) with Anthony Quinn and Jackie Gleason, It's a Mad, Mad, Mad, Mad World (1963), and The Black Stallion (1979). In the early 1980s, he returned to Broadway in Sugar Babies and again became a celebrated star. Rooney made hundreds of appearances on TV, including dramas, variety programs, and talk shows, and won an Emmy in 1982 plus a Golden Globe for his role in Bill (1981).

Rooney was born Ninnian Joseph Yule Jr. on September 23, 1920 in Brooklyn, New York, the only child of vaudevillians Nellie W. Carter, from Kansas City, Missouri and Joe Yule, a native of Glasgow, Scotland. His mother was a former chorus girl and a burlesque performer. When Rooney was born, his parents were appearing in a Brooklyn production of A Gaiety Girl. Rooney later recounted in his memoirs that he began performing at the age of 17 months as part of his parents' routine, wearing a specially tailored tuxedo.

Rooney's parents separated when he was four years old in 1924, and he and his mother moved to Hollywood the following year from Greenpoint, Brooklyn. He made his first film appearance at age six in 1926, in the short Not to be Trusted. Rooney got bit parts in films such as The Beast of the City (1932) and The Life of Jimmy Dolan (1933), which allowed him to work alongside stars such as Joel McCrea, Colleen Moore, Clark Gable, Douglas Fairbanks Jr., John Wayne and Jean Harlow. He enrolled in the Hollywood Professional School and later attended Hollywood High School, graduating in 1938.

His mother saw an advertisement for a child to play the role of "Mickey McGuire" in a series of short films. Rooney got the role and became "Mickey" for 78 of the films, running from 1927 to 1936, starting with Mickey's Circus (1927), his first starring role. During this period, he also briefly voiced Oswald the Lucky Rabbit. He made other films in his adolescence, including several more of the McGuire films. At age 14, he played the role of Puck in the Warner Brothers all-star adaptation of A Midsummer Night's Dream in 1935. Rooney then moved to MGM, where he befriended Judy Garland, with whom he began making a series of musicals that propelled both of them to stardom.

In 1937, Rooney was selected to portray Andy Hardy in A Family Affair, which MGM had planned as a B-movie.[14] Rooney provided comic relief as the son of Judge James K. Hardy, portrayed by Lionel Barrymore (although former silent film leading man Lewis Stone played the role of Judge Hardy in subsequent pictures). The film was an unexpected success, and led to 13 more Andy Hardy films between 1937 and 1946, and a final film in 1958.

According to author Barry Monush, MGM wanted the Andy Hardy films to appeal to all family members. Rooney's character portrayed a typical "anxious, hyperactive, girl-crazy teenager", and he soon became the unintended main star of the films. Although some critics describe the series of films as "sweet, overly idealized, and pretty much interchangeable," their ultimate success was because they gave viewers a "comforting portrait of small-town America that seemed suited for the times", with Rooney instilling "a lasting image of what every parent wished their teen could be like".

Behind the scenes, however, Rooney was like the "hyperactive girl-crazy teenager" he portrayed on the screen. Wallace Beery, his co-star in Stablemates, described him as a "brat", but a "fine actor". MGM head Louis B. Mayer found it necessary to manage Rooney's public image, explains historian Jane Ellen Wayne:

Mayer naturally tried to keep all his child actors in line, like any father figure. After one such episode, Mickey Rooney replied, "I won't do it. You're asking the impossible." Mayer then grabbed young Rooney by his lapels and said, "Listen to me! I don't care what you do in private. Just don't do it in public. In public, behave. Your fans expect it. You're Andy Hardy! You're the United States! You're the Stars and Stripes. Behave yourself! You're a symbol!" Mickey nodded. "I'll be good, Mr. Mayer. I promise you that." Mayer let go of his lapels, "All right," he said.

Fifty years later, Rooney realized in hindsight that these early confrontations with Mayer were necessary for him to develop into a leading film star: "Everybody butted heads with him, but he listened and you listened. And then you'd come to an agreement you could both live with. ... He visited the sets, he gave people talks ... What he wanted was something that was American, presented in a cosmopolitan manner."

In 1937, Rooney made his first film alongside Judy Garland with Thoroughbreds Don't Cry. Garland and Rooney became close friends as they co-starred in future films and became a successful song-and-dance team. Audiences delighted in seeing the "playful interactions between the two stars showcase a wonderful chemistry".[27] Along with three of the Andy Hardy films, where she portrayed a girl attracted to Andy, they appeared together in a string of successful musicals, including Babes in Arms (1939). During an interview in the 1992 documentary film MGM: When the Lion Roars, Rooney describes their friendship:[28]

Judy and I were so close we could've come from the same womb. We weren't like brothers or sisters but there was no love affair there; there was more than a love affair. It's very, very difficult to explain the depths of our love for each other. It was so special. It was a forever love. Judy, as we speak, has not passed away. She's always with me in every heartbeat of my body.

In 1937, Rooney received top billing as Shockey Carter in Hoosier Schoolboy but his breakthrough-role as a dramatic actor came in 1938's Boys Town opposite Spencer Tracy as Father Flanagan, who runs a home for wayward and homeless boys. Rooney was awarded a special Juvenile Academy Award in 1939, for "significant contribution in bringing to the screen the spirit and personification of youth". Wayne describes one of the "most famous scenes" in the film, where tough young Rooney is playing poker with a cigarette in his mouth, his hat is cocked and his feet are up on the table. "Tracy grabs him by the lapels, throws the cigarette away and pushes him into a chair. 'That's better,' he tells Mickey." Louis B. Mayer said Boys Town was his favorite film during his years at MGM.

The popularity of his films made Rooney the biggest box-office draw in 1939, 1940 and 1941. For their roles in Boys Town, Rooney and Tracy won first and second place in the Motion Picture Herald 1940 National Poll of Exhibitors, based on the box office appeal of 200 players. Boys' Life magazine wrote, "Congratulations to Messrs. Rooney and Tracy! Also to Metro-Goldwyn-Mayer we extend a hearty thanks for their very considerable part in this outstanding achievement." Actor Laurence Olivier once called Rooney "the greatest actor of them all".

A major star in the early 1940s, he appeared on the cover of Time magazine in 1940, timed to coincide with the release of Young Tom Edison; the cover story began:

Hollywood's No. 1 box office bait in 1939 was not Clark Gable, Errol Flynn or Tyrone Power, but a rope-haired, kazoo-voiced kid with a comic-strip face, who until this week had never appeared in a picture without mugging or overacting it. His name (assumed) was Mickey Rooney, and to a large part of the more articulate U.S. cinema audience, his name was becoming a frequently used synonym for brat.

During his long and illustrious career, Rooney also worked with many of the screen's female stars, including Elizabeth Taylor in National Velvet (1944) and Audrey Hepburn in Breakfast at Tiffany's (1961)." With his appearing with Marilyn Monroe in The Fireball (1950) and with Grace Kelly in The Bridges at Toko-Ri (1954), Rooney is the only actor ever co-starring with four of the greatest female screen legends ever. Rooney's "bumptiousness and boyish charm" as an actor developed more "smoothness and polish" over the years, writes biographer Scott Eyman. The fact that Rooney fully enjoyed his life as an actor played a large role in those changes:

You weren't going to work, you were going to have fun. It was home, everybody was cohesive; it was family. One year I made nine pictures; I had to go from one set to another. It was like I was on a conveyor belt. You did not read a script and say, "I guess I'll do it." You did it. They had people that knew the kind of stories that were suited to you. It was a conveyor belt that made motion pictures.

Clarence Brown, who directed Rooney in his Oscar-nominated performance in The Human Comedy (1943) and again in National Velvet (1944), enjoyed working with Rooney in films:

Mickey Rooney is the closest thing to a genius that I ever worked with. There was Chaplin, then there was Rooney. The little bastard could do no wrong in my book ... All you had to do with him was rehearse it once.

In June 1944, Rooney was inducted into the United States Army, where he served more than 21 months (until shortly after the end of World War II) entertaining the troops in America and Europe in Special Services. He spent part of the time as a radio personality on the American Forces Network and was awarded the Bronze Star Medal for entertaining troops in combat zones. In addition to the Bronze Star Medal, Rooney also received the Army Good Conduct Medal, American Campaign Medal, European-African-Middle Eastern Campaign Medal, and World War II Victory Medal, for his military service.

Rooney's career slumped after his return to civilian life. He was now an adult with a height of only 5 feet 2 inches (1.57 m) and he could no longer play the role of a teenager, but he also lacked the stature of most leading men. He appeared in a number of films, including Words and Music in 1948, which paired him for the last time with Garland on film (he appeared with her on one episode as a guest on The Judy Garland Show). He briefly starred in a CBS radio series, Shorty Bell, in the summer of 1948, and reprised his role as "Andy Hardy", with most of the original cast, in a syndicated radio version of The Hardy Family in 1949 and 1950 (repeated on Mutual during 1952).

In 1949 Variety reported that Rooney had renegotiated his deal with MGM. He agreed to make one film a year for them for five years at $25,000 a movie (his fee until then had been $100,000 but Rooney wanted to enter independent production.) Rooney claimed he was unhappy with the billing MGM gave him for Words and Music.

His first television series, The Mickey Rooney Show, also known as Hey, Mulligan, was created by Blake Edwards with Rooney as his own producer, and appeared on NBC television for 32 episodes between August 28, 1954 and June 4, 1955.[46] In 1951, he made his directorial debut with My True Story, starring Helen Walker.[47] Rooney also starred as a ragingly egomaniacal television comedian, loosely based on Red Buttons, in the live 90-minute television drama The Comedian, in the Playhouse 90 series on the evening of Valentine's Day in 1957, and as himself in a revue called The Musical Revue of 1959 based on the 1929 film The Hollywood Revue of 1929, which was edited into a film in 1960.

In 1958, Rooney joined Dean Martin and Frank Sinatra in hosting an episode of NBC's short-lived Club Oasis comedy and variety show. In 1960, Rooney directed and starred in The Private Lives of Adam and Eve, an ambitious comedy known for its multiple flashbacks and many cameos. In the 1960s, Rooney returned to theatrical entertainment. He still accepted film roles in undistinguished films but occasionally appeared in better works, such as Requiem for a Heavyweight (1962) and It's a Mad, Mad, Mad, Mad World (1963).

He portrayed a Japanese character, Mr. Yunioshi, in the 1961 film version of Truman Capote's novella Breakfast at Tiffany's. His performance was criticized by some in subsequent years as a racist stereotype. Rooney later said that he would not have taken the role if he had known it would offend people.

On December 31, 1961, Rooney appeared on television's What's My Line and mentioned that he had already started enrolling students in the MRSE (Mickey Rooney School of Entertainment). His school venture never came to fruition. This was a period of professional distress for Rooney; as a childhood friend, director Richard Quine put it: "Let's face it. It wasn't all that easy to find roles for a 5-foot-3 man who'd passed the age of Andy Hardy." In 1962, his debts had forced him into filing for bankruptcy.

In 1966, Rooney was working on the film Ambush Bay in the Philippines when his wife Barbara Ann Thomason— a former model and aspiring actress who had won 17 straight beauty contests in Southern California—was found dead in her bed. Her lover, Milos Milos—who was one of Rooney's actor-friends—was found dead beside her. Detectives ruled it a murder-suicide, which was committed with Rooney's own gun.

Francis Ford Coppola had bought the rights to make The Black Stallion (1979), and when casting it, he called Rooney and asked him if he thought he could play a jockey. Rooney replied saying, "Gee, I don't know. I never played a jockey before." He was kidding, he said, since he had played a jockey in at least three past films, including Down the Stretch, Thoroughbreds Don't Cry, and National Velvet. The film garnered excellent reviews and earned $40 million in its first run, which gave Coppola's struggling studio, American Zoetrope, a major boost. It also gave Rooney newfound recognition, along with a nomination for Best Supporting Actor.

In 1983, the Academy of Motion Picture Arts and Sciences gave Rooney their Academy Honorary Award for his lifetime of achievement.

In addition to his movie roles, Rooney made numerous guest-starring roles as a television character actor for nearly six decades, beginning with an episode of Celanese Theatre. The part led to other roles on such television series as Schlitz Playhouse, Playhouse 90, Producers' Showcase, Alcoa Theatre, The Soldiers, Wagon Train, General Electric Theater, Hennesey, The Dick Powell Theatre, Arrest and Trial (1964), Burke's Law (1963), Combat! (1964), The Fugitive, Bob Hope Presents the Chrysler Theatre, The Jean Arthur Show (1966), The Name of the Game (1970), Dan August (1970), Night Gallery (1970)

In 1961, he guest-starred in the 13-week James Franciscus adventure–drama CBS television series The Investigators. In 1962, he was cast as himself in the episode "The Top Banana" of the CBS sitcom, Pete and Gladys, starring Harry Morgan and Cara Williams.

In 1963, he entered CBS's The Twilight Zone, giving a one-man performance in the episode "The Last Night of a Jockey" (1963). Also in 1963, in 'The Hunt' for Suspense Theater, he played the sadistic sheriff hunting the young surfer played by James Caan. In 1964, he launched another half-hour sitcom, Mickey. The story line had "Mickey" operating a resort hotel in southern California. His own son Tim Rooney appeared as his character's teenage son on this program, and Emmaline Henry starred as Rooney's wife. The program lasted for 17 episodes.

When Norman Lear was developing All in the Family in 1970, he wanted Rooney for the lead role of Archie Bunker.[66] Rooney turned Lear down; and the role eventually went to Carroll O'Connor.

Rooney garnered a Golden Globe and an Emmy Award for Outstanding Lead Actor in a Limited Series or a Special for his role in 1981's Bill. Playing opposite Dennis Quaid, Rooney's character was a mentally handicapped man attempting to live on his own after leaving an institution. His acting quality in the film has been favorably compared to other actors who took on similar roles, including Sean Penn, Dustin Hoffman and Tom Hanks. He reprised his role in 1983's Bill: On His Own, earning an Emmy nomination for the turn.

Rooney did voice acting from time to time. He provided the voice of Santa Claus in four stop-motion animated Christmas TV specials: Santa Claus Is Comin' to Town (1970), The Year Without a Santa Claus (1974), Rudolph and Frosty's Christmas in July (1979) and A Miser Brothers' Christmas (2008). In 1995, he appeared as himself on The Simpsons episode "Radioactive Man".

After starring in one unsuccessful TV series and turning down an offer for a huge TV series, Rooney, now 70, starred in the Family Channel's The Adventures of the Black Stallion, where he reprised his role as Henry Dailey in the film of the same name, eleven years earlier. The series ran for three years and was an international hit.

Rooney appeared in television commercials for Garden State Life Insurance Company in 2002.

A major turning point came in 1979, when Rooney made his Broadway debut in the acclaimed stage play Sugar Babies, a musical revue tribute to the burlesque era costarring former MGM dancing star Ann Miller. Aljean Harmetz noted that "Mr. Rooney fought over every skit and argued over every song and almost always got things done his way. The show opened on Broadway on October 8, 1979, to rave reviews, and this time he did not throw success away. Rooney and Miller performed the show 1,208 times in New York and then toured with it for five years, including eight months in London. Co-star Miller recalls that Rooney "never missed a performance or a chance to ad-lib or read the lines the same way twice, if he even stuck to the script". Biographer Alvin Marill states that "at 59, Mickey Rooney was reincarnated as a baggy-pants comedian—back as a top banana in show biz in his belated Broadway debut."

Following this, he toured as Pseudelous in Stephen Sondheim's A Funny Thing Happened on the Way to the Forum. In the 1990s, he returned to Broadway for the final months of Will Rogers Follies, playing the ghost of Will's father. On television, he starred in the short-lived sitcom, One of the Boys, along with two unfamiliar young stars, Dana Carvey and Nathan Lane, in 1982.

He toured Canada in a dinner theatre production of The Mind with the Naughty Man in the mid-1990s. He played The Wizard in a stage production of The Wizard of Oz with Eartha Kitt at Madison Square Garden. Kitt was later replaced by Jo Anne Worley.

Rooney wrote a memoir titled Life is Too Short, published by Villard Books in 1991. A Library Journal review said that "From title to the last line, 'I'll have a short bier', Rooney's self-deprecating humor powers this book." He wrote a novel about a child star, published in 1994, The Search For Sunny Skies.

Despite the millions of dollars that he earned over the years, such as his $65,000 a week earnings from Sugar Babies, Rooney was plagued by financial problems late in life. His longtime gambling habit caused him to "gamble away his fortune again and again". He declared bankruptcy for the second time in 1996 and described himself as "broke" in 2005. He kept performing on stage and in the movies, but his personal property was valued at only $18,000 when he died in 2014.

Rooney and his wife Jan toured the country in 2005 through 2011 in a musical revue called Let's Put on a Show. Vanity Fair called it "a homespun affair full of dog-eared jokes" that featured Rooney singing George Gershwin songs.

In 2006, Rooney played Gus in Night at the Museum. He returned to play the role again in the sequel Night at the Museum: Battle of the Smithsonian in 2009, in a scene that was deleted from the final film.

On May 26, 2007, he was grand marshal at the Garden Grove Strawberry Festival. Rooney made his British pantomime debut, playing Baron Hardup in Cinderella, at the Sunderland Empire Theatre over the 2007 Christmas period, a role he reprised at Bristol Hippodrome in 2008 and at the Milton Keynes theatre in 2009.

In 2011, Rooney made a cameo appearance in The Muppets and in 2014, at age 93, he reprised his role as Gus in Night at the Museum: Secret of the Tomb, which was dedicated to him and to Robin Williams, who also died that year. Although confined to a wheelchair, he was described by director Shawn Levy as "energetic and so pleased to be there. He was just happy to be invited to the party."

An October 2015 article in The Hollywood Reporter maintained that Rooney was frequently abused and financially depleted by his closest relatives in the last years of his life. The article said that it was clear that "one of the biggest stars of all time, who remained aloft longer than anyone in Hollywood history, was in the end brought down by those closest to him. He died humiliated and betrayed, nearly broke and often broken." Rooney suffered from bipolar disorder and had attempted suicide two or three times over the years, with resulting hospitalizations reported as "nervous breakdowns".

At the time of his death, he was married to Jan Chamberlin Rooney, although they had separated in June 2012. He had nine children and two stepchildren, as well as 19 grandchildren and several great-grandchildren. Rooney had been addicted to sleeping pills, and overcame the sleeping pill addiction in 2000 when he was in his late 70s.

In the late 1970s, Rooney became a born-again Christian and was a fan of Pat Robertson.

In 1997, Rooney was arrested on suspicion of beating his wife, Jan, but charges were dropped due to lack of evidence.

On February 16, 2011, Rooney was granted a temporary restraining order against stepson Christopher Aber and Aber's wife, Christina, and they were ordered to stay 100 yards from Rooney, his stepson Mark Rooney and Mark's wife, Charlene Rooney. Rooney claimed that he was a victim of elder abuse.

On March 2, 2011, Rooney appeared before a special U.S. Senate committee that was considering legislation to curb elder abuse, testifying about the abuse he claimed to have suffered at the hands of family members. In 2011, all of Rooney's finances were permanently handed over to a conservator, who called Rooney "completely competent".

In April 2011, the temporary restraining order that Rooney was previously granted was replaced by a confidential settlement between Rooney and his stepson, Aber. Christopher Aber and Jan Rooney denied all the allegations.

In May 2013, Rooney sold his home of many years, reportedly for $1.3 million, and split the proceeds with his wife, Jan.

Rooney was married eight times, with six of the marriages ending in divorce. In 1942, he married his first wife, actress Ava Gardner, who at that time was still an obscure teenage starlet. They divorced the following year, partly because he had apparently been unfaithful. While stationed in the military in Alabama in 1944, Rooney met and married Betty Jane Phillips, who later became a singer under the name B.J. Baker. They had two sons together. This marriage ended in divorce after he returned from Europe at the end of World War II. His marriage to actress Martha Vickers in 1949 produced one son but ended in divorce in 1951. He married actress Elaine Mahnken in 1952 and they divorced in 1958.

In 1958, Rooney married model-actress Barbara Ann Thomason. She was murdered in 1966 by stuntman and actor Milos Milos, who then shot himself. Thomason and Milos had an affair while Rooney was traveling, and police theorized Milos shot her after she wanted to break off the affair. Rooney then married Barbara's best friend, Marge Lane. That marriage lasted 100 days.

He was married to Carolyn Hockett from 1969 to 1975. In 1978, Rooney married his eighth and final wife, Jan Chamberlin. Their marriage lasted until his death, a total of 34 years (longer than his seven previous unions combined), although they separated in 2012.

Rooney died on April 6, 2014 of natural causes, including complications from diabetes, in Los Angeles at the age of 93. A group of family members and friends, including Mickey Rourke, held a memorial service on April 18. A private funeral, organized by another set of family members, was held at Hollywood Forever Cemetery, where he was interred, on April 19. His eight surviving children said in a statement that they were barred from seeing Rooney during his final years.

At his death, Vanity Fair called him "the original Hollywood train wreck". He struggled with alcohol and pill addiction. Ava Gardner was his first wife, and he married an additional seven times. Despite earning millions during his career, he had to file for bankruptcy in 1962 due to mismanagement of his finances. Shortly before his death in 2014 at age 93, he accused some family members of mistreatment and testified before Congress about what he said was physical abuse and exploitation by family members. By the end of his life, his millions in earnings had dwindled to an estate that was valued at only $18,000. He died owing medical bills and back taxes, and contributions were solicited from the public.

Rooney was one of the last surviving actors of the silent film era. His film career spanned 88 years, from 1926 to 2014, continuing until shortly before his death. During his peak years from the late 1930s to the early 1940s, Rooney was among the top box-office stars in the United States.

He made forty-three pictures between the age of 15 and 25. Among those, his role as Andy Hardy became one of "Hollywood's best-loved characters," with Marlon Brando calling him "the best actor in films".

"There was nothing he couldn't do", said actress Margaret O'Brien.[109] MGM boss Louis B. Mayer treated him like a son and saw in Rooney "the embodiment of the amiable American boy who stands for family, humbug, and sentiment," writes critic and author, David Thomson.

By the time Rooney was 20, his consistent portrayals of characters with youth and energy suggested that his future success was unlimited. Thomson also explains that Rooney's characters were able to cover a wide range of emotional types, and gives three examples where "Rooney is not just an actor of genius, but an artist able to maintain a stylized commentary on the demon impulse of the small, belligerent man:"

Rooney's Puck in A Midsummer Night's Dream (1935) is truly inhuman, one of cinema's most arresting pieces of magic. ... His toughie in Boys Town (1938) struts and bullies like something out of a nightmare and then comes clean in a grotesque but utterly frank outburst of sentimentality in which he aspires to the boy community ... His role as Baby Face Nelson (1957), the manic, destructive response of the runt against a pig society.

By the end of the 1940s, Rooney's movie characters were no longer in demand and his career went downhill. "In 1938," he said, "I starred in eight pictures. In 1948 and 1949 together, I starred in only three." However, film historian Jeanine Basinger notes that although his career "reached the heights and plunged to the depths, Rooney kept on working and growing, the mark of a professional." Some of the films which reinvigorated his popularity, were Requiem for a Heavyweight (1962), It's a Mad, Mad, Mad, Mad World (1963) and The Black Stallion (1979). In the early 1980s, he returned to Broadway in Sugar Babies, and "found himself once more back on top".

Basinger tries to encapsulate Rooney's career:

Rooney's abundant talent, like his film image, might seem like a metaphor for America: a seemingly endless supply of natural resources that could never dry up, but which, it turned out, could be ruined by excessive use and abuse, by arrogance or power, and which had to be carefully tended to be returned to full capacity. From child star to character actor, from movie shorts to television specials, and from films to Broadway, Rooney ultimately did prove he could do it all, do it well, and keep on doing it. His is a unique career, both for its versatility and its longevity.

[sorry4yourloss]

Sorry For Your Loss

Everton Football Club.

Everton, through my kids’ eyes, must be a very odd thing indeed. They watch me get home from work, open my mouth and excitedly belch “Guess what happened today!?!”

They also watch my wife, gently suppressing a sigh, ask “Is this about work?… Or Everton?”

It’s always about Everton. Always.

I live in Michigan, 3,594 miles from Goodison Park with my American wife and four (sorry, five) kids.

Fifteen years ago, when I first moved here, no one seemed to care about my football. I remember my brother-in-law tying his shoelaces in front of the TV while Wayne Rooney was busy getting sent off against Portugal, and I still see his annoyed face when I asked him to move.

I started blogging about Everton just to talk to someone else about my team. And I shared that writing on social media, which was in its infancy. Now social media is my career.

It’s always about Everton. Always.

These days, I can wear my Everton equivalent of the Wenger-gown, a long warm hug of a coat, out and about in Michigan and people talk to me about Everton.

At the check out in the local grocery store: “How are Everton doing this season, sir?”

At a restaurant: “Cool jacket, I hear Moise Kean isn’t doing that well so far this year.”

At work: “The second half of that game was great, Goodison was roaring!”

Last year, after Everton lost a horror show of a match to Newcastle United, and I was howling at my phlegm flecked television, Gracie (kid #3, the Three Graces – Kendall, Harvey, Ball – it’s always about Everton) asked me, “Dad, why do you like these people?… They don’t know you and you don’t know them. They can’t hear you shouting.”

I still haven’t given her an adequate answer. 

How does this glum chain gang of eleven men not doing their job properly consistently make me come back for more?

Everton, it goes without saying, are pretty woeful. Since I was first ushered into Goodison Park in 1990, we’ve only won one trophy. Often far too good (or lucky) to go down, we’re also too bad to compete at the Premier League’s top table.

Over on Twitter, people dedicate whole threads to the Everton “banter era”. Champagne dashed from our lips, ridiculously misguided transfers, goalkeepers getting injured on signs that say “don’t play in this goal”… Others have said we are the most miserable team there is, because whilst most teams have a rollercoaster existence of promotion, relegation, championships and cups – Everton plod along, stuck in a footballing limbo. Never getting relegated. Never winning trophies.

Every time I watch them though, I get outraged anew. It’s like I’m watching Everton get trounced for the first time. 

I think I can blame optimism. 

Remarkably, despite a quarter of a century of footballing limbo, hope grows like weeds.

When kid #4 came into our life, we gave him Pele’s real name as his middle name: Charles Edson Bottomley.

It’s always about Everton. Always.

I love that Pele played at Goodison in the 1966 World Cup, and I love the picture of Pele that I have. The greatest player in the world, looking tired and disappointed. In that one shot, even Pele is an Evertonian. Shirtless, at Goodison Park, looking slightly fed up.

I’m a double outsider really, an Everton fan in Michigan, and an Everton fan who’s from South London, not Liverpool. One of the hardest questions I used to get asked as a kid was “who do you support?” The correct answer was Millwall or Crystal Palace. Arsenal, Spurs, or Chelsea would be vaguely acceptable. Everton? Not acceptable.

One of the hardest questions I’m asked now is “how many children do you have?” The correct answer is five. But too often I say four. It makes me feel horrible if I sputter out the wrong answer.

William Rhys Bottomley, my baby boy, died the day before he was born, September 17th 2019.

He has the same first name and middle initial as our greatest goalscorer, William Ralph Dean. I think we all know he’d have played up front for Everton.

It’s always about Everton. Always.

I already have two boys who are off the charts in terms of height. William was even longer than them when he was born.

I miss him so much already. His skyscraping Merseyside derby headers, rising above an inferno of Kopite defenders, will be missed in a couple of decades too.

All those emotions that we have wrapped up in that beautifully shite football club I support can never be passed on to William. He’ll never look at me weirdly when I come home from work and say “Guess what happened today” – knowing with absolute certainty that I’m about to begin a rambling Everton monologue.

My earliest memories of Everton were names rather than games. I was naively logical about everything football. I heard my dad say he loved Gary Lineker like a son, and ran off to find a picture of him. I stared at it, thinking, “Brother?”

I remember being baffled by Ian Ormondroyd – confused as to how anyone could have such a weird name. Was he an alien? One of my earliest Goodison games was against Aston Villa. I heard Villa fans singing, “You’ll Never Beat Paul McGrath!” – and treated his omnipotence as fact.

After the names, I began to notice the stadium, Goodison Park. The noise it made when riled up.  With the right manager and players, a full-throated Goodison crowd is unplayable. Once, when we played Blackburn, I was so excited my teeth chattered all game.

After Goodison I began to notice the results. Watching Heitinga’s cracker from the Bullens with a volcanic cup of Bovril. Viewing Rooney’s goal from the Park End and hearing the Krakatoan yell of the crowd. Daniel Amokachi – overflowing with confidence like he forgot to say when – scoring a brace against Newcastle as I watched from the Main Stand.

Or the best of the lot; taking my eldest son to his first game. Naismith, Mirallas and Lukaku running roughshod over Arsenal, battering them 3-0, and me and my little blonde American boy watching from the Gwladys. And my last Goodison game? I don’t get over to England much. Can it be that I’ve already seen the last of the Old Lady?

Nope, there won’t be any odd looks from William. He won’t have a first game, or a first shirt. I won’t be able to wax lyrical about Everton to him. But he’s an Evertonian too. Wherever he is, the poor bugger doesn’t have a choice.

During William’s funeral my phone kept on buzzing. Not now, I thought, It’s not always about Everton.

As I lined up outside the church people told me “sorry for your loss.”

Afterwards I took a quick peek.

Everton had managed to lose 2-0 to Sheffield United whilst only letting them have one shot on target. My little boy got to sample classic Everton from his wicker casket.

Made me smile.

[roywangtoday]

王源：成为那道光

Wang Yuan: Be the Light

2018年岁末，王源经历了刚成年后的第一个冬天，在新发表的专栏文章里，他开启了对人生命题的总结和思索，记录了自己身处喧嚣时被诗人费尔南多·佩索阿的作品集《我的心略大于整个宇宙》击中心灵的瞬间。然后，他在文中写道：“满天繁星，有我想成为的那道光。”

At the end of 2018, Wang Yuan experienced the first winter of his adult life. In the newly published column, he had a summary and reflection on questions of life, and described the moment when he was hit by “A Littler Larger Than the Entire Universe”, poems written by Fernando Pessoa, in the hustle and bustle. He wrote: “The sky is full of stars, and there is a light I want to be.”

人的一生是悬于两道永恒黑暗间的一隙微光，唯当人内生的自我开始觉醒时，这道光芒才会璀璨闪现，在即逝的瞬间穿透黑夜，为更多双眼所看到。王源找到了那道应属于自己的光，而接下来，他要成为那道光。

A person's life is a gleam of light between two eternal darkness. Only when his inner self begins an awakening will this light flash brightly, penetrate the night at an ephemeral moment, and be seen by more eyes. Wang Yuan has found the light that belongs to him, and then he wants to be the light.

坐在采访桌前，王源轻轻呼了口气，已经是晚上11点，杂志封面的拍摄刚刚结束，他还需要完成专访。白天是他的个人纪录短片《没有哪个夏天像今年一样》的线下分享会，算起来，他已经连续工作了十几个小时。

Sitting in front of the interviewer, Wang Yuan exhaled softly. It was already 11:00 pm. The shooting for the magazine cover had just finished and he still needed to do an interview. He had a press conference for his personal documentary short film “No Summer Is Like This One” during the day. In total, he had been continuously working for more than fourteen hours.

“我得想想怎么说。”垂下眼，盯着自己交握在桌上的双手，王源停顿了下来。采访者提出的问题在过去大半年里，已经不止一次出现在他面前，记者们总是反复问他：是否意识到去异国学习音乐这一决定背后潜藏的风险和损失？他们总像是不能轻易接受他面上表现出来的坦然。

"I have to think about how to say it." Wang Yuan paused, staring down at his hands on the table. The questions raised by the interviewer have appeared in front of him more than once in the past six months, and journalists repeatedly asked him: are you aware of the risks and losses behind the decision to study music abroad? They always seemed unable to accept the calmness shown on his face easily.

这次得换种说法，王源抽出手比划起来：“打个比方，今天在您面前摆了一个最新款的包，买吗？”

This time, he had to put it another way, Wang Yuan took out his hand: "For example, today there’s a latest designer handbag in front of you, will you buy it?"

对方愣住了。

The interviewer froze.

“买不买？”王源继续追问道。

“Will you buy it or not?” Wang Yuan continued to ask.

“买吧。”

“Yes, I will."

“好，买！它有啥用？有性价比吗？没有，喜欢就完事了。”

"Okay, you will! What's it for? Is it cost-effective? No, just because you like it."

“前提还得要有钱……”回过神的采访者逗起他来。

“First of all, if I had a lot of money..." The interviewer collected herself and started to tease him.

“不是，那您都说买了。”王源有点着急，身体前倾抢过话头，但言语依旧礼貌。他拊掌强调着：“喜欢就完事了，喜欢就完事了，对不对？”

“But you said you would buy it." Wang Yuan got a little bit nervous. He leant forward and interrupted her, still in a polite way. He clapped his hands and emphasized: “It’s because you like it and that matters, right?”

话音刚落，身边的工作人员都为这孩子气的举动笑了起来，王源面上透出些不好意思，抓抓后脑勺补充道：“有些决定就是脑子一热，喜欢，而且我现在年纪其实也小，还有机会去试错，但如果现在错过了喜欢的事情，其实是会后悔的，我挺怕自己后悔。”

As soon as he finished his words, the staff around him all laughed at the boyish behavior. Wang Yuan seemed a little embarrassed, he scratched his head and added: “I made some decisions impulsively, just because I like it, and I’m still young, so there is a chance of trial and error. But if I miss the thing I like now, I will regret. I don’t want to have any regrets.”

双手叠放回桌面，王源又恢复了乖巧标准的坐姿，他套着件白色的粗棒针毛衣，肩头瘦削，还带着少年人的脆弱美感，但微抬的脸上，轮廓线条已经立体起来，下颌转折处也有了凛冽的��度——这是19岁的王源，一个能与自己对话，并始终坚持自我选择的成年人。

Putting his hands back on the table, Wang Yuan returned to a proper and standard sitting position. He wore a white thick needle sweater, and the top of his shoulder looked slim, fragilely beautiful. However, he has a defined facial profile and a sharp jawline — this is 19-year-old Wang Yuan, an adult who knows himself and sticks to his decisions.

大一新生王源

Freshman Wang Yuan

“大家好，我叫王源，来自中国，见到你们很高兴。”

——王源／2019年9月／美国波士顿伯克利音乐学院"

Hello everyone, my name is Wang Yuan and I’m from China. Nice to meet you."

——Wang Yuan / September 2019 / Berklee College of Music, Boston, USA

2020农历新年过后，王源恢复到了“学校——公寓”两点一线的异国求学生活。他曾突发奇想把自己的生活划分成旧磁带的两面，A面是规律的学校生活，B面则代表着忙碌的工作。回到学校，身体就按下了跳转A面的播放键，开始了“吹不出褶”的平静日子。

After the Chinese New Year 2020, Wang Yuan got back into his life as an international student commuting between his apartment and school everyday. He once had an imagination to depict his life as two sides of an old tape, side A is regular school life, and side B represents busy work. Back at school, the body pressed the play button to jump to the A side, and peaceful days “without waves” began.

娱乐圈的喧嚣消失了，没有跑不见头的通告，也没了簇拥在左右的鲜花掌声和火热的眼神。在这里，王源能把头发简单地推成板寸，不需要每天出门前花费许久收拾造型，也不用时时戴着口罩。他能够自由地去逛超市，甚至大大方方地扛着一袋大米游荡街头。

The hustle and bustle of the entertainment industry disappeared. There were no endless schedules, no applause and flowers around, and no one was watching. Here, Wang Yuan can simply have a crew cut, instead of spending time on styling before going out every day, and he doesn’t have to wear a mask all the time. He is free to go to the supermarket and even walk in the street with a bag of rice on his shoulder.

“除了华人之外，国外的人其实不知道我是谁，我也不会告诉他们。”大一新生王源褪去了自己身上环绕许久的明星光环，快速融入了简单的求学生活。他和那些来自世界各地的同届学生一样，为了完成老师布置的作业头疼，还得提前很多天为排练作业订排练室，要不“就抢不到了”。新结识的外国朋友们也不曾发觉这个中国少年有何特别之处，除了一开始总会好奇地问他为什么总穿名牌。

"Except the Chinese, foreigners don't really know who I am, and I won't tell them." Freshman Wang Yuan took off his halo as a celebrity and quickly adapted to college life. Like other students from all over the world, he had to handle the coursework assigned by teachers and reserved the resemble room in advance for his rehearsal, or “they will be fully occupied”. New foreign friends have never noticed anything special about this Chinese boy, except that they asked him curiously in the beginning why he always wore expensive designer brands.

“他们老说我。”聊到这个，王源又有些不好意思：“我这几年没怎么买过衣服，带去美国的大部分都是品牌送的，上面都有logo。”

"They kept talking about that." Wang Yuan was a little embarrassed about it: "I haven't bought much clothes in the past few years. Most of those I brought to the United States were gifts from brands, with logos on them.”

被身边同学反复问过几次后，王源趁着波士顿大降温的机会，私下买了些寻常服装，替换掉了那些扎眼的名牌，不过他最后还是没将脚上的品牌球鞋换下来。“我从初中就开始收集这个牌子的鞋了，因为我喜欢，我还是照穿。”

After being asked several times by classmates, Wang Yuan bought some ordinary clothes in private to replace those fancy designer brands while the temperature dropped significantly in Boston. But he eventually kept his branded shoes. “I’ve been collecting shoes of this brand since junior high school, because I like them, I still wear them.”

“喜欢”，能为王源的很多决定作出最准确的注解，也是他选择在国内星途事业亟待更进一步的关键时刻，转而来到伯克利求学的源动力之一。但他新选择的道路又注定是不平坦的，一个曾替多位华语乐坛代表人物制作专辑的音乐制作人坦诚表示：“现在音乐是整个娱乐行业里最低的一个领域，艺人赚钱最少的就是做音乐。”

“I like it" can make the most accurate explanation for his many decisions. This is also one of the driving forces for him to study at Berklee at such a critical moment in his career. However, the path he chooses is destined to be uneven. A music producer who has made albums for many top Chinese musicians candidly admitted: "Now music is the underclass in the entire entertainment industry, and artists earn the least money by making music.”

高王源几级的伯克利音乐学院毕业生曲扬也同意这样的观点：“在国内，大家默认的华语音乐比较好的时段已经过去了。”曲扬先后就读于上海音乐学院和伯克利音乐学院，在他进入上音的第一堂课，老师就在讲台上向学生提问——“有多少人是想通过音乐赚大钱的？如果有人是这样想的，建议赶快改行。”

Qu Yang, a graduate from the Berklee College of Music, who is senior to Wang Yuan, agrees with that view: "We believe that the best era of Chinese music has gone.” Qu Yang once studied at the Shanghai Conservatory of Music and the Berklee College of Music. During his first lecture at the SCM, the teacher asked students: “How many of you want to make a lot of money from music? If anyone thinks so, I suggest you change your career as soon as possible.”

早在王源还未出生时，世界音乐唱片行业就已经被盗版和流媒体播放器的浪潮冲毁，而他还未长成的童年时期，属于华语音乐的黄金时代也飞速落幕。那条通过音乐抵达人生更高舞台的道路，已经变得格外狭窄，王源清醒地知道自己的选择中存在足够多的不确定性，采访中他用三个“不知道”回答了关于未来更高成就的设想，但他同样清楚，选择一条更为艰难的道路，于他而言具有更多的必然性。

Long before Wang Yuan was born, the world's music record industry was already destroyed by a tidal wave of piracy and streaming media players. And in his childhood, the golden age of Chinese music came to an end. The road to the higher stage of life through music has become extremely narrow. Wang Yuan clearly knew that his choice came with uncertainty. In the interview, he said “I don’t know” three times to answer the question about his vision for future achievements. And he’s also aware that choosing a difficult path means more inevitabilities for him.

2019年9月3日，在飞往美国波士顿的航班起飞前，王源在微博上发布了新的消息：“去一个陌生的地方学习音乐，就是为了在未来能够把自己变得很好，带回更好的我。”少年成名的偶像早就明白，自己不仅代表作为单一个体的王源，时至今日，被太多人关注和推崇的他，身后亦有不少年轻一代紧紧追随。前行的力量得源于此，他需要变得更强大完美，才能更好地回馈身后的千万支持者。

On September 3, 2019, before the flight to Boston took off, Wang Yuan posted a Weibo: "Going to an unfamiliar place to learn music is to make myself good enough in the future and to bring back a better me.” He became famous while young and had long understood that he not only represents Wang Yuan as a single individual. Today he’s been followed and admired by so many people, including the younger generation. The strength to move forward comes from this, and he needs to be stronger and more perfect to give back to the millions of supporters behind him.

偶像王源

Idol Wang Yuan

“大家看舞台上亮吗？但我看你们很黑。”

——王源／2019年4月／《我是唱作人》对战赛

“Do you think it’s bright on the stage? But when I look at you, it’s actually very dark."

— Wang Yuan / April 2019 / The competition show “I Am A Singer-Songwriter”

作为千禧年代最具代表性的青少年偶像之一，王源身上有着诸多奇迹，他现在在微博上拥有7883万粉丝，单条微博创下过转发超4.7亿的记录。这群数量庞大的粉丝，还有着惊人的购买力：2016年5月，王源登上一线时尚杂志封面，杂志48秒售出71319册，打破了彼时圈内记录。这个记录在一年后又被他自己打破：2017年王源拍摄封面的杂志当期线上预售8秒16万册售罄，付款金额高达480万元。

As one of the most iconic millennial teen idols, many miracles happened to Wang Yuan. Now he has 78.83 million followers on Weibo, and a post from him has set record for more than 470 million reposts. This large number of fans also has amazing purchasing power: In May 2016, Wang Yuan made an appearance on a top fashion magazine. In 48 seconds, the magazine sold 71,319 copies, breaking the best selling record of that time. One year later, this record was broken again: in 2017, a magazine with cover of Wang Yuan was pre-sold online, 160,000 copies were sold out in 8 seconds and total sales amounted to 4.8 million yuan.

王源的影响力更在持续向多元圈层辐射。2017年，他被《时代》周刊评选为2017年30位全球最具影响力青少年之一；2018年11月，刚满18岁的王源又出任联合国儿童基金会大使，并于次年11月在联合国大会上发表中文演讲，呼吁关注儿童受教育权利。

Wang Yuan continues to radiate influence on multiple circles. In 2017, he was named one of TIME’s 30 most influential teens of 2017; in January 2018, Wang Yuan, who had just turned 18, became the UNICEF ambassador, and spoke at a high-level meeting held by UN General Assembly in November 2019, calling for children’s right to education.

与王源合作制作英文单曲《The Wrong Things》的北美音乐人Justin Gray曾在微博上发布了自己与王源合作的视频，播放量很快就超过了100万。“It's crazy.”看到数据的Justin Gray感叹道。

Justin Gray, a Canadian musician who worked with Wang Yuan on his English single "The Wrong Things", once posted a video about their collaboration on Weibo, which soon surpassed 1 million views. "It's crazy." Justin Gray was surprised when he saw it.

去美国念书后，国内的通告大量减少，但王源依旧被动地活跃在公众视野中心——近期他曾心血来潮在波士顿的公寓里下了两次厨，煎了一回牛排，还用火锅底料煮了“不一样的面”。他把这些发在了社交平台上，话题“王源煎牛排”“王源用火锅底料煮泡面”很快登上了微博热搜。而他在出国读书后参加的首档综艺里，因为小秀了一把厨艺，为其余嘉宾做了重庆小面，节目播出当晚，“王源温柔”的话题就成了粉丝热议的焦点。

After he went to US for study, the domestic schedules were significantly reduced, but Wang Yuan is still in the public eye passively — he recently cooked twice in his apartment in Boston, once for steak and once for noodles with hot pot broth. He posted these on social media, instantly the topics “Wang Yuan Cooked Steak” and “Wang Yuan Boiled Noodles With Hot Pot Broth” started trending on Weibo. In the first variety show he joined after studying abroad, he made Chongqing noodles for other guests, and “Wang Yuan Kind” became a hot topic for his fans on the night the show aired.

这种细致又过度的关注从七年前王源出道时，就如影随形。13岁的少年一路走来，为万人追捧的光环下，埋藏着各种各样的争论和质疑。这种分裂的现实持续打磨着这个少年偶像，让他飞速成熟，也让他变得足够细腻敏感。

People has been paying meticulous and excessive attention to him since seven years ago Wang Yuan debuted. The 13-year-old boy walked all the way to here, behind his popularity there are all kinds of arguments and doubts. The divisive reality constantly polishes this young idol, which makes him become mature faster than others, and be considerate and sensitive enough.

“害怕有一丁点不完美的事发生，害怕内心的成年跟不上身体的成年，害怕无法实现昨天预设下的明天。”在被视为内心“自留地”的《王源说》专栏里，王源这样描述成长给予他的焦虑，他把自我审视列为每日任务清单上的常见栏目，时时冷眼回视着这个跌跌撞撞向前走的自己。

“I was worried that things couldn’t go perfectly and my mental couldn’t keep up with my body. Also I was afraid of failing to achieve goals I set for tomorrow.” In the magazine column “Roy Says”, which is seen as a secret base for him, Wang Yuan described the anxiety of growing up. He puts self-examination on his daily to do list, and frequently looks back at himself, one stumbles forward.

2019年，参加华语唱作人挑战类节目《我是唱作人》时，王源在舞台上落了泪，当时他正在演唱自己作词作曲的歌曲《世界上没有真正的感同身受》。他的歌词写道：“面对其实只有一个人，��个人在夜里哭着，哭到头疼直到睡着，没有人能真的理解你啊，觉得虚伪你逢场作戏，我一直都会记得一句话，强大到无往不利……”唱到高潮处，站立在聚光灯最盛的舞台中心，抱着电吉他的王源红了眼眶。

In 2019, during a Chinese competition show “I AM A SINGER-SONGWRITER”, Wang Yuan shed tears on the stage when he was singing “Impossible Empathy”, a song written by himself. He said in the lyrics: “I face situations all alone. I cried alone at night with a headache till I fell asleep. No one can really understand you, people think you’re a hypocrite. There’s one word I always remember, be strong to conquer it all…” Wang Yuan teared up when he hold an electric guitar and stood in the center of the stage, singing the chorus.

开唱之前，他曾问台下的观众：“大家看舞台上亮吗？”

Before singing, he asked the audience: “Do you think it’s bright on the stage?”

“亮！”观众高喊着回答。

"Yes!" The audience answered in a loud voice.

“但我看你们，其实很黑。”攥紧话筒，这个穿着白衬衣的少年人慢慢说道。

"But I look at you, it's actually very dark." Holding the microphone, the young man in a white shirt said slowly.

同年，在一档访谈节目中，王源坦然把自己的成功归结为“十四亿分之三”的运气，他没有表现出“顶流”的骄傲，也不曾抱怨这难得的运气背后隐藏的其他一些东西，而是平静地一道接受了它们。

In a talk show of the same year, Wang Yuan frankly attributed his success to luck, “three out of 1.4 billion”. He didn’t behave arrogantly as a “top artist”, nor complained about anything behind his good luck, but accepted reality calmly.

“你不可能永远幸运，有一次幸运你就得把握好它”。镜头前，王源穿着深色西装，领带系得标准，眼神愈发沉静硬朗。

“You can’t be lucky forever. Once you have the opportunity, you have to seize it.” In front of the camera, Wang Yuan wore a black suit with a proper tie, and his eyes showed firmness.

成人王源

Wang Yuan as an adult

“长大也必然伴随着焦虑与敏感，唯一的解决之道，就是站起来、走出去，去做自己该做的、喜欢的、能做的事。”

——王源／2019年1月／专栏《王源说》之《长大这件小事》

“Growing up is always accompanied by anxiety and sensitivity, and the only solution is to stand up, to walk out, to do what you need to do, what you like to do, and what you can do.”

— Wang Yuan / January 2019 / Magazine Column “Roy Says”: The Little Thing Called Growing Up

曾有评论者将王源比作流量文化下为粉丝所“驯养”的那朵玫瑰——是大众虚拟希望和现实客体的结合，是玻璃橱窗里包装精美的脆弱花朵。

Some people once described Wang Yuan as a rose “domesticated” by fans in the context of current celebrity culture — he is a combination of people’s virtual hope and the realistic object, a delicate and attractive flower in the display window.

但七年的时间过去，王源的选择和行动正持续打破着这个定义的边界，他证明了自己确有为人叹服的美丽，但美丽的“玫瑰”却韧不可摧，也积蓄了独自抵御风雪的力量。这种独立生长的意愿在更早的时候就显现了出来。

However, after seven years since his debut, Wang Yuan's choices and actions repeatedly broke the boundaries of this definition. He has proved his charm, a beautiful but indestructible “rose” with strength to withstand the storm alone. And his desire to grow independently emerged even earlier.

2019年上映的王小帅导演作品《地久天长》里，王源饰演一个顶着死去孩子“刘星”的名字生活、最终选择拿回自己的名字去流浪的少年。片中，王源提供了最为本色的演出，他觉得这个角色就根植在自己的身体里。“我们是自我意识很强的一代人。”电影在柏林电影节上展映后，他这样评价道。

In a 2019 film “So Long, My Son” directed by Wang Xiaoshuai, Wang Yuan played a teenager who lived with the name of a dead child “Liu Xing” and eventually chose to take back his real name and leave home. Wang Yuan gave the most authentic performance in this film and he felt that this character took root in his body. “We are a generation with a strong sense of self awareness” He commented after the film premiered at the Berlin International Film Festival.

进入19岁的这一年，强烈的自我感知在王源身上更加鲜明地袒露出来。入学伯克利之前，王源发行了第一张真正意义上的个人专辑《源》，并在南京举办了首次个人演唱会。在那档他不顾团队建议、执意要参加的音乐节目中，他表现得格外具有“进攻性”。最开始的试听DEMO环节，当其他选手还在迟疑，他就第一个冲进了试音间。

The year he turned 19, the self-awareness of Wang Yuan was revealed more clearly. Before he went to Berklee, Wang Yuan released his first official album “YUAN” and held his first solo concert in Nanjing. He was surprising “aggressive” in the competition show which he insisted to attend despite objections from his team. At the demo session, he was the first to go into the audition studio when others hesitated.

一个多月里，被质疑没有作品的王源，接连拿出了《随想》《吆不到台》《世界上没有真正的感同身受》等五首原创曲目，而每次挑战赛他对战的选手，都是比他资深许多的乐坛老将。

During the six weeks, facing disapproval of his previous work, Wang Yuan continuously wrote five original song, including “Random Thoughts”, “Yao Bu Dao Tai” and “Impossible Empathy”. Every opponent he chose was much more experienced in the music industry.

“成年猛虎！”哪怕充满了紧张和不安，这个满脸胶原蛋白的年轻人也只是张开双臂，对着镜头晃晃拳头给自己短暂鼓劲儿后，就转身跑进了赛场。

“Adult tiger!” Although he felt stressed, this young man opened his arms and shook his fists in front of the camera to cheer himself up, then ran onto the stage.

“这一年，我觉得是成长最快的一年。几件大事情都是自己在做决定，自己在承担。”采访桌那头，王源的语气沉稳有力，和大家梳理着过去大半年的生活。

“I grew up the fattest this year. I made decisions and took responsibilities for several big things in my life.” From the other side of the table, his voice sounded deep and powerful. He shared his life in the past six months.

这个曾急切地想以“刚哥”的绰号摆脱固有标签的男孩，成年后更趋向于以“柔”作为新的进攻方式，也逐渐学会与自己的焦虑和解，找到了内心世界攻防相守的平衡。面对曾让他最头疼的写歌“难产”期，王源现在也淡定了很多：“以前抓耳挠腮，现在就不管了，等灵感来了再写。着急也没用，不如放轻松。”

In the past, he was eager to get rid of stereotypes and wanted to be called “Steel Brother”. After turning 18, Wang Yuan tended to attack in a moderate way. He gradually learnt to reconcile with his anxiety and found balance in his inner world. Even in face of challenges in songwriting that troubled him most, Wang Yuan is calmer: “I used to be stressed out but now I’ll leave it there until I get inspirations. Anxiety is not helpful, it’s better to take it easy.”

当然，某些时候你还是能看到他身上藏着的柔软和不安，去异国求学半年，除了工作需要，他基本都待在波士顿及周边。

Certainly you can still see the softness and worry hidden by him sometimes. During the past six months, he stayed in Boston and neighborhoods except for work.

“（长途旅行）挺危险也挺麻烦，虽然自由，但人生地不熟，一个人跑到一座新的城市，也没啥好玩的。”没课时，王源宁愿待在公寓看书写歌，或者和国内的小伙伴组队玩玩游戏。

“(A long-distance travel) can be dangerous and troubling. Although it’s free in an unfamiliar city but not much fun when you visit it alone.” In spare time, Wang Yuan would rather stay in his apartment, reading books, writing songs or playing games with friends in China.

当被追问是否从小就不习惯一个人去陌生的环境时，他淡淡答道：“不知道，我从小就出来工作了，没有一个人去过。”

When asked if he was not used to facing a new environment alone since he was a kid, he answered: “I don’t know. I started working young so I've never visited places alone.”

那些独属一个少年偶像的痕迹显露了出来。他过早地被这个时代选中，巨大的流量将他飞速推向成功，但接下来却又要花费十数年，跋涉过五光十色的山水，走出那片最初的福泽。对王源来说，成长的契机来得那样早，而长成的路也那样长。幸运的是，在赞歌和荣光的包围中，他牢牢防守住了自己的初心。

The unique features of a young idol gradually appear. He was chosen by the era too early, enormous popularity drove him to success overnight, and it may take years for him to walk through mountains and pay for the gift bestowed in life. For Wang Yuan, the opportunity came so early but it would be a long way to go. Luckily, even when surrounded by praise and glory, he firmly remembers why he started.

采访结束时，王源意外说起自己最近迷上了单板滑雪。“最大感受就是摔。摔得比较狠，是真疼。”他还是初学者，不久前才刚会换刃。早两年学习双板滑雪时，他从没摔过，但现在却只能在一次接一次摔跤的挫败中，慢慢爬起来，站回板上。

At the end of the interview, Wang Yuan mentioned that he got hooked on snowboarding recently. “The most impressive thing is falling. I fell badly and that really hurt.” He lately learnt how to turn on a snowboard and was still a beginner. Two years ago when he learnt to ski, he never fell. But now he has to overcome the frustration after falling over and over again, stand up and get back on the skateboard.

“是真的很挫败、很挫败，但从刚开始完全不会，后来能站上去慢慢往下滑，能一点点找到新的成就感。”说到这里，一直表情���肃的年轻偶像不知想到了什么，终于笑了起来。兴许把每一次尝试都当做fresh start，也挺好。

“It was really frustrating. In the beginning, I didn’t know how to do it at all, but now I can stand on the skateboard and go downhill slowly. It gives me a sense of accomplishment little by little.” When he talked about it, this young idol who looked serious during the interview seemed to think of something and finally smiled. Maybe it’s great to take every attempt as a fresh start.

translated by Mian, Sheep

proofread by Moni, Nancy

[greyias]

This is not fair of me to ask, I'm sure you have plenty to do, but there is this post on reddit titled, "Is there an enjoyable way to read about SWTOR plot? I have fallen ill right after playing Umbara and I would very much like to know why certain someone did what he did, but I am unable to play and wookiepedia is quite a dry read. " He explains he has seizures from playing video games. I was wondering if you had something written that would help him out, or maybe you could write something?

Oh no, that poor guy! That really sucks to be invested in a story and then not be able to see how it turns out!  I’m going to guess videos/playback of them have a similar issue  🙁 

I totally will agree with him that Wookieepedia is definitely dry, but I’m going to boldly put this statement out here: it’s also incorrect.

At least the articles on Fractured Alliances were (and a few other TOR era articles I came across), to the point where I actually got really angry reading them because the assumptions were just so... blatantly wrong. And not well sourced. (This is a strange hill for me choose to die on, but I will go defend it nonetheless.) Granted I haven’t looked at them in several months, so it’s possible they’ve been updated since then? 🤷‍♀️

I haven’t written a full write-up on what happened in Fractured Alliances, but honestly I’ve been meaning to? Because the Wookiepedia articles irked me that much, I feel like someone needs to rant at length and correct them. I’ve just, erm, got a bit lazy and distracted and haven’t done so. Mostly because there’s actually a lot to cover, and a lot of misconceptions to correct, and sourcing is hard yo.

BUT! I can do a cliff’s notes version really quick to get him some answers. Although if it’s possible... maybe just link him this post in private if possible? Mostly because there’s some pretty big edgelords over on Reddit, and they make me tired (which is why I stopped even going over there to look at things).

Also I still haven’t quite lived down Gravedrog yet. I still can’t believe that blew up to the degree it did.

BUT! I can talk about Theron Shan, and his motivations all the live long day. Probably too long if we’re being honest. And I’ve definitely invested far more thought and energy into understanding what happened in this storyline (and why everyone did what they did) than is probably rational. But hey, we all have to have a hobby? And apparently mine is dissecting rushed/truncated video game storylines and their implications on characterization.

The TL;DR: Theron does what he does in Fractured Alliances to protect both the Outlander and the Alliance. And eventually by extension of the plot, everyone in the galaxy

(Whether or not a player or Outlander agrees with his methods for going about it is another debate entirely, but Theron definitely had his reasons, which were noble in intent, as all roads to hell are said to be paved with)

(Sorta) Cliff’s Notes Version of Fractured Alliances:

(okay this isn’t that short, but I promise it’s a lot shorter than it could be)

Once upon a time, we find a junky old spaceship in the swamp. We ignore it whispering creepily to us and a bunch of warning signs and decide to adopt it anyway

Sometime later, the entire cast of KOTET takes a reluctant field trip (see: KIDNAPPING) to Iokath. 

While there, some stupid droid turns to Vaylin and says “Hey, you want to erase all of these Gemini droids free will?”

Because the entire expansion of KOTET got cut down by literally half, a lot of characterization shortcuts are taken and Vaylin’s like “HELL YEH”

All of the Gemini units are mindwiped save for one, a creepy little scarfed explorer who was off exploring Hoth or something. We get one e-mail from Hylo about this droid at the end of KotFE Chapter 16. 

This lone Gemini unit, named Gemini 16, is traumatized by this and she’s like “Fuck having sisters! I want to be an only child!” and decides she wants to murder her entire droid family. Apparently it’s the only way to be sure this never happens again???

We defeat Vaylin, Valkorion, and take ownership of a shiny new fleet! Neat! Also, we install the Fleet’s control console with a known security flaw that we ourselves tried to exploit in KotFE (see: The Gemini Frequency) into the heart of our operations on Odessen. I’m sure no traumatized, misanthropic lone Gemini droids or crazy Zakuulans will use this to their advantage.

Oh wait.

Some guy we never met hates us because two kids were arguing over a piece of bread in the street. 

This genius is named Vinn Atrius. He’s our villain.

He says “THANKS OUTLANDER-BAMA” and “We always had plenty of bread before YOU showed up!” and “Zakuul can’t just conquer and force everyone to bend to our will anymore :( :( :( :(” and “Won’t someone think of the children????” and decides he’s going to murderize him an Outlander. And the Alliance. 

He decides to become a terrorist and frame us for his terrorist acts. 

When he’s not starting whisper campaigns about how the Outlander is this horrible tyrant that must be stopped

Theron gets wind of Vinn’s plans, and decides to pretend he wants to be a cultist too! -- Vinn wisely slams the door in his face. This is the only wise thing Vinn ever does.

Vinn’s not a very good mastermind, so scary droid lady (GEMINI 16) says “Here honey, let me help you find a giant apocalypse machine”, although she doesn’t say honey because she hates everyone who’s not her

I actually skipped Iokath but I swear to god that’s an entire post unto itself, but someone tries to murderize the Outlander. Theron’s strangely calm about this. We’re supposed to think that’s because the TR8R WAS HIM ALL ALONG

This is stupid and goes against every characterization of Theron Shan up to this point in canon. I literally need an entire post to go into this, and am trying to keep things short.

TL;DR: This lady tried to murder the Outlander because ?????

I’m pretty sure the person behind the mask is the Scion, Oramis, and this part of the story/explanation got cut when they condensed everything.

Oramis and the Scions are also another post/explanation entirely

Gemini 16 lured everyone to Iokath

the full explanation is a post unto itself

but it’s the only thing that makes sense (with her motivation, Vinn’s motivation, their entire dialogue on their first meeting -- again, I’m trying to keep this “short”)

Sixteen literally has recordings of Team Outlander talking about who could have lured everyone there -- implying she was in the Iokath mainframe the entire time they were there on Iokath Fieldtrip #2

also, Vinn Atrius is as dumb as toast

🍞

Theron is actually pretty pissed about someone trying to murder his boss/best friend/girlfriend/boyfriend. And he’s pretty sure he knows who it is. So he goes into ultra THERON LOGIC mode -- which is to say, he becomes an overly paranoid loner -- and decides to infiltrate a death cult.  (again). As you do.

Because via intelligence reports that are for some stupid reason hidden behind group content, he already knows that some conspiracy against the Alliance is afoot. And that they’re being watched. Apparently Lana forgot to read all of her Intelligence dossiers???? 

Since he knows we’re being watched, but can’t figure out how, logically the only thing to do is without any backup whatsoever, try and infiltrate the Death Cult that slammed the door in his face once already. 

Luckily for Theron, Vinn Atrius is a dumbass and says “IDK... you’re pretty close to the Commander”

Theron says “Would a face like this lie to you?” while making this face in the cutscene: 😡  

Vinn’s like “When you’re right, you’re right! Blow up a train for me?” 

Theron: AHAHAHA SURE. I LOVE BLOWING UP TRAINS

Theron, Mentally: ...well, crap. I guess I could tell the Commander about this. BUT THE WALLS HAVE EARS--WAIT I HAVE A BRILLIANT PLAN

Theron proceeds to concoct the most elaborate stage play known to man, which includes:

Leading everyone to the front of the train

Where he can lure both the Outlander and Lana into the front compartment

And shoots Lana with a stun blast, something he has never done before to someone he’s trying to supposedly kill

Then he shoots at the Commander--but not really, because he was shooting out the window on the front of the train

Then he shoots again at the Commander--but not really, because he was shooting at the controls to bring up a shield that prevents the Outlander from following him

And oh no! Now there’s a shield between them, what a tragedy, I guess he can’t pretend to shoot at the Commander and miss for a third time. Guess it’s time to monologue like a Bond villain. What can ya do? It’s not like he has cybernetic implants that help him be an expert marksman. God, that’d be embarrassing.

Since he knows that he’s being recorded by some unseen person, he really hams it up for the camera. He makes this face again, because he’s decided it’s part of his tr8rsona: 😡

The Outlander can react in a variety of ways, but if one of those ways is “UM WTF???? WHY DIDN’T YOU TALK TO ME???” he suddenly breaks tr8r character and goes “I thought about it... but then you might have talked me out of it--AND WE CAN’T HAVE THAT!” 

if you romanced him and say you still love him he makes this face: 😭

And then literally tells the Outlander how to escape from the train before like going “I’m really gonna blow up this train -- in thirty seconds -- gosh it would be a shame if you were still on this train in thirty seconds. When it blows up. When I pull the trigger. That I’m about to do.”

The Outlander leaps off the train, out of the convenient exit point Theron made, with Lana. They’re respectively like “?????” and “🤬🤬🤬🤬”

Vinn thinks this all very convincing. Sixteen is facepalming in the background. Vinn doesn’t listen to her. We don’t see any of this, but it’s kind of implied in future dialogue.

If you’re dating Theron and didn’t try to Force choke him, he sends you a letter going “I STILL LOVE YOU -- CAN’T EXPLAIN WHY I DID THIS BUT ILU PLZ DON’T FORGET ILU oh yeah and the alliance sucks and stuff i guess -- ps. ♥︎♥︎♥︎”

This is apparently something a tr8r would do, because Theron is Vinn’s go-to guy now. And decides to give Theron the task of retrieving a map to this place called Nathema so they can find a giant death machine to kill the Alliance.

Oh wait. That place called Nathema. That Theron has been to before. And knows the exact coordinates too because he was the pilot that flew them there. The place that Valkorion sucked the entire life out of and made a giant wound in the Force. THAT NATHEMA.

This is the part where normal people might think “Maybe I should reconsider my plans”, but they are not Theron Shan. Who shaves his head, throws away a jacket he’s been wearing since he was like fifteen, and heads over to Chiss space, to steal/blow up a map to the Ancient Death Machine.

Actually it’s revealed/hinted at on Iokath, on Copero, and then clarified once again in Nathema Conspiracy, that this machine is literally the Apocalypse

It wipes out entire worlds’ populations in an instant

Background lore indicates that its hunger is endless and has been waiting to rise again and there’s like prophecies about this

If activated and not stopped, this machine will literally annihilate all life in the galaxy

Theron blows up some more things at a resort, runs bravely away away, and then OOPS OH SO ACCIDENTALLY broadcasts his call with the Death Cult, who say their name on camera.

Shockingly, the Alliance intercepts the accidental-on-purpose broadcast and now know the name of Theron’s new cult: The Order of Zildrog

Then like forever and a day passes in real life, but who knows how long in game time, but I guess it’s like, six months or less according to a line of dialogue -- and finally Lana and the Outlander mysteriously get coordinates to a myyyyysterious abandoned outpost. 

And by mysterious, I mean that Lana is the only one who can decode said coordinates because she and Theron came up with the encryption together on Rishi

It’s almost like he’s working from the inside or something

But if you tell Lana that she’s like “NO HE’S A TR8R GRRR THIS A TRAP”

It is not a trap

Lana and the Outlander wander around, and find a bunch of recordings someone conveniently forgot to erase detailing a bunch of infodumps that’s way too long for the Cliff’s Notes version, but boil down to showing and implying an entire novel’s worth of backstory:

Vinn’s manifesto

Theron unconvincingly pretending he really likes death cults

Vinn staring at numbers from data he got from Iokath and zomg Zildrog is reallllll -- the legends of his mighty hunger and DEATH DEALING are true! Squee! Just what he needs to get rid of that pesky Outlander!

Vinn recruiting people who really don’t like you into his death cult

Gemini telling Vinn he really sucks at this masterminding thing, but she needs someone who’s good with people so hey let’s team up!

Oh and she knows where Zildrog is

The Outlander and Lana escape before the space station blows up

Over on the Shuttle of Zildrog, Theron’s like “It’s all up to you now, Commander” and apparently Vinn hears that and is like “Hey Theron, did you remember to erase all of our super sekrit recordings and blow up the space station?"

Theron: 👌

Vinn: 👍

Sixteen: 😒

Back on Odessen Lana’s like “I KILL DA TR8R” regardless of your feelings on the matter as an Outlander. If Arcann’s still alive he’s like “Hey Commander, maybe go easy on Theron? I know the value of forgiveness. Maybe he had his reasons?”

You get corroborating information of literally everything we just learned on the Space Station OF DOOM and Lana’s still like “Nope, still gonna shank me a tr8r! No one tazes Lana Beniko and lives!”

I assume it’s a fun ride to Nathema

Okay I joke. She’s just being protective and "logical”, but honestly if you select literally every single dialogue option supporting Theron throughout this story, illogically Angry Lana can really start to grate after a while

On Nathema, we follow a myyyysterious signal -- to Theron. To the surprise of no one except Lana who’s like “JERKFACE STAY AWAY FROM THE COMMANDER”

Theron proceeds to tell an extremely abbreviated, and slightly more straightforward version of everything above. 

If you’ve romanced him, he reminds you that he promised to do anything to protect you. 

This includes shaving his head, updating his wardrobe, blowing up a train, and putting up with Vinn Atrius’s shit for months on end

The things he does for love

Lana still doesn’t believe him. At this point if you want to, you can be like “Lana plz” and she’s like “OKAY FINE--BUT I’M WATCHING YOU TR8R”

Gemini 16 was watching the entire exchange. Looks like SOMEONE’S cover is blown. Oh well, Theron was done with it anyway.

Vinn is SHOCKED. SHOCKED I TELL YOU.

HOW DARE

THERON????

HOW COULD YOU?????

YOU FRIENDED ME ON SPACEBOOK

WAS IT ALL A LIE

I KEEL HIM

Sixteen is just like “whatever let’s go activate Zildrog”

Vinn: Is this why he kept insulting our Lord and Savior Valkorion?????

Team Outlander fights their way to the site of the Ancient Apocalypse Machine. They meet Shroedinger’s Cultist along the way via holo. 

He/she/they says “hi/plz die”.

There’s sixteen candidates for this spot (two for each class) -- but all sixteen are not death cultists at the same time

This is another thing that requires an entire post to delve into, so another time on that

Team Outlander arrives at the site where Zildrog was installed on Nathema -- coincidentally right at the same spot Tenebrae/Vitiate/Valkorion initiated his first death ritual to grant him semi-immortality. Fancy that.

Vinn has convinced everyone he’s recruited into his death cult to climb into these really dangerous looking pods; not surprising but they’re all basically dead -- because Zildrog required a human sacrifice to be reactivated

A human sacrifice???

In my ancient death machine?

It’s more likely than you think!

Theron shoots Vinn because he’s tired of his shit

Gemini 16 reveals that the Zildrog machine is one half of a larger death device built on Iokath. Where’s the other half?

OH BACK ON ODESSEN. Because it’s the Gravestone. Yes, I know everyone forgot about it at this point, which is kind of easy since we haven’t seen it since KOTET.

The Gravestone blows up the Eternal Fleet. Like, all of it. At once. Also the control console for the Fleet blows up too. This kind of detonates several things on base.

For some reason edgelords on Reddit think this is all Theron’s fault

As if the writers were really going to let us keep that Deus Ex Machina that would literally prevent them from going back to these same whiner’s precious Pub vs Imp conflict

And ignoring the fact that this would have been the end result even if Theron hadn’t gone undercover

I digress

Team Outlander fights Sixteen and defeats her. 

Theron goes to try and finish shutting Zildrog down and Vinn Atrius is like

And stabs Theron in the back with a lightsaber pike

The Outlander can be like 

“FUCK YOU ASSHOLE THAT’S MY BEST FRIEND/BOYFRIEND”

 or “OH NOES” 

or “ASSMUNCH I WAS GONNA DO THAT”

Vinn’s like “DRAGGONNNNNNNNN” as if he was recreating a scene from Dragonball Z, and the holo-Zildrog is like “Here, let me make you go Super Saiyan!” -- and gives Vinn a boss buff

Outlander and Lana fight Vinn and kick his ass. Then kick Zildrog’s ass. Yes, Zildrog is literally just a computer console in the center of the room, and if the Outlander more or less pulls a Kylo Ren on it

The Gravestone blows up -- everyone on Odessen is really confused

Lana tells the Outlander that “WAIT! Theron’s still alive!” -- she’s backed off her murderous rampage at this point and says we have to bring him back to Odessen to save his life

The Outlander can act like any sane person to their boyfriend/best friend/person-who-risked-their-entire-life/reputation-to-save-us/etc and go “Let’s take him home and save his life”

Or can be a dick and literally make Theron live out his worst fear of being abandoned by the people he cares about -- because despite the mountain of evidence that illustrates he literally did all of this to save your life, you can just walk away going “tr8rs never prosper”

This option shows what looks like him dying offscreen

I’m pretty sure he actually survives

Satele sends you a nastygram if you do this, where she directly contradicts a previous letter she sent (to Theron) if you tried to kill her in KotFE Chapter 12

Lana also is not happy with you if you do this, but not like, enough to actually leave or anything

Back on Odessen it’s revealed half of the members of the Alliance are fair weather friends and have abandoned you since you don’t own any super cool space ships anymore

If you brought Theron back with you, he limps up while you and Lana are shooting the breeze and asks if he can stay

You can say yes or no

If you’re romancing Lana you can propose to her around this point

If you’ve romanced Theron (and didn’t tell him to hit the road), you take an ill-advised walk as he’s still limping like crazy, where he reveals that he’s been having nightmares ever since Umbara about you walking away from him and he can never catch up

GEE WHAT DOES THAT SOUND LIKE

He says he knows he doesn’t deserve your trust or forgiveness, but still asks if you can give “your idiot spy boyfriend” a second chance 

You can say no, of course, but if you say yes, there’s a dialogue path that leads to an adorably awkward proposal

And he promises that he and Lana will stay by your side no matter what

THE END

(of that story arc)

Sorry, I know that’s rather disjointed and rushed (despite being as long as it was)! But for such a rushed ending/conclusion, there’s actually a lot of moving parts to the storyline as whole. 

At some point in the future I’ll try to actually expand upon some of those tangent points of “I need more time to explain this properly” -- because there’s a lot of them, and a lot to them. Also cross-referencing the pieces of canon takes time -- but I promise there’s actual canonical evidence and logic trains that make sense for all of that.

[protect-daniel-james]

Roy Keane podcasts/videos/songs

As we all know, Roy Keane is one of the easiest people to make a parody for. Just throw in a bit of a tantrum, terrible Irish accent and some words like “bluffer”, “cunt”, “disgrace”, “fucking” and “attitude” and “character” and you have the man himself. Yeah, it’s very easy to make fun of him, and the media have a love/hate relationship with him. He’s had his angry moments. Nowadays, you can find articles like “Roy Keane: How to suck the fun out of anything”, “Roy Keane BLASTS *some random fucker*”, “Roy Keane STIRS UP THE HEATED ARGUMENT”, basically “Roy Keane loses his shit” all the time, every time. 

I fell in love with him thanks to many great videos/parodies/songs as well. They are part of the legend of him.Here is what I would recommend if you want to learn more.

1. Podcast “Roy Keane versus...”

This is the best option. This is what you absolutely need to listen to if you’re a Man United fan of the 90′s era. It’s a proper podcast with guests (and an amazing host) in each episode, where different moments of Roy’s life and career are discussed. (so you have episodes like “Roy Keane versus the World Cup” or “Roy Keane versus Alex Ferguson” etc.). It’s a great deep-dive and analysis of Roy Keane as a person, his motivation, his personality, his whole life. 

2. Top Flight Time Machine podcasts - “The Keane Odyssey” & “The Keane Odyssey Part 2″

These series of podcasts are based on reading and commenting on Roy Keane’s autobiography. It’s not as serious and structured as the previous one but it’s funny (most of the time) because the two hosts often add in their imagined situations with Roy, and they basically do a parody of him. It’s hilarious if this kind of humor is your cup of tea. And I love their impressions of angry Roy. It’s used very often.

“He (Roy) complained about these players who when they finished training - he goes ‘they go back to their homes or to the pub or to do other things’ and the one thing that we didn’t pick up on was his mention of going back to their homes in a very negative way. (in Roy Keane’s voice) Do you know where they go? Their homes. They go to their fucking homes. Can you imagine? Don’t these fuckers have spider-holes? They’ve got fucking houses with carpets and taps and - what you call it now? - the radiators. What’s that?! Oh, it’s a big fucking warming device that you hang on the wall because you feel a bit chilly!”

I think it’s absolutely genius. My favorite part is probably:

(Roy Keane met with the Sunderland manager, who told him that they’re not really desperate to sign him.) in Keane’s voice: Fuck him - I’m signing! (...) You prick! I’ll sign for you, how would you like that? There you go - signed! I’ll go for no money! I’ll fucking pay you!”

3. Gift Grub - anything really. They are all parody songs. Mario Rosenstock’s version of Roy has many catchphrases (”at the end of the day like”, “as I said before like”, “all credit to”, specific laughter...). Gift Grub also does parodies of other former footballers and managers (Jose Mourinho is amazing! check out the songs “Jose and his amazing technicolor overcoat” and “Shaddap your face” and my most favorite “I sign a little player or two”)

Dry your eyes, Becks (a duet with David Beckham)

Dry your eyes Becks I know it's hard to take but as I said before like There's plenty more games in group B

Something Stupid (a duet with Martin O’Neill)

M: Your eyes are bright, the rage - it fills your head, the mist goes red And the air, it turns blue Roy -  R: Hang on a second at the end of the day -  M: Roy, take it easy! R: ‘Cos then I’ll go on and spoil it all By saying something stupid like: M: Roy, hold on a second -  R: Shut the fuck up, you! Shut the fuck up, you! 

If I wasn’t Roy

If he wasn’t Roy A legend, a god I’d ask him where’s the ninety million ‘Cos still we have a really crap squad

Leave Right Now (my most favorite one, probably. It’s really heartbreaking, although it’s just a parody. It was released after Roy’s departure from Man Utd, and it’s quite a poignant tribute to him).

All credit to the time it's flown Remember how I beat Juventus on me own? The greatest midfielder of his era Are you listening, Patrick Vieira?’ But I'll keep going, you'll see Even with me dodgy knee Oh how the mighty have fallen, it's pathetic I might end up in Wiggan Athletic I think I better leave right now Leave all the prawns and the blazers I think I better leave right now Before it dawns on the Glazers Can't you just see it now? Here come the knives and the razors I think I better leave right now....

4. The truth behind Roy Keane’s anger

This little animated video is hilarious because it actually quite fairly shows Roy’s behavior and nature. It’s all about the contrast between the actual situation and Roy’s view of it. And, to be honest, it really captures Roy’s mind and his way of understanding everything as an attack against him. That’s why he always attacks back. It’s just because he feels like everything is against him.

5. 442oons “The Roy Keane Show”

If there’s my favorite kind of episodes of 442oons, it’s definitely the “Roy Keane Show”. Keane’s character at its best - screaming, angry, fighting, frustrated. But also depressed, in the end.

[blackkudos]

Betty Carter

Betty Carter (born Lillie Mae Jones; May 19, 1929 – September 26, 1998) was an American jazz singer known for her improvisational technique, scatting and other complex musical abilities that demonstrated her vocal talent and imaginative interpretation of lyrics and melodies. Vocalist Carmen McRae once remarked: "There's really only one jazz singer—only one: Betty Carter."

Early life

Carter was born in Flint, Michigan, and grew up in Detroit, where her father, James Jones, was the musical director of a Detroit church and her mother, Bessie, was a housewife. As a child, Carter was raised to be extremely independent and to not expect nurturing from her family. Even 30 years after leaving home, Carter was still very aware of and affected by the home life she was raised in, and was quoted saying:

I have been far removed from my immediate family. There's been no real contact or phone calls home every week to find out how everybody is…As far as family is concerned, it's been a lonesome trek…It's probably just as much my fault as it is theirs, and I can't blame anybody for it. But there was…no real closeness, where the family urged me on, or said…'We're proud'…and all that. No, no…none of that happened.

While the lack of support from Carter's family caused her to feel isolated, it may also have instilled self-reliance and determination to succeed. She studied piano at the Detroit Conservatory at the age of 15, but only attained a modest level of expertise.

At the age of 16, Carter began singing. As her parents were not big proponents of her pursuing a singing career, she would sneak out at night to audition for amateur shows. After winning first place at her first amateur competition, Carter felt as though she were being accepted into the music world and decided that she must pursue it tirelessly. When she began performing live, she was too young to be admitted into bars, so she obtained a forged birth certificate to gain entry in order to perform.

Career

Even at a young age, Carter was able to bring a new vocal style to jazz. The breathiness of her voice was a characteristic seldom heard before her appearance on the music scene. She also was well known for her passion for scat singing and her strong belief that the throwaway attitude that most jazz musicians approached it with was inappropriate and wasteful due to its spontaneity and basic inventiveness, seldom seen elsewhere.

Detroit, where Carter grew up, was a hotbed of jazz growth. After signing with a talent agent after her win at amateur night, Carter had opportunities to perform with famous jazz artists such as Dizzy Gillespie, who visited Detroit for an extensive amount of time. Gillespie is often considered responsible for her strong passion for scatting. In earlier recordings, it is apparent that her scatting had similarities to the qualities of Gillespie's.

At the time of Gillespie's visit, Charlie Parker was receiving treatment in a psychiatric hospital, delaying her encounter with him. However, Carter eventually performed with Parker, as well as with his band consisting of Tommy Potter, Max Roach, and Miles Davis. After receiving praise from both Gillespie and Parker for her vocal prowess, Carter felt an upsurge in confidence and knew that she could make it in the business with perseverance.

Carter's confidence was well founded. In 1948, she was asked by Lionel Hampton to join his band. She finally had her big break. Working with Hampton's group gave her the chance to be bandmates with artists such as Charles Mingus and Wes Montgomery, as well as with Ernest Harold "Benny" Bailey, who had recently vacated Gillespie's band and Albert Thornton "Al" Grey who would later go on to join Gillespie's band. Hampton obviously had an ear for talent and a love for bebop. Carter too had a deep love for bebop as well as a talent for it. Hampton's wife Gladys gave her the nickname "Betty Bebop", a nickname she reportedly detested. Despite her good ear and charming personality, Carter was fiercely independent and had a tendency to attempt to resist Hampton's direction, while Hampton had a temper and was quick to anger. Hampton expected a lot from his players and did not want them to forget that he was the band's leader. She openly hated his swing style, refused to sing in a swinging way, and she was far too outspoken for his tastes. Carter honed her scat singing ability while on tour, which was not well received by Hampton as he did not enjoy her penchant for improvisation. Over the course of two and a half years, Hampton fired Carter a total of seven times.

Carter was part of the Lionel Hampton Orchestra that played at the famed Cavalcade of Jazz in Los Angeles at Wrigley Field which was produced by Leon Hefflin, Sr. on July 10, 1949. They did a second concert at Lane Field in San Diego on September 3, 1949. They also performed at the sixth famed Cavalcade of Jazz concert on June 25, 1950. Also featured on the same day were Roy Milton & His Solid Senders, Pee Wee Crayton's Orchestra, Dinah Washington, Tiny Davis & Her Hell Divers, and other artists. 16,000 people were reported to be in attendance and the concert ended early because of a fracas while Hampton's band played "Flying High".

Being a part of Hampton's band provided a few things for "The Kid" (a nickname bestowed upon Carter that stuck for the rest of her life): connections, and a new approach to music, making it so that all future musical attitudes that came from Carter bore the mark of Hampton's guidance. Because of Hampton's hiring of Carter, she also goes down in history as one of the last big band era jazz singers in history. However, by 1951, Carter left the band. After a short recuperation back home, Carter was in New York, working all over the city for the better part of the early 1950s, as well as participating in an extensive tour of the south, playing for "camp shows". This work made little to no money, but Carter believed it was necessary in order to develop as an artist, and was a way to "pay her dues".

Very soon after Carter's arrival in New York City, she was given the opportunity to record with King Pleasure and the Ray Bryant Trio, becoming more recognizable and well-known and subsequently being granted the chance to sing at the Apollo Theatre. This theatre was known for giving up-and-coming artists the final shove into becoming household names. Carter was propelled into prominence, recording with Epic label by 1955 and was a well-known artist by the late 1950s. Her first solo LP, Out There, was released on the Peacock label in 1958.

Miles Davis can be credited for Carter's bump in popularity, as he was the person who recommended to Ray Charles that he take Carter under his wing. Carter began touring with Charles in 1960, then making a recording of duets with him in 1961 (Ray Charles and Betty Carter), including the R&B-chart-topping "Baby, It's Cold Outside", which brought her a measure of popular recognition. In 1963 she toured in Japan with Sonny Rollins. She recorded for various labels during this period, including ABC-Paramount, Atco and United Artists, but was rarely satisfied with the resulting product. After three years of touring with Charles and a total of two recordings together, Carter took a hiatus from recording to marry. She and her husband had two children. However, she continued performing, not wanting to be dependent upon her husband for financial support.

The 1960s became an increasingly difficult time for Carter as she began to slip in fame, refusing to sing contemporary pop music, and her youth fading. Carter was nearly forty years old, which at the time was not conducive to a career in the public eye. Rock and roll, like pop, was steadily becoming more popular and provided cash flow for labels and recording companies. Carter had to work extremely hard to continue to book gigs because of the jazz decline. Her marriage also was beginning to crumble. By 1971, Carter was single and mainly performing live with a small group consisting of merely a piano, drums, and a bass. The Betty Carter trio was one of very few jazz groups to continue to book gigs in the late 1960s and early 1970s.

Carter created her own record label, Bet-Car Records, in 1969, the sole recording source of Carter's music for the next eighteen years:

....in fact, I think I was probably the first independent label out there in '69. People thought I was crazy when I did it. 'How are you gonna get any distribution?' I mean, 'How are you gonna take care of business and do that yourself?' 'Don't you need somebody else?' I said, 'Listen. Nobody was comin' this way and I wanted the records out there, so I found out that I could do it myself.' So, that's what I did. It's the best thing that ever happened to me. You know. We're talking about '69!

Some of her most famous recordings were originally issued on Bet-Car, including the double album The Audience with Betty Carter (1980). In 1980 she was the subject of a documentary film by Michelle Parkerson, But Then, She's Betty Carter. Carter's approach to music did not concern solely her method of recording and distribution, but also her choice in venues. Carter began performing at colleges and universities, starting in 1972 at Goddard College in Vermont. Carter was excited at this opportunity, as it was since the mid-1960s that Carter had been wanting to visit schools and provide some sort of education for students. She began lecturing along with her musical performances, informing students of the history of jazz and its roots.

By 1975, Carter's life and work prospects began to improve, and Carter was beginning to be able to pick her own jobs once again, touring in Europe, South America, and the United States. In 1976, Carter was a guest live performer on Saturday Night Live′s first season on the air, and was also a performer at the Newport Jazz Festival in 1977 and 1978, carving out a permanent place for herself in the music business as well as in the world of jazz.

In 1977, Carter enjoyed a new peak in critical and popular estimation, and taught a master class with her past mentor, Dizzy Gillespie, at Harvard. In the last decade of her life, Carter began to receive even wider acclaim and recognition. In 1987 she signed with Verve Records, who reissued most of her Bet-Car albums on CD for the first time and made them available to wider audiences. In 1988 she won a Grammy for her album Look What I Got! and sang in a guest appearance on The Cosby Show (episode "How Do You Get to Carnegie Hall?"). In 1994 she performed at the White House and was a headliner at Verve's 50th anniversary celebration in Carnegie Hall. She was the subject of a 1994 short film by Dick Fontaine, Betty Carter: New All the Time.

In 1997 she was awarded a National Medal of Arts by President Bill Clinton. This award was one of thousands, but Carter considered this medal to be her most important that she received in her lifetime.

Death

Carter continued to perform, tour, and record, as well as search for new talent until she was diagnosed with pancreatic cancer in the summer of 1998. She died on September 26, 1998, at the age of 69, and was later cremated. She was survived by her two sons.

Legacy

Carter often recruited young accompanists for performances and recordings, insisting that she "learned a lot from these young players, because they're raw and they come up with things that I would never think about doing."

1993 was Carter's biggest year of innovation, creating a program called Jazz Ahead, which took 20 students who were given the opportunity to spend an entire week training and composing with Carter, a program that still exists to this day and is hosted in The Kennedy Center.

Betty Carter is considered responsible for discovering great jazz talent, her discoveries including John Hicks, Curtis Lundy, Mulgrew Miller, Cyrus Chestnut, Dave Holland, Stephen Scott, Kenny Washington, Benny Green and more.

On June 25, 2019, The New York Times Magazine listed Betty Carter among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.

Discography

CD compilations

1990: Compact Jazz – (Polygram) – Bet-Car and Verve recordings from 1976 to 1987

1992: I Can't Help It – (Impulse!/GRP) – the Out There and The Modern Sound albums on one compact disc

1999: Priceless Jazz – (GRP) – Peacock and ABC-Paramount recordings from 1958 and 1960

2003: Betty Carter's Finest Hour – (Verve) – recordings from 1958 to 1992

On multi-artist compilations

1988: "I'm Wishing" on Stay Awake: Various Interpretations of Music from Vintage Disney Films

1997: "Lonely House" on September Songs – The Music of Kurt Weill

[timeagainreviews]

Doctor Who and Video Games

We live in the era of the franchise. Everything it seems is getting the franchise treatment. After the success of the MCU, everyone wants that sweet sweet money. We’ve got the failed Universal Monsters reboot, the Harry Potter extended universe, and endless Star Wars movies. However, some franchises, it would seem, struggle to grow further than their core narrative. Star Wars never strays very far from the battle with the Empire. Which is one thing you can’t really say about Doctor Who. Doctor Who has done fantasy, sci-fi, period drama, schlocky horror, whimsy, and utter rubbish. I’ve always admired Doctor Who’s flexibility as a property. It lends itself beautifully to a wide range of mediums, such as audios and comic books. But what about video games? Are there any good Doctor Who video games? Could there be?

Over the past week, in preparation for this article, I've completely immersed myself in the world of Doctor Who video games. I feel uniquely qualified to have an opinion on the subject. But before we continue, I give a word of caution. I'm talking directly to you, now. Never in your life, should you ever play "Doctor Who: Return to Earth," for the Nintendo Wii. It's not worth the £1.80 that I spent on eBay. You don't ever deserve to do that to yourself. I don't care what you've done, nobody deserves that. If like myself, you have played this game, you have my deepest sympathies, especially if you paid for it new.

It doesn't interest me to make a list of the worst Doctor Who video games, as many people have done this already. It's nothing new to say that Doctor Who has a video game problem. When I wrote that Doctor Who should be run by Disney, I don't actually mean it should happen. I was merely illustrating that Disney knows how to take care of its properties. I would venture that Doctor Who has always had a bit of a management problem. Merchandise from Doctor Who has always reminded me of Krusty the Clown merchandise. So much of it is some bullshit they slapped a Dalek on said: "10 quid please!" Barring the occasional home run or third-party licensing, a lot of the merchandise is pretty uninspired. Which is bananas, because the world of Doctor Who has so much colour and potential.

Video games based off of movies and television are almost always as bad as movies and television based off of video games. They're rarely breaking the mould in their new medium. Most of the time, tie-ins such as these are quick soulless cash grabs. You can see this a lot in the Matt Smith era. There are at least seven games featuring his Doctor, and then a sudden decline. Matt Smith was the Doctor during one of the show's biggest points in popularity. Never before had the show been embraced on such an international level. Of course, the Beeb wanted to push as many video games out as possible.

The problem is, they didn't throw a lot of money at it, and not one project seemed to get the focus it deserved. I won't pretend to know the motivation behind the BBC's forays into video games, but it seems to be a trend with them to overdo something, and then be scared of it in the future. They changed the 5.5" figurine set to a 3.75" scale and nobody wanted them. Because of this, we haven't seen nearly as many 5.5" figures since. They once put out a figure of Lady Casandra's frame after she exploded into gore. We used to get figures like Pig Lazlo and the Gran from "The Idiot's Lantern." Now we'll be lucky if we get everyone's favourite- Graham O'Brien. They also did it with the Doctor Who Experience. They make this brilliant Doctor Who museum with the OK'est walkthrough story, and then put it right in the middle of Cardiff. They wondered why it never made any money. I've been twice, and I gotta say- they should have put it in London. It would still be open.

This isn't to say all of Matt Smith's video games are bad. In fact, the Eleventh Doctor adventure games referred to simply as "The Doctor Who Adventure Games," are some of my favourite in the entire lot. And as much as I would like to blame the BBC for their lack of caring, the fact is Doctor Who is not easy to translate into video games. Even if they do care, they still need the right team on the job. Oddly, it's one of the Doctor's greatest charms that makes Doctor Who hard to translate into a video game, and that's the Doctor's stance on violence. If the Doctor could pick up a laser pistol and just frag some Daleks, we'd probably have an entire series on our hands. Unfortunately, most developers go one of two ways. They either ignore the pacifism or we get countless mind-numbing puzzles.

Puzzles are by far the worst element of any Doctor Who game. In the browser-based "Worlds in Time," there were a plethora of Bejewelled type mini-games and pipe matching puzzles. The puzzles got increasingly harder even if the player wasn't also getting increasingly better. Even the platformer "The Eternity Clock," was mired in constantly stopping to do puzzles. They pop up in the Adventure Games, but other than the infuriating "don't touch the sides," puzzles, they don't detract much from the gameplay. There were moments where I felt a bit like a companion because I was decoding a Dalek computer for the Doctor, which is really the money spot for a Doctor Who video game. Any time a Doctor Who game can make you feel like you're in Doctor Who is time well spent.

When asking my friends what kind of Doctor Who video game they would like to see, many of them mentioned they would like a survival horror type game. We sort of get this in many of the Smith era games. In "Return to Earth," the mechanic is sloppy and infuriating at best. In "The Eternity Clock," and the Adventure Games, it's a little more manageable. It's a nice way to add a challenge to a non-violent gameplay style. It would be interesting to see what a game team from something like "Thief," or "Resident Evil," might do with the sneaking aspect.

Another way the games have completely side-stepped the non-violence and puzzles is by having the Doctor act as a secondary character. The player is put in the position of the companion or perhaps a UNIT soldier as in the case of "Destiny of the Doctors." If you've not played DotD, I wouldn't blame you. I was hitting my head against the wall just trying to figure out what to do. The only real reason to play that game is for one last chance to see the fabulous Anthony Ainley reprise the role of the Master. He's in totally smarmy ham mode, even if it's a bunch of gibberish they shot in a day. You can find the entirety of the footage on YouTube and it's surreal.

The problem with having the Doctor be violent is that it doesn't feel true to the character. Sure, Three did some Venusian aikido, Four broke that dude's neck in "Seeds of Doom," and even Twelve socked a racist in the face, but these are isolated incidents. The spirit of the Doctor is lost in 1992's "Dalek Attack," when the Doctor is forced to go full on bullet hell on a Dalek hover cart. It's funny then that one of my favourite Doctor Who games incorporates a violent Doctor. In the Doctor Who level of "Lego Dimensions," the Doctor uses his sonic screwdriver to make villains fall apart in a very safe Lego style violence. I can excuse this mostly because the game is not primarily a Doctor Who game at heart.

Funnily enough, the Lego game does something I've always wanted in a Doctor Who video game. I've always wanted to have a Doctor Who game where you could regenerate into different Doctors, and also go into their respective TARDISes. Sure, some of the games on the Commodore 64 allowed you to regenerate, but it was pretty naff in its execution. I tell no lies when I say I spent a lot of time regenerating and reentering the TARDIS to explore the Lego versions of their respective console rooms. Really, the biggest problem with the Lego Doctor Who game is that it wasn't it's own game. Lego Dimensions was its own failure. If TT Games would come out with an entire Doctor Who game, I would buy it yesterday.

The overarching problem with every Doctor Who game is the same problem Torchwood had- if it wasn't attached to Doctor Who, we wouldn't be interested. While I did have a lot of fun with the Adventure Games and Lego Dimensions, not one Doctor Who game has every element right. One has a good story, but poor mechanics, another has great mechanics but doesn't feel right. It's a bit of a tight rope to find the perfect balance, but I don't feel it's impossible

One of the reasons I would love to see a proper Lego Doctor Who game is that they have a history of good adaptations. They're not exactly beloved games, but I myself play a lot of them. One of the most impressive things I've seen them do was in Lego Batman 3, where they made each of the planets in the Green Lantern mythos a visitable world. Could you imagine the same treatment for Doctor Who? Visiting Telos and Skaro, and then popping off to medieval earth or Gallifrey? You could get different missions depending on which Doctor you were, or what time you arrive in. And the collectable characters! So many companions, and Doctors, and baddies, and costume variations to unlock! Doesn't that sound nice? You can buddy Jamie and Amy with Seven and Twelve and have an all Scottish TARDIS! A Zygon could ride K9!

The fact is, we probably won't see a very expansive Doctor Who game. I would be very enthusiastic for an open world Doctor Who game, but even as I type it, it sounds difficult to pull off. I may be able to say what doesn't work about the games, but saying what would work is admittedly, not as simple, but this doesn't mean I can't think of at least one good game. Piecing together some of the things I mentioned earlier, I think the best genre for Doctor Who is point-and-click adventures. I know I keep singing the praises of the Doctor Who Adventure Games, but it's because I think they were actually onto something. It's sad then that they scrapped any further developments to work on the inferior "Eternity Clock."

Could you imagine a point and click Doctor Who in the same vein as "Day of the Tentacle," or "Thimbleweed Park"? You walk around as the Doctor, pick up bits, talk to funny characters and solve complex problems. If you throw in a bit of horror survival, you've basically got the Adventure Games, which is my point- Do more with what they've already done. Grow the concepts. Improve the mechanics. A Doctor Who game should be jammed packed with Easter eggs, unlockables, and mystery. The point is, do more. Even their phone apps are abysmal. You know how much I would play a “Pokémon Go,” style Doctor Who game? You go around trapping baddies in cages you set off with your sonic screwdriver or something. I. Would. Catch. Them. All.

We still have “The Edge of Time,” coming to PC and consoles in October, and I'm pensively excited. While the graphics seem really top notch, in no way does it feel like anything more than a fun little VR experience. The game is going to remain exclusive to that small subsection of gamers that own a VR headset. Before it has even been released, it's closed itself off to yet another section of its very wide audience. Let's just hope that it doesn't scare the BBC away from making a proper Doctor Who game in the near future. And in the meantime, I'm going to have to borrow my friends' VR set, because of course, I'm going to play it. It's Doctor Who.

Well friends, thanks for reading! I had a lot of fun “researching,” this article. Playing Doctor Who games all week? Oh no, twist my arm! Sadly, a lot of these games are no longer available from their original sources. I was able to find a lot of them on the Internet Archive. If you want to give them a go, I would definitely suggest it. A couple of them are even capable of being emulated on your browser from the Internet Archive. The game I had the hardest time locating was “The Gunpowder Plot,” but I was eventually able to find it after some digging. I didn’t play any of the text-based games because I’m not very good with spatial awareness, and so text-based games are usually a nightmare for me. Sadly, Worlds in Time is lost forever, but I remember my character fondly. I also discovered I’m pretty good at Top Trumps: Doctor Who. Go figure.

[thearkhound]

Letters to the MSX

Letters to the MSX (MSXにおくる手紙/MSX ni okuru tegami) is an article that was published in the final issue of MSX-FAN magazine (dated August 1995), in which the publication sent out a questionnaire to various people within the video game, computing and consumer electronics industries (from companies such as Micro Cabin, Compile, Game Arts, Sony and Matsushita), asking them about their involvement with the MSX and their thoughts about the platform, which was being discontinued from the market after 12 years in the market.

Originally I only intended to translate Hideo Kojima’s answers to the questionnaire, but then I decided to do the whole article because not only does it bring a lot of insight to the MSX culture in Japan, but it also provides a picture of how the computer industry was back in the mid-90′s and where it was heading. This is why it took me a while to publish this translation (and why I have been inactive on Twitter for almost a month now), since it was not only quite a long article, but there’s also quite a bit of technical jargon and idioms that I wanted to make sure I would get right.

Anyway, I hope that you will enjoy it.

Introduction

We sent out this questionnaire to as many companies as possible who were involved with the MSX via fax or PC. We wanted to publish the thoughts of the people who were involved during that period. We do believe this will lead to our next step.

The contents of the questionnaires are as follows. Please read them fully and compare them.

The text has been printed the way it was sent to us, but editor’s notes have also been in parts that we believe might be too difficult for some readers to comprehend. The text after the red circle is written by the editorial department to introduce the developer who answered the questionnaire, followed by their answers to each question. If the answers to question 1 and 4 given by the person in the previous section, then “same as above” will written in its place.

MSX-FAN Final Questionnaire

Company’s name

Name and current department

Job(s) during the MSX era

Most notable MSX products by the company

Your most nostalgic MSX moment and why

Words you wish to impart to MSX-FAN readers

Bonus/ Secrets, inside stories or such you wish to share

Tokihiro Naito

We can’t help but feel from reading Mr. Naito’s comment that the MSX was a machine that everyone made good use of. With such powerful talents, his games have served as an inspiration to numerous players. Before long, people learn about the enjoyment of creating games just like Mr. Naito... We feel it’s quite a wonderful chain.

T&E Soft

Tokihiro Naito, Development Division

DD Club/Pattern Editor Programming and Manual Manuscript Creation, Undead Line/Game Design. Hydlide/Game Design and Direction, Hydlide 3/Main Programming, Rune Worth/Game and Direction. I feel there were more projects (I’ve worked on), but I don’t remember any of them.

3D Golf Simulation, Hydlide series, Laydock series, Daiva, Psy-O-Blade, Rune Worth, DD Club, T&E Disk Magazine, and more

Laydock/ The truth is that I want to talk about everything I’ve worked on, but this particular title left the most lasting impression. This had an unexpectedly short development time, meaning that it was released even before the new MSX hardware. However, the developing target was pretty unstable, and with the hardware and BIOS specifications changing everyday, it led to a difficult development period. The person in charge was all (^ ^;

The MSX was a very interesting job for me. The MSX was probably the first time I was introduced to the concept of a VDP at such an early stage. Since the MSX was also the first machine I’ve ever experienced the use of sprites with, it was personally very fun. Even though MSX-FAN might be gone now, I hope many people will still use the MSX as a starting machine for programming or for making CGI.

DD Club contained a tool called SPEN, which was not a product by the company. It was actually a hobby program I designed in my home for over two years. At any rate, the name stood for Special Pattern Editor for Naito. This program was given free of charge to T&E Soft as my dedication to them./During the development of Laydock, I received a new BIOS-ROM from ASCII almost everyday, but every time the BIOS was changed it would cause the game to stop running, and we had to cool out the prototype MSX2 computer with a paper fan while programming as soon as it was overheating./ The 800 kanji fonts for the MSX1 version of Hydlide III that were on a 7x8 pixel format were in fact created by me. Were they hard to read? I’m sorry if that was the case./ There are many more unrevealed inside stories, but... (Editor’s Note 1: We this much content, we can’t publish this letter without cutting off some parts. Hmm...) (Editor’s Note 2: Hmm, I wonder if the other editor has seen that one last sentence.) (^ ^;

Akira Misoda

In the MSX world there is Micro Cabin. Nothing else needs to be said. We are grateful to them for many things. We thank them for porting Princess Maker to the MSX. And in addition to providing software for our supplemental disks, we learned many things from Mr. Nakano as the lecturer for our Picture Story & Movie Classroom articles. Producer Misoda has made an effort to backup all the above. I don’t think the Princess Maker port would’ve happened without his influence.

Micro Cabin

Akira Misoda, 1st R&D Department

Producer & Programmer of Campaign Daisenryaku. Programmer of The Tower of Cabin. Producer of Princess Maker.

Fray, Xak, Xak II, Maison Ikkoku, Urusei Yatsura, Daisenryaku, Super Daisenryaku, Princess Maker, Illusion City, The Tower of Gazzel.

This doesn’t have anything to do with the MSX version specifically, but Xak was the first game I programmed desperately after I’ve joined the company. I gave the rough source code to Mr. Nakatsu when he joined the company to produce the MSX version, but I’m still impressed that such a difficult code to understand could be ported so well.

The MSX is a hardware that has raised many people. There are quite a few people at Micro Cabin who used to be MSX users before joining the company. With the proper knowhow, you could make games on the MSX without having to purchase any expensive add-on (compared to other platforms). In that sense, it’s such a great loss that another platform that has produced game-making geniuses (!?) is disappearing from the industry. I might be exaggerating a bit, but... I really feel that way.

I’ve worked on the MSX prior to joining Micro Cabin. I did around four outsourced jobs from three different companies, and two of them were for Micro Cabin.

Yasuhiko Nakatsu

Programmers are said to stay up all night, tend to run away and are all unusual men, but there is no one who makes good products that keeps his deadlines, sleeps on time, and provides gentle guidance to everyone. We at the editorial department asked for such a person to serve as our lecturer for our picture story show articles. We are grateful to Mr. Nakatsu for everything he did to us and we apologize for asking too much of him. We are truly sorry for that.

Same as above

Yasuhiko Nakatsu, 1st R&D Department

Planning, programming, writing

Same as above.

I have many fond memories of software that came out on the MSX. Among there was this software called Su**s Gri... Oops! I’ve almost mentioned something I shouldn’t. My bad. My bad. Personally, Illusion City was my most memorable game when it comes to the most hardships I have to endure.

Thank you for publishing my articles after such a long period. For those who are not good at programming at BASIC, please look up any back issues and try your best at creating a picture story. The MSX was a machine with many ways to enjoy oneself. I look forward to future activities with the platform.

I was the one responsible for raising the memory of the A1-GT to 512Kb. Thanks to that, the machine was able to play MIDI without the burden of access time. I’m truly grateful at everyone in Matsushita.

Hitoshi Suenaga

Rather than introduce the person, I thought it would be more fitting to introduce his projects. He’s a talented genius responsible for the character designs in Micro Cabin.

Same as above

Hitoshi Suenaga, 2nd R&D Department

Xak 1, Fray, Daisenryaku, Illusion City

Same as above

Xak 1, since it was the first MSX project I ever worked on after joining the company.

I am grateful to everyone who supported our work, as well as everyone answered the questionnaire. While it’s sad that the world will go on without the MSX, I will still use it for my hobbies and personal work. In fact the character units in the 3DO version of Konpeki no Kantai were drawn on my MSX computer and then converted to the console.

If you want to be honest, if ASCII had asked for my input, I would’ve balanced out the hardware specifications of the MSX turbo R a bit more and I think the platform would’ve been around a bit longer. When I learned about the MSX turbo R’s hardware specifications after unveiling conference, I began crying on my bed... I’m serious! The MSX2 was a serviceable upgrade from the MSX1, but after that...

Katsuya Nagai

Mr. Nagai made one MSX software after the other while in Micro Cabin thanks to his love for the MSX and the effort he made to program every day and night.

Same as above.

Katsuya Nagai, 1st R&D Department

Programmed the opening and ending of Xak I. Also made the fighting minigame in The Tower of Cabin.

Same as above.

I was involved with Xak I as soon as I’ve joined the company.

Even though we are no longer making MSX games, we hope you’ll still support Micro Cabin in the future.

The Fray vs. Pixie minigame from The Tower of Cabin was ported from the PC-9801 version and I got to draw the animation patterns of a special move that was planned for the game. However, not all the animation frames could fit into the game’s memory, so I ended up using the regular patterns instead.

Naoko Arakawa

When talking about the TAKERU software vending machines, there is Ms. Arakawa. She was always full of energy when we met her during events. She even worked together with our editorial staff on the Sorcerian port, which is a project that brings us deep memories. She also worked on Sorcerian Relay, which is included in this final issue. Since it’s just a relay race game featuring characters from Sorcerian created by the editorial staff, it might not be anything special, but... We would be grateful is she re-releases more classic MSX software via TAKERU.

Xing

Naoko Arakawa, TAKERU Executive Office (sales division G)

Sales promotion of MSX software for TAKERU

Sorcerian, BURAI Vol. 2, ect.

Thanks to the news announcement from MSX-FAN, our game reprinting project attracted attention from many users, which evolved into the TAKERU Meisaku Bunko (Masterpiece Library) series. We;re now re-releasing PC-9801 and X68000 games on TAKERU as well, becoming an important pillar of our service more than ever. I think it was all thanks to the planning of MSX-FAN and our MSX users.

I truly salute MSX users for their passion, enthusiasm and creative urge. While we gathered many games for our reprint series, there were still quite a few things that left a bit to be desired (like why we didn’t include games from a certain company or why we didn’t include a particular title). There were many games that did not come out on TAKERU due to various circumstances, so we apologize for that. From now on we’ll do our best to have software reach MSX users via TAKERU, even if it’s just a few game. Please support us.

I have strong memories of sneaking out to see the A-Bomb Dome while I was en route to the MSX Festival in Hiroshima. On another occasion, I was photographed by a professional for the first time when I was interviewed by Mr. Tokita and Mr. Sasaya. The photo looked like a portrait than any normal photo. It’s one of my most treasured possessions.

Akkii

Falcon is a company that undertook a substantial role in the porting of Sorcerian that MSX-FAN and TAKERU (Brother) helped produce. Their president, Ms. Midori Ito, while working for Yamaha to promote the MSX, unexpectedly ended up becoming a programmer herself and before long she ended up marrying Mr. Kazuhiko Ito, who was employed at Micro Cabin at the time. The two ended up forming their own software development company. Answering in this section is Mr. Moribe, who was the lead graphic designer.

Tierheit (aka Falcon)

Akkii, Planning & Development Department - Development Section 2

Pixel art, debugging, intermediary with TAKERU’s executive officer, and many other jobs

Sorcerian, Sengoku Sorcerian, Pyramid Sorcerian

All of it, of course. It was the first company I’ve joined and the first job I was employed at.

The ending of Sorcerian was very anti-climatic. I’m sorry about that. Of course, the MSX is a hardware that exists because of its users. Even if this magazine will no longer be in print, the MSX scene will remain active as long as there are users, especially when it comes graphic designing (personally). Good luck!

Well there’s something I want to say, but... Oh no!

Yoshihide

I often used to go to the MSX Fair. I used to work at Osaka, bu moved back to Tokyo along with my wife last year. I want to know if the secret title was Dragon Spirit or Valkyrie.

Namco

Yoshihide, Consumer Sales Department - Promotion Division

MSX software sales and PR activities (including planning). Since there weren’t that many people, I did a bit of everything.

Return of Ishtar, Xevious: Farland Saga, Pac-Mania, ect. We also did the Disk NG series too.

For Xevious, I remember doing a bit of everything ranging from joining in the planning, production, advertising, distribution, sales and public relations.

I wish good luck to everyone involved with the MSX at Namco (including our users).

There were many games that we announced, but didn’t get released. On one hand I think it’s regrettable, but on the other hand it’s a bit horrifying.

Masamitsu Niitani

It’s because of Disk Station magazine that the MSX became an interesting world. It’s because of them that we had the Puyo Puyo series and Carbunkle. With its low-price, the fun-packed Disk Station was a brilliant plan that managed to rejuvenate an industry that has hit a rut. It was always a pleasure to deal with President Niitani himself when calling the company, even if it was the middle of the night.

Compile

Masamitsu Niitani, President

Planner, Producer, Graphic Designer, Programmer

Guardic, Madō Monogatari, Nyanpi, Golvellius, Rune Master, Adventure of Randar, Disk Station

Disk Station

Let’s walk with the times

I want to talk to Mr. Nishii of ASCII about his thoughts on the MSX.

Yoichi Miyaji

The founders of Game Arts got their start as part-timers at ASCII back in the old days. Because of their talent, they quickly formed their own company, where they gave birth to Thexder. At any rate, we had a chance to seriously think about developing for the MSX with Mr. Miyaji.

Game Arts

Yoichi Miyaji, President

Producer

Thexder, Fire Hawk, the Gyuwamburaa Jikō Chūshinha series, the Sum series

The debugging of the MSX-BASIC rom was carried out back when the founders of Game Arts were employed at ASCII. I think the BASIC was made extremely well.

I treasured the MSX like it was my own child. I did my best with the belief that the MSX was a better hardware than the Famicom (NES). It’s been more than 10 years (ed’s note: 12 years precisely), the age of the Famicom is over now and it’s time to let the MSX go too. It’s truly been a long time.

Satoshi Uesaka

Mr. Uesaka was the one who originally created the card concentration game called Card Desu as soon as MSX-FAN started including supplemental disks on each issue. It had an edit function in hopes that it would lead to a series of edited works, but not many edited versions were made and the whole thing amounted to nothing.

Same as above.

Satoshi Uesaka, Section Chief of Development

Producer, Director, Programmer, Pixel Artist, Scripter... I did many things.

Same as above.

The Sum series ended with 14 games that were released in a span of a single year.

Never forget your dreams, even when they end. (plagiarized)

Kamiji

BIT2′s president Mr. Kuribayashi was observing various creative tools for the PC-9801 one day when said that he would make his own versions to surpass them on the MSX. So he ended up making the CGI tool Graphsaurus, the FM music tool Synthesaurus and the MIDI tool Midisaurus. Without these tools there would’ve been no CGI contest on MSX-FAN and no MIDI Sandogaza column. In Mr. Kuribayashi’s place, this questionnaire was answered by saleswoman Ms. Kamiji.

BIT²

Kamiji, Sales

Accounting

Graphsaurus, Synthesaurus, Famicle Parodic

When they started putting all their efforts into the Turbo R and GT was when the MSX started sinking.

We still wanted to make MSX software, but since not many people were buying them anymore, we had to discontinue them.

Toshikazu Awano

While persistently providing software for the MSX, he also provided his invaluable insights on the MSX during the MSX Symposium (see our June 1991 issue). It seems he got into this world from the records industry, but has since be transferred into KOEI’s U.S. subsidiary and is now busy selling English versions of the Nobugana’s Ambition series for consoles.

Koei

Toshikazu Awano, Koei Corporation (of America)

Head of Sales

Nobunaga’s Ambition, Romance of the Three Kingdoms

Nobunaga’s Ambition II came out when I’ve joined the company and since it sold pretty well, it left me with a strong impression.

Our company used to sell MSX soft until very late, but when we discontinued them, we suddenly receiving porting requests from MSX users. Many of them were specifically middle and high schoolers with a strong sense of appreciation.

Tatsuo Matsuda

As someone who greatly loves the MSX beyond all else, he aspired to turn it into a machine that gives everyone the opportunity to bloom their talents. That is, even if you’re not rich or you live in a rural area, you should be able to use the MSX to awaken your hidden talent by creating CGI and music or get the opportunity to express yourself.

ASCII

Tatsuo Matsuda, Multimedia Department Promotion Manager

Promotion for MSX Sales

MSX

We have shipped over 4 million home computers to young people around the world, including Japan.

I want you to become smart Japanese people with unique personalities who could work around the world.

There are still many people using the MSX around the world. The MSX should be classified as a computer, not a game console. I’m very pleased that many people have learned about computers from this platform and have found employment through it.

Hitoshi Suzuki

Everyone who was involved with MSX has called him a genius. Without his genius, perhaps MSX wouldn’t had gotten such a good BASIC program. Nevertheless, he’s a truly wonderful person with a sense of humor who made Basic-kun as a side-project

Same as above.

Hitoshi Suzuki, Director of Digital System Division and Silicon Software Development

Listener to Mr. Matsuda’s complaints and causing uproars at parties.

I haven’t really done that much (Ed’s Note: He did a lot. Many of the programming for tools and systems used by the MSX were done by him.)

Yukiko Okada’s suicide haunted me. (Ed’s Note: At the time of her death, she was appearing in the advertising of a certain company.)

Our youth is a brief moment that only shines once. The memories that have gone through all of us at a rapid-pace will shine within me forever. And on my deathbed, I will utter “Em...Ess...Ex” as my last words.

There’s a huge mouse in Osaka. (Ed’s Note:It seems that the three main proponents of the MSX platform (Mr. Yamashita, Mr. Matsuda, Mr. Suzuki) once went to a business trip in Osaka. Nobody truly knows what happened there, but it seems that Mr. Matsuda was nicknamed Mr. Mouse after a certain incident. Don’t tell anyone, you meanie!)

Shingo Tamura

Mr. Tamura joined Sony at the midst of the audioboom. He was responsible for the famed live recording machine Densuke. Afterward, he became involved with the MSX and was in charge of the PalmTop. Even though Mr. Tamura is the section chief with a scary reputation, he’s actually a romantic who likes the stars, nature and soba noodles. We thought about what Sony means as a company with stuff such as sending mail through the internet in this day. Is it linked to their merchandising? We also wanted to emphasize the MSX’s side as a cool PC.

Sony

Shingo Murata, Planning and Development of Merchandising

Sales Chief of Planning and Development of Hardware, Software and Peripherals

The HB-55 was the first HiTBiT promoted by Saeko Matsuda. The HB-F1 was a budget-priced MSX2 computer that retailed at 32,800 yen. The HB-F1XD is an MSX2 with a floppy disk drive that retailed at 54,800 yen. In terms of games, there was The Wiz, which was perhaps a famed Sony original.

There was a software called Igo Club that was an online go game, and a Kanji Video Titler. There was also a BASIC-learning kit aimed at an industrial-level (after applying for the correspondence education, you would be sent an MSX with a handbook).

Every middle schooler who got their start on the MSX dreamed differently from Famicom owners. They could learn how to program or how to make a software run to their own accord. They continued in their creative endeavors now, even now as adults. If they can have home terminals like that in the 21st century, I think we can once again stir up some creativity. As long as people have dreams, we’ll embark on new challenges.

We tried to make and sell all kinds of products. The hardware is a business that really ought to make use of the software. With that in mind, we couldn’t make the DC machine (Ed’s note:a portable device) because the resolution was a bit overly optimistic and there were too many constraints. I would like to thank my subordinates, editor-in-chief Ms. Kitane and her staff, and my good friends at Sakurakai (Ed’s note: a liaison between multiple MSX hardware manufacturers that gathered once in every month, where they would improve on the good points, reflect on the bad ones and collaborate with each other. It was last held in May ‘95), even if they would normally be suspected of bid-rigging. And of course, everyone at ASCII. It was thanks to the MSX that I had a bond we all of the above people. And what would become of Mr. Kurami, our MSX historian at Sony who served as our walking encyclopedia? Thanks!

Naoya Kurami

Mr. Kurami is a delicate perfect fit for Sony’s corporate image. Everytime he received a call from our editorial department, he always winced momentarily whenever it was some kind of difficult call... Despite that, he seems to have what appears to be a poster of Saeko-chan...

Same as above.

Naoya Kurami, Vice Director of Planning and Development of Merchandising

Planning and Promotion of hardware, software and peripherals

Same as above

I don’t know if it can be said that its directly MSX-related, but do you know the stock-trading computer HB-T600 or the online go software Igo Club? Either way, studying stocks and studying go was a painful experience. And considering all that, the results were not quite good.

Well, for better or worse I spent the last ten years of my life working on the MSX. With this information now out on an MSX-related magazine, I feel a bit embarrassed. By the way, I own a train poster of Ms. Seiko Matsuda (advertising for our HiTBiT computers) as a souvenir from the past. I thought about selling it for a high price... I would like to thank all of editors at MSX-FAN and all of its readers. It’s been such a long time.

Hideaki Yagami

We, at the editorial staff, get the impression that the people at Matsushita are very serious and diligent. Both, their hardware and software are designed with the need to bring enjoyment to their users without betraying their expectations. Only Matsushita machines are strong against instantaneous blackouts and their PACs (Pana Amusement Cartridges) might had been a manifestation of that mentality. Under such circumstances, Mr. Yagami  (who is also skilled at skiing) was pretty good at gaining the trust of the software house (not just for the debugging meetings) and still is to this day.

Matsushita

Hideaki Yagami, Software Development Department of the Interactive Media Division

Development & Planning of Software at the Pana Amusement Production

The FS-5500F2 is famous for being the first MSX computer with 2 disk drives. The FS-A1 was a budget-pridced MSX2 that retailed 29,800 yen. The PACs were MSX cartridges containing S-RAM backup. Other products include the CF-XXX series, the FM-PAC, a Bowling System and an educational system aimed for Russia (that’s a secret)

The AshGuine series were a series of games starring the first character made by our company. We made the games all-night at the development site with the developers from the various companies involved to decide on the content of each game, their packaging and the posters.

When the MSX was brought to this world, a personal computer meant for the users something that could run the program they made, not just the packaged software they bought from a store. In today’s world, computers take many shape in order to support the needs of the world, but in spite of that it’s no longer easy to program by yourself, even if you own a PC. Even though PCs are becoming much closer to humans now, I can’t helped but feel a sense of nostalgia when the distance between them was more primitive, that is to say when a PC was just a programming tool. Back then the PC was the embodiment of a user’s dreams full of possibilities. It could be said that people who lived through the era when PCs were born are living witnesses of a valuable era that brought fruit to a trend of rapid creation and evolution. Keep those memories of freshness in mind and continue dreaming, seeking the possibilities of new challenges.

I wonder if there was any other unified effort between multiple home electronics manufacturers to promote a unified standard (MSX). MSX-FAN may have ended with this issue, but for the hardware manufacturers I think it was an era of everyone pursuing the dream of a single unified standard of PC. To all the companies that provided software, I’m truly grateful. I’m also grateful to Ms. Kitane and the rest of the editors of Tokuma for being there until the end. And finally, I would like to thank of all the MSX users who supported the platform.

Kazuaki Hiraga

Mr. Hiraga was suddenly put in charge of the MSX in a matter of months and became a familiar figure in ten years, leaving quite an impression. He has the personality you would expect. He plays Gekitotsu Pennant Race pretty well too. He also planned to lend out MSX computers to a culture festival. Thanks to that, he experienced a “ghost incident” in the Kanazawa Inn. At any rate, he held a mini-4WD competition to bring excitement to the event and played games with other users. In a sense, he was a familiar and energetic face to the MSX.

Same as above.

Kazuaki Hiraga, Software Development Department of the Interactive Media Division

As a member of the PAP, I’ve worked as a contact for various software providers and at the same time I was involved in the development of original software and peripherals (such as the PACs). I also planned  and managed nationwide events. I was Pana Amusement Club member no. 0001! By the way, the Amusement Club began business around the time Vampire Killer came out

Same as above.

At the beginning many hardware manufacturers created MSX machines, but in the end it became a fateful confrontation between Matsushita and Sony. Right now our Panasonic-branded products are selling quite well, especially our TVs and videos, but our no. 1 product in Japan is the “A1″. This symbolizes the magnitude of expectations that Matsushita applies to its products.

Looking at the current software industry, there are quite a few people who joined the industry from the MSX, so I feel it’s a big deal. in that sense, I appreciate all those people who are still passionate about the MSX and I’m eagerly awaiting even more people to become experts in the field of software development.

Thanks to the MSX, I have a nice family (ed’s note: Mr. Hiraga met his wife when she was the host of an MSX event. They now have a child together). It was also fun to go through various events nationwide and talk to representatives of software houses and magazines. Everyone gave it their best during the 4WD races in particular. (ed’s note:Mr. Naito of T&E Soft is known for using a turbo mode technique that connected batteries in a serial format.) One of the packaging illustrators for the AshGuine series was the now-famous Teppei Sasakura (who at the time was an unknown). Looking at the prices of Mr. Sasakura’s works recently, I tried to look for the original painting, but it’s nowhere to be found. Ah!

Masao Ito

Mr. Ito is an obliging person who planned out products he thought of while working on Matsushita’s hardware designs. If things are any indication, we believe he made the FM-PAC by embracing a headfirst approach. Within the people at Matsushita who supported the MSX until the end, Mr. Ito has been patiently answering various questions from our editorial staff up until this final issue.

Same as above.

Masao Ito, Planning and Selling of Foreign Software for the Interactive Media Division (I’m making 3DO stuff now).

First I worked on hardware designs. But then I acted as a jack-of-all-trades, examining the MSX standards at the same time. At the the end, I was responsible for product planning, as well as in charge of designing domestic and overseas systems.

Same as above

In Russia, I almost got arrested by the Moscow police one time after spending several consecutive nights bowling there.

The MSX was a cost-effective platform. It was useful in various ways if you knew how to use it well. While the MSX’s days are numbered, its ideal still remains true. The concept will surely be revived in the future (don’t hesitate to ask in which form).

I did quite a lot of things, but for some reason I am still an unknown in this industry. The PAC and FM-PAC cartridges were possible thanks to me! By the way, I’m still waiting to receive my own PAC and FM-PAC from the company.

Yuya Iwakiri

Mr. Iwakiri is a gentleman who organized many MSX events that gave us the chance to gather everyone. He supported up us until the end.

Same as above.

Yuya Iwakiri, Public Relations Department Editorial Department

As a professional, I’m a latecomer to the MSX when I was employed in 1989. In my private life, the first MSX computer I touched was a so-called King Kong word processor, which was a unique experience. Because I came from an advertising background, I focused on the planning and organizing of MSX fairs, where I involved in the creations of catalogs and advertisement (thinking about it though, the job was rather lonely since MSX-FAN was practically the only MSX-focused media remaining by that point), as well as the promotion and advertising of word processors (such as the UI series and the SLALA model).

Same as above.

For me, it’s perhaps the FS-A1GT, which ended up becoming the last MSX machine ever produced. The slight hopes of everyone who had an affection for the MSX, such as Ms. Kitagane, whom I have a strong rapport with, and the various celebrities (in every sense of the word) from all sorts of software house starting with Mr. Tanaka (director general of Micro Cabin), were gathered thanks  at the nationwide fairs thanks to this machine. Until the bitter end, there was hope for another model, hope for the uncertain future of the MSX... Even though I knew how it was going to end, I still couldn’t help but feel a sense of bitterness when it was over. It was like falling in love with someone you were forbidden to, like a feudal lord and a peasant or Romeo & Juliet...I thought about why I was given a job during such a moment.

There’s always one way or another to do things because of the mischief of the age. I don’t want to ponder any “what ifs”, “perhaps” and “if only”, but just like life, I still wonder if the MSX could ever return to the starting line... I’m sure everyone involved with the MSX is thinking this as well. In this age in which Microsoft is now threatening IBM’s grasp of the PC market, it would wonderful to imagine the MSX engine from Japan taking over the world.

My kids (ages 6 and 4) play all sorts of gaming platforms. The Game Boy, the Super Famicom and the 3DO. But they really like MSX games over everything else. Perhaps they inherited my preference and nostalgia for MSX games... DNA is quite a scary thing. Anyway, I’m truly grateful to all the MSX fans around the world! Until we’ll meet again.

Masayuki Takeuchi

“Study hard and play hard” is a saying that suits this person. That’s because studying and playing are truly above-average.

Same as above.

Masayuki Takeuchi, Interactive Media Division Software Development Department Promotion and Planning Section

Planning for advertising and sales promotion.

Same as above

Before PCs became widespread, we put out the first MSX word processor with a built-in printer, which was a pretty successful product. Another product we put out was the A1, a budget-priced MSX2 computer sold at 29,800 yen. In order to promote the A1 at the time, we did several publicity campaigns such as a truck that traveled all over the country and the advertising character AshGuine. They were pretty memorable ad campaigns.

I'm sorry that it’s over. However, I’m truly grateful that people still appreciate the MSX to this day.

There was a golf game from Hudson that was pretty popular where you could switch between a professional and amateur mode. There was also a shooting game called Zanac, in which I made a bet with another employee named S-kun, who offered me a yen for each point I made. He owes me 2.4 million.

Taro Sugimoto

Even though Panasonic has officially ceased advertising their MSX computers in our magazine, they continue to publish advertisement for their U1 word processors. Perhaps they did out of obligation, but I feel they cherish their users more than that. Some members of their MSX development team has since moved on to the 3DO, but they still demonstrate their power even in their word processors. Because my nickname among my seniors was also “Taro”, I would often ignore people calling me out during MSX events if they didn’t attach my surname.

Same as above.

Taro Sugimoto, I.T. Division Commercial Affairs

I was doing promotion and advertisement under Takeuchi, Iwakiri and Hiraga, all whom I’ve received regards individually. In particular I was in charge of the MSX game events that were held once in every season. Since I was employed by the sales and promotion department, I never got around to making my own product, but I did write a utility book for an A1 peripheral. As a freshman employee at the time, it was my first experience with a PC, so it was extremely memorable.

Same as above.

The above-mentioned event. While I still organize events nowadays, the MSX Festival was the basis for everything. I used to travel all around the country, ate various delicacies and became acquainted with various representatives of software publishers, including Ms. Kitane, all whom have become valuable assets to me. I still treasured the t-shirt and sweatshirt that were produced for those events.

I’m currently in charge of advertising and managing promotion for our word processors and MSX-FAN could help us out by published our ads in each issue... I think. I’m sorry.

While organizing an event in Osaka, there was lack of manpower, so I helped out while wearing a sweatshirt. I was already in my second year within the company and I ran into a college acquaintance at the venue and he asked me “you’re still working as a part-timer.” Anyway, please support our word processors.

Hideo Kojima

When one hears the name Konami, a mountain of memories pop up. Konami has been releasing software vigorously since the beginning of the MSX’s lifespan and they always had an amazing quality to them. We have wonderful memories of games such as the fun Antarctic Adventure and Space Manbow, which turned out to be a good game despite constant delays thanks to the commitment of the developers. It seems that Konami carries the philosophy during development that one has to observe games that are hits or duds, and understand why they sell or not. As a result, Konami has created the most splendid games in the world. In such circumstances, Mr. Kojima created a new kind of game with a scenario for the PC market that wouldn’t had been possible in an arcade environment.

Konami

Hideo Kojima, Development Section 5

Planning, writing, direction, and a few character designs

For Kojima: Metal Gear, Snatcher, Solid Snake. For Konami in general: the Nemesis series, the Knightmare trilogy, Yie-Ar Kung-Fu, Space Manbow, Penguin Adventure, The Goonies, and many more.

My most memorable project was the original Metal Gear. Back then I was a rookie who didn’t know to distinguish between his right and his left, so I didn’t know how to make a game at the time. I didn’t even know how to get assistance from people. I had no credibility as a planner (since my previous game proposal got rejected). I think it was pretty reckless of me to create a new type of game. I had nothing but enthusiasm to drive me.

With the MSX, there was a sense of “learning together” and “living together.” In particular, I was full of feelings that I shared with players during my youth. My game development career was never in the limelight, so I don’t know how much the sincere opinions of all my players have encouraged and supported me. Even now I’m still encouraged by the correspondences of players from those days. I think there’s some sort of coexistence that goes beyond the framework between a receiver and a sender.

Each year new talent enter the game industry. Among them are many people that choose this path by being inspired by the MSX. At the very the least they inherited a burning passion for the MSX. The users (receivers) and developers (senders) will always remember the “sensation” of that time. If they have “pride”, then I’m sure the game industry will move towards a good direction.

[goalkepa]

what do you think about the rumors of Griezmann leaving atleti to Barca? i saw rumors about Filipe, Santiago and Costa leaving too. next season is going to be difficult if they all leave us. there was Godin and Lucas and now this...i'm sad :(

So here is my opinion

I don’t think Griezmann will go to Barca after he did such a ridiculous thing (yea La Decision🤦🏻‍♀️) to Barca which is a disrespect to some degree (that’s my view like I know it’s not an easy thing to decide right away but I still think it’s stupid because there is definitely a better way to announce it so yea) I mean, Barca fans hate him because of that and he should know it. He will not get the support and love he has at Atleti. When we were knocked out of UCL he seemed to be disappointed and rumors come out since then, that was normal. But I don’t think he is that kind of person who chases for titles only. Like if he is he can leave us when he has a chance to go to Manchester United. he could leave us last summer. But until the end, he didn’t. Some may think he stayed for the money but I still believe it’s because he has affection with this club. He shares a good relationship with the teammates, the coaches and the fans. He may not perform well enough always but he never stop trying. Atleti makes him feel like home, that’s not what he will get if he goes to Barca. And tbh, playing along Messi is like a dream but it’s also a pressure. But at Atleti he can play in his own style, and all the members will be by his side and support him. That’s what makes him a player he is now and he should understand that. So personally, I think he will stay, and hope one day he can be a legend like Nando, Gabi and Godin :)

For the second part, yea there are too many rumors about our defenders and other players asking for leaving. First Lucas, then Godin, now Filipe… I think it’s the end of an era. As a friend told me, there will definitely be a process for rebuilding our defense during the transfer window, which means, there must be players leave us this summer. It hurts and it worries me so much. But we can’t do anything. It has to be ended before we have a start. Next season will not be easy for sure because of changing. But changing isn’t always the bad thing. As long as we stay with our team, believe in them, maybe we can change in a good way. We never know. It’s okay to be worrying but don’t ever lost faith. Plus I think some of our players from the academy performed quite well when they got a little chance to play this season. So, maybe it’s their times to shine on the big stage. It makes me feel hopeful honestly.

And anon, I feel you. My heart feel so empty since Godin announced his departure, even until now, my minds keep recalling those incredible memories he shares with us. It’s hard to accept that fact that he left us after nine years. But like he said, he did this decision for the team. It hurts to say goodbye but we cannot let him down. Also, in every kind of sport we shouldn’t always expect a player to be a one-team man. They have to decide what it’s the best for them. so the only thing I will do is respect their choices and wish them best of luck in the future.

Next season is going to be tough and that scares me ngl. But what Atleti has taught me since the first day I entered this football world, is to never stop believing. So yea, we will see what happens next and we will face them together like a family, as we always do.

¡Nunca dejes de creer! Aúpa Atleti ❤️

[rebelminxy]

EVERGARDEN (INTRO)

Summary: It’s the year 2340 and the world has advanced so much in the technological area. Sam and Dean Winchester are the owners of a robotic repair shop when suddenly a flash of white bursts before their eyes. When they come to, they find themselves in another world, a world that only exists in an AR named EVERGARDEN. They are saved by a young player named NoVa, who lets them know that this augmented world isn’t the simple game, it’s life or death. The trio, together with a few other friends they make along the way, work together with the battalion called Knights of Hadron to find a way to reach the World Tree and destroy the main control server to end this horrible nightmare.

A/N: After I watched SAO, and with how technology is progressing these days, I began to imagine a world where Augmented Reality was an everyday part of life. So, I decided to put myself on writing this fic out. Mind you, some of the RPG styles and “rules” I grabbed from different fantasy games, so if you are into games like Skyrim and WoW you may spot some similarities. Thanks to @riversong-sam for the aesthetic above and to the awesome @bees0are0awesome for beta-ing this series :)

SERIES MASTERLIST

MASTERLIST

 June 4th, 2340

“Dean! Watch out, it's about to do its ultimate attack!”

              Dean turned to the giant creature in front of the group. He gripped his sword tightly and nodded towards Garth, letting him know he was ready. Both he and Garth ran towards the monster and screamed as they ran their swords through, activating their master ability. Sam and Kevin stayed behind, healing both warriors as they slashed and stabbed the creature, lowering its three health bars. Once the final bar was hitting yellow, Dean and Garth moved back.

“Alright, Charlie! Your turn!”

              Charlie came from behind Sam and ran towards the creature, rapier in hand. Using her speed and master ability, Charlie was able to give the final blow, lowering its health from yellow to red until the bar was empty. Charlie ran back towards the group as they watched the creature yell out before shattering into a million pieces. The five screamed as they saw the words in the sky letting them know they finally completed the level monster. They happily received their prize and waited for the arena to clear out, letting them see the park they were playing at as people walked by in the background.

“Sweet! Thanks for helping me get this weapon win,” Charlie exclaimed as she examined the rapier she received. “Hope you guys got your gold as well and will be sending you each my divided-up gold once I finish upgrading this beauty.”

“No problem, no rush.” Dean laughed as he watched her admire the new weapon. “Speaking of rushing, Sam we need to head back to the garage. The parts have probably arrived, and Mr. Singer is coming in later for that upgrade on his legs.’

“Sure, catch you guys tomorrow at the big event, downtown right?”

              Charlie, Kevin, and Garth nodded in agreement and the five went their separate ways, excited from the fight they just won.

=======

The year is 2340 and the world has advanced so much, technology wise. The United States finally switched to nuclear energy in the year 2032, causing a big jump in technological advances. Self-driving electric cars became the norm, mass production of robots to help humanity with everyday life, even robotic body modifications are a huge change in human life. Those that couldn’t walk now have legs, those without arms finally have them, those that couldn’t see finally can with their robotic eyes. Even those that have no special needs have sought body modifications to become stronger; to advance in jobs; to become more than human.

Because of these advances, many other countries that were still catching up became enraged with America’s powerful growth. Russia and China eventually declared war with America in the year 2326, angered that the country wouldn’t share its technological advances with them. It was a bloody war with many lives lost. But in the end, America prevailed and took control of the two giant nations. Everyone else began to fall in line, bowing down to the powerful nation, hoping to never cause another war like the Nuclear War.

America began to then expand their power through the obedient nations, sharing what they wanted, but also keeping a tight control over their progress towards a grand technological era. It was then that America decided they needed to find a way to keep a leash on everyone in the world.

When scientists found a way to insert a chip into human beings, a worldwide change took place. Everyone received an implant, which eliminated the need for cell phones and other handheld devices. Now, if you want to make a call or search for something online, it’s all at your fingertips, literally. The chip is implanted along the spinal cord on the neck, connecting itself to the brain. A thin sheet of fiber cords implanted under the skin on the non-dominant hand is connected to the chip, allowing access to a virtual keyboard. All that is needed is a slide of the finger and the person has access to everything they could imagine. Phone calls can be made privately with blue tooth headphones, pictures and videos taken with the camera that comes along with the many other apps, just slide it up and snap away.

But with these chips, comes at a very high price. This means that the American government can watch a person’s every move; listen to every phone call. And not just within the home nation, but worldwide. With none the wiser, all of humanity has become happy with the way things are.

And with said advances, came the video games. Computer and VR games are now of the past. Now, augmented reality, or AR for short, is all the rage. One of the most popular games of the year is one called EVERGARDEN. It is a fantasy-based game, an augmented reality massive multiplayer online role-playing game, or ARMMORPG. The game became so popular, that now entire sections of the city are dedicated to EVERGARDEN events, where players of all ages are welcome. It is a world within a world, where reality mixes with fantasy.

Humanity is at its prime.

===============

              Sam walked into the back of the shop, pulling out the newly received parts needed to fix Mr. Singer’s leg. He walked back towards the front with parts in hand and gave them over to his older brother. Dean quietly worked on the mechanical leg on his table, his total focus on his work as Sam went over to the old man in the waiting room.

“Is there anything you would like to drink, Mr. Singer?” he asked politely.

“Nah, son, just can’t wait to get my leg back in working order. Been a bother taking off work for this but can’t complain since you boys are helping me with the discount.”

“It’s alright Mr. Singer. You were great friends with our parents and have been there to help us when we needed it. The least we can do is help you with your leg.”

              Sam smiled at the old man and went back to sit beside Dean, watching his brother work his magic.

              Sam and Dean Winchester owned the robotic repair shop they worked in, having taken over from their dad after he died. The brothers grew up working on robotic parts and modifications, Dean having his own with one eye. He lost his right eye in the Nuclear War a few years back, thankfully the government providing him with the best tech for his replaced eye. Dean modified it himself to help him better with his work, never needing a magnifying glass to see the much smaller parts. Before Sam came to work in the shop, he was going to school to become a specialized technician, wanting to help develop new things for humanity to thrive. But once Dean came back and their parents gone from this world, Sam gave up his studies to run the shop alongside his big brother. Together they made the shop grow, gaining more regular clients. With Sam’s specialized technician background and both their core abilities with repairs and builds, the brothers made a name for themselves as the best repair shop in town.

“So, are we really going to tomorrow’s event? You hate having to deal with the big crowds.” Asked Sam softly.

“I might hate it but its going to be a big payout and you know we need the gold to get better gear.” Dean replied, not looking up from his work.

“Think she will be there?”

              Dean froze and looked up at his brother, knowing who he was talking about. In the last two main events in the downtown area, there was a group of elite players who took the wins. But one female player stood out to both brothers. She was the fastest player they had seen and with her bow in hand, she made perfect shots. Being an AR game, players only saw what the other player wore in the game, and this girl always wore a red hooded cape, hiding her face. After the first time she and the elite group came to the event, everyone was whispering about how it was rare to see her, The Red Death.

Not only was she one of the top five players, she was number two, her brother taking the top spot. Her nickname came from players that PVP-ed with her--or player vs. player. The last thing a player would see in a fight with her would be the red cape she wore, before her final hit. Just something about her made the brothers curious. Sam was the first one to admit taking an interest in her, hoping that maybe she could give them some pointers for their little guild of five. But she would arrive right before the arena would show and leave the moment the winnings were dispersed.

“Hey, if the elite group will be there, so will she.”

“I just…it would be awesome to get some pointers from an actual top player. I know you only play EVERGARDEN just for the rest of us, but it would be so cool.”

“Hey, I have fun with you guys.” Dean responded as he turned back to his work.

“The first time I asked you to join us, you asked why I, a 28-year-old, was wanting to play a kids game.”

“Look, I get why Charlie and Kevin are into it. She is a total geek and Kevin recently graduated high school. Garth I still somewhat question…”

              Sam groaned as Dean began to laugh.

“Look, love playing the game with you guys and turned out cooler than I thought. Got to meet cute chicks too. I mean who would have thought some of these female players were hot.”

“Dean, c’mon.” Sam groaned, rolling his eyes.

“Well, let’s hope she isn’t all cocky and stuck up like the rest of that group. Swear, top players, think they are the best.”

              Sam rolled his eyes again as he left his brother’s side to check on Mr. Singer.

======

June 5th, 2340

              Sam and Dean made their way towards the closed off area in downtown, Charlie, Kevin, and Garth not far behind. Tonight was going to be the biggest event of the season in EVERGARDEN. It was announced online that the creator of the game had big plans for tonight, a new monster and update on the battle schemas. That each player would receive a specialized weapon of their choice before the event to then use from then on. And this event wasn’t just in this city. There would be arenas in different parts of the nation, making this the very first nationwide arena event. There wasn’t much information on what the new monster would be and what specialized weapons would be given, only the date, areas and time of the event.

              Sam turned around to usher the other three to hurry it up as they got closer. Luckily the event in their city was at an actual arena so no streets would be closed off during the whole thing. Everyone that was heading to the arena was hyped and excited. Once they got inside, the group headed towards the front of the crowd, Sam looking around to see if he could see any sign of who the Red Death could be.

              Once the clock struck 4pm, everyone activated their AR functions, their chips all glowing like normal. Everyone took on their character’s outfits and stood ready for the fight. Sam looked around again and finally spotted the Red Death. She stood at the front lines with her brother beside her, her hood covering her face. Once everyone was ready, a big screen popped above the crowd. On the screen was a cloaked figure, his face not revealed.

“To all players, welcome to the Event of EVERGARDEN!”

              The crowd went wild with screams and hoopla’s before the figure continued.

“Tonight’s event has been promised to be the best. We do hope you are all ready. All around the nation, many players stand ready for the fight of a lifetime. Because the last player to defeat the new monster will be named Ruler of EVERGARDEN.”

              Sam and Dean looked at each other, wide smiles on their face.

“Now, before you a small window will pop up, giving any array of powerful weapons. Depending on your status character wise, you can pick anything in the list and it shall be yours. Now there is only one of each so choose wisely.”

              Dean looked down at the small screen that popped up in front of him and he began scanning the list. He eventually reached the bottom and saw this one sword called the Black Knight, which had high stats and seemed perfect for his stat compatibility. He immediately picked it, not wanting to miss out on such a sword. Once he pressed “ok” on the screen, it disappeared and suddenly the black sword appeared before him. He grabbed the hilt and held it in his hand.

“Heavy sucker, but its perfect,” he whispered to himself.

              Dean looked over at his brother who held a double-edged axe. Sam looked at Dean and smiled.

“It’s powerful and will have to raise my attack gauge to handle it better but didn’t want to miss out on this one.”

“Great choice Sam,” replied Dean as he turned to look at the rest of the group.

              Charlie held a long rapier that looked like it was made of gold, but she let him know it was just a color choice. Kevin held a magical staff wrapped in small vines, letting the group know that he really had to work hard on his magical abilities since the staff carried more powerful spells than he knew. And Garth laid claim to a hammer, reminding him of Mjölnir, but without the electricity powers. Instead, Garth just wanted to be able to smash things and monsters with it. The group was excited with their new weapons. Dean looked up over to where he noticed the elite group stood and saw Red Death carefully caressing a black long bow in her hands.

“Now that everyone has chosen their weapons, let us begin the main event!”

              After the figure in the screen spoke, there was a sudden flash of white light. Everyone closed and covered their eyes to not get blinded by the light. Once the flash was over, Sam and Dean moved their hands away, looking around them as everyone’s chip was glowing but this time a color green. That’s when they noticed their surroundings.

              It looked like they were in a different world, a green world with trees surrounding them. That’s when everyone began to realize that they were in a forest.

“This is new. Wonder if everyone else sees this forest.” Dean mumbled.

“Dean, look behind us,” Sam exclaimed.

��             Dean turned to see a bunch of random people looking around all confused. He couldn’t help but notice these people were wearing the starter outfits every player got when they first started EVERGARDEN. Even the small kids had on the outfits.

“Wait, why are kids wearing…. isn’t this game like rated for teens and above?” asked Kevin.

“Yeah, literally 13-year old and above play, anyone younger than that isn’t allowed on the game because of the violence and nightmare inducing monsters,” Charlie replied with a worried tone.

“You are all possibly wondering what is going on,” began the figure on the screen, grabbing everyone’s attention. “You are all now in the world of EVERGARDEN, its true realm.”

              Mumbles and whispers began to flow between the players, everyone slightly confused by what was going on.

“As you can see around you, everyone, even non-players are now alive in EVERGARDEN. The entire world map is extended throughout the nation. Your world is now part of EVERGARDEN.”

              A bit of panic began to spread between everyone, as Sam and Dean looked at each other with worry.

“Because of the chips in your necks, this augmented reality is now an actual reality. Hunger and sickness are real, just as death is.”

              The figure pointed down from its screen into the crowd, when suddenly someone began to scream in pain. Sam looked above the crowd since he was tall and saw a young boy grabbing hold of his heart as if having a heart attack. Sam noticed how his chip began to glow a bright orange and slowly turned into red. After staggering to the ground on his knees, his hands dropped as his body did as well. A loud thunk could be heard as the young boy laid there in the—supposedly real--grass. He didn’t move, someone getting closer slowly to check his pulse.

“He’s dead!” the player yelled out once he removed his fingers from the poor boy’s throat.

              That’s when panic began to ensue. The crowd grew louder in the chaos that was starting, people shoving each other.

“But do not fret, for there is an end goal.”

              Everyone looked up to the figure on the screen and grew quiet, listening.

“There is a giant tree in the middle of this world, The Great Tree of knowledge. And in that tree are twenty different levels. Each level consists of a powerful boss that you must defeat. Once the first nineteen bosses are defeated, the final and most powerful boss will be your exit. Because at the final boss arena, there will be a button you must press which will help you activate the server controls to end all this. You must fight your way through these powerful bosses to save the people of this nation.”

“Wait, this has to be some kind of joke?” Garth mumbled.

“We don’t have to deal with this! Let’s just take the chips out and we are good!” someone yelled from the crowd.

“Try if you will, but you will surely die. Remember folks, those chips are connected to your spinal cord and brain. Anyone that tries to pull it out will receive a shock to the brain, causing it to immediately shut down, killing you.”

              Everyone began to slowly remove their hands from the back of their necks, afraid to prove the figure right.

“Now thrive and survive for this world is now your home. Good luck to you all!”

              The screen went black to then disappeared from the sky. Sam turned to his brother, noticing the look of fear in his eyes. They were trapped in this AR world by the looks of it.

“No, if this is only in American, someone on the outside must know what’s going on and will stop this.” Kevin whispered under his breath.

“You really think those outside will help us?” All four guys turned to look at Charlie who was shaking. “Those outside hate us, they hate this government and those living in this nation. This is their chance to let us all die here and get rid of us.”

“Don’t say that Charlie, someone has to know what’s going on and get us out of here. If what that guy said was right, that means innocent women and children are in this world. Old folks, too.” Sam exclaimed as he grabbed Charlie’s shoulders.

“Sam, don’t you get it We are going to die in here!”

              All five looked at each other, confused and afraid as everyone else around them was in a panic. That’s when Sam looked up from Charlie because he noticed something red slip past his peripheral vision. That’s when he saw the elite group running past the crowd and into the field, the red cape flying in the air as Red Death and her group ran far away from the chaos.

Tags:

@coffee-obsessed-writer

[calvinphilip22-blog]

Dreamers Share Their Stories On Miami Musician’s Grammy-nominated Album

Struck by the plight of the "Dreamers" — young people brought illegally to the United States who are now in immigration limbo — John Daversa decided to speak out about it. He did so as best he knew how: through music. The trumpet player’s resulting 2018 album, "American Dreamers: Voices of Hope, Music of Freedom," features 53 Dreamers representing 17 states and an equal number of birth countries performing with Daversa’s big band.

"I’m a musician. That has not changed," says Daversa, who is chairman of studio music and jazz at the University of Miami’s Frost School of Music. "I see the world around me, and I’m just trying to express what I feel about it.

It’s something that’s been brewing in me for a while, you know: What is the purpose? What is the meaning that I can bring to this life through music? They’re called Dreamers because of the Development, Relief and Education for Alien Minors Act, which was introduced in 2001 but never passed by Congress. In 2012, then-President Barack Obama announced the start of DACA, or the Deferred Action for Childhood Arrivals program, which protects about 800,000 undocumented young people from deportation. President Donald Trump ordered an end to DACA in 2017, but the matter is currently working its way through the courts.

Meanwhile, the Dreamers wait and worry. "I just want to introduce these human beings to everyone," says Daversa, whose grandparents immigrated to the U.S. Sicily. "These are people that are living shoulder to shoulder with us. They were brought here as children through no fault of their own. On the album, the Dreamer musicians tell their stories between songs. Response to the album has been more positive than Daversa anticipated. "I was expecting it to be more divisive," he says. But while recruiting and recording Dreamer artists across the country, Daversa found that folks were "very empathetic, very sympathetic" to the Dreamers’ precarious position. "So many people didn’t know about this issue, didn’t know it was an issue," he says.

Miami-based trumpeter Jean Caze, who was born in Haiti, is a member of Daversa’s big band. "This country is made up of a diverse fabric of different cultures," Caze says. "This diversity makes for a richer environment to live in. "Those are tricky to reimagine because they mean so much, and they mean a different thing to everyone," Daversa says. This is not the first time Daversa has successfully reworked songs everybody knows. "Kaleidoscope Eyes," his 2016 album of Beatles tunes, also received Grammy nominations. Daversa is coy about what’s next for him. He says he can’t talk about the project yet, but it "also is discussing some possibilities for social change.

Agent-artist manager and notable Tulsan Halsey has known Ripley for nearly four decades. "He was a kid when I met him you know, 18 years old or something like that," Halsey said. "When people talk about the Tulsa Sound, Steve Ripley was an important part of that, not only as a member of it and a producer of it, but as an archivist," Halsey said. One of Ripley’s most recent projects was the Leon Russell archive at the OKPOP Museum, which is set to break ground in the spring. "He was very critical in.. Leon Russell before he passed about acquiring the Leon Russell archives," OKPOP Museum’s Jeff Moore said. "And so we're working with the estate and the family and there's gonna be some exciting things coming from that. Ripley’s death, some could say, is the end of an era. "Unfortunately, you know, there's a generation of creatives now that are getting to that age," Moore said. He leaves behind a legacy so broad, Oklahomans and those who visit Tulsa will never forget.

Yob is a force to be reckoned with. They are hands down the best live band out there right now when it comes to raw performance, and this show was a pinnacle of the overwhelming amounts of times I have seen them. The energy they convey, the positivity they exude, and their ability to relate to their crowd is only matched by their always seemingly perfect performance. It was truly an honor to share the stage with them night after night, and this was one of those shows that I will never forget. Primitive Man are currently the most brutal band out there and have a tour schedule that has always been mind-blowing. I am lucky enough to call them my friends and have watched this band grow into a monster from day one. As much as I love small punk venues, it's always eye-opening to watch bands on incredible sound systems and stages.

Three of the teens accused of killing musician Kyle Yorlets in Nashville, Tenn., were evicted from a court hearing for laughing and talking, USA Today reports. The incident occurred during a juvenile court hearing in the case Thursday. According to USA Today, the teens continued laughing, talking and turning around in their seats even after their lawyers and court staffers told them to be quiet. The judge finally ordered them removed from the courtroom because of their behavior. "They’ve been sitting there like they’ve been sitting on the playground," Juvenile Court Magistrate Mike O’Neil said. Five juvenile ages 12 to 16 are accused of fatally shooting Yorlets, a Carlisle-area native, during a robbery outside his Nashville home. They are charged with criminal homicide. Yorlets, 24, was a member of the band Carverton. His slaying prompted a wave of mourning both in Nashville and central Pennsylvania.

There are only a select few individuals on Rowan University’s campus whose presence and recognizable aspects rival the Prof owl, Rowan’s mascot. Among those people is Steve Solkela, a senior vocal performance major. "This was definitely the grand finale of my time as a Rowan music major," Solkela said. However, it was no ordinary recital. Performing with Aaron Fagerstrom, a senior double major in piano performance and music industry, Solkela sang in several languages. This is a requirement of most opera recitals. His first set of songs were sung in Italian, indicated by the change of the little flag resting on the piano. After a few solo songs, Solkela then joined forces with freshman Laura Nolan in a duet to tell a story of young love. Nolan and Solkela first preformed their duet in a class called opera scenes, and then publicly at a concert last semester.

For Nolan, it was her first introduction into opera singing. "He was pretty encouraging for me to just go for it, even if I don’t know what I was doing," Nolan said. The tone (and flag) quickly changed thereafter to a set of German songs, more robust and angry sounding and marked by sharper gestures. Next came a set of songs sung in French, which touted an almost Shakespeare-esque monologue, complete with Solkela’s touch of hysterical laughing. The next set of songs were sung in his native tongue, Finnish. ], I would tap my head and mimic the wind pushing me. I didn’t really plan that, I just saw that the audience was intent and listening, and sometimes laughing at stuff.

That’s what you feel naturally when you are connecting with the audience," Solkela said. The performance rounded out with a 14-person ensemble piece called "Ballad for Americans," a piece using many Rowan students to display the hopeful message of America. "It was so hard to get us all together," Solkela said.

"Like all music performances, they’re scared at the beginning. So that’s why we had dress rehearsals, so they got more confident as time went on. At the end, Solkela credits his teachers, friends, classmates, supporters and family that have supported him through the years. This summer, Solkela’s band plans to tour Finland, Florida, Detroit, Chicago, Minnesota and Wisconsin. As he continues his endeavors in comedic novelty, a term he uses to describe his act as a comedian, musician and stuntman (listed on his business card). "I’ve never felt so loved and appreciated. I feel like I am such a welcomed puzzle piece to this university, and I’m going to miss the hell out of it," Solkela said.

Baroness frontman John Baizley recently had an iterview with Radioactive Mike, and talked about 2012 bus accident. Since then, everybody was curious about if any of his musician friends called him or not, and also why they didn’t packed up after that horrible crash. "I prefer not to speak for the other band members that were in our bus during that crash because everybody had a very uniquely different experience. "I particularly was struck, if you will, by that accident. I’ve got scars that won’t heal. I’ve got a seam running up to the entire length of my left arm, a ton of hardware - a bunch of things missing, a bunch of things replaced. It was really not a pleasant story from my standpoint. Also, Radioactive Mike asked if Metallica’s James Hetfield called him or not. "I did, and many since then.

Three of the five juveniles accused of killing Nashville musician Kyle Yorlets were removed from the courtroom during their hearing because the judge said he didn’t feel they were taking the severity of the case seriously. The three suspects - ages 13, 14 and 15 - appeared in juvenile court Thursday. According to the Metro Nashville Police Department, the suspects are 14-year-old Roniyah McKnight, 15-year-old Diamond Lewis and 16-year-old Decorrius Wright.

A 12-year-old girl and a 13-year-old boy are also charged. The judge said he excused the three teens because he didn’t feel they were taking the severity of the case seriously and were treating it like it was a playground.

[sleepymarmot]

A couple of months ago, after finishing COUNTER/Weight, I spent about a week in a total hangover, relistening to scenes and having feelings. I took some notes, but procrastinated posting them, and then finally got distracted. But, a) I hate leaving things I intended for tumblr unposted, even if they have value only for me, and b) I also hate posting things out of order, and there's a big TM liveblog incoming. So, here's a bunch of really random thoughts about C/w from past me.

The gnosis virus did go nowhere huh. I was hopeful for a minute when one of the finale intros mentioned it, but that was it. What was the purpose of that arc even. [Note from present me: Lol. At least I feel better about this one!]

Oh, and the patch AuDy left never reappeared either. And the idea from the faction game that Aria's images owned by EarthHome/Petrichor transmit Rigour code… That's the flip side of the coin. On the one hand, it's really cool to see the creative process – on the other, it sometimes feels like you're listening to people write a script for the tv show, but only get to see a half of the finished product. It's fascinating to see the universe grow organically and the players to come up with new ideas and get excited about them – but that means numerous retcons, some of them not even presented as such, because the creators forgot what the previous revision was or didn't thought it was important. It's a unique feature of the medium that player choice directs the narrative and it's not bound by railroading – but that means some roads lead nowhere, and some branches dry and fall off.

It's a bit harder to make peace with something that could have easily been developed more within the existing plot of the show. How come there's a player character whose consciousness consists of three different people in various combinations, but nobody seems to be curious how that works? No PC or NPC ever asked “Which one of you is speaking right now?” or something. The final episodes made a lot of things clearer, but it still felt too little, too late. Hard not to be reminded of that gripe about certain two characters sharing one character sheet one of whom was left underdeveloped and half-forgotten… Both are very ambitious concepts that require a double amount of work from the player, so I feel bad complaining they weren't realized to full potential, but…

Speaking of L&D… I still want to know how the hell did that one engineer all by herself design 4 gods, one of which became a basis for technology that was advanced even for the civilizations 80,000 years later? This woman singlehandedly surpassed any technological achievement of humanity before and after. Who Is She

I saw a “Wake me up: before you go go / when september ends / wake me up inside” meme and thought “heh, this sounds relevant, which member of the Chime is which?” and it already made me sad, but then I realized that I'd never actually heard the september song and looked it up and. The lyrics fit so well. What the fuck. It's an old song everyone keeps joking about. Why is it appropriate for a legitimate fanmix. What. I guess the word “September” will never be the same again for me.

I looked up the rules for Firebrands, the game used for the finale. Oh my, challenges for the dance minigame are so overtly romantic when you see them in a list together! Imagine this cast of characters having to answer to “do you place your hand upon my elbow, shoulder, waist, or hip?” lmao. Also I didn't realize “May I?” was part of the rules for “stealing time together”. (And I found out there's a party version of that minigame with bug-themed challenges. I might have dug too deep…) "Tactical skirmish" is a really fascinating concept, I've never seen such a masochistic combat system! Really faces the player with the violence they're inflicting: sure, you can always fight on, but are you ready to live with what you'll have to do? But for it to work fully, you need a lot of non-expendable NPCs on both sides. The one with the most likeable team wins! (Like Mako did.)

I'm relistening to Three Conversations and it's pretty interesting that Ibex has a bunch perfectly lifelike android bodies, right? There is no such technology seen anywhere else. Did Righteousness develop and privatize that? Are they so complex that only a Divine would have enough computing power to successfully mimic organic life? Can Aria convince Righteousness to help her perform on stage without leaving her duties? Also, like with AuDy, I wonder how Ibex & Righteousness' consciousness works. Is it a single mind, spread across every body he has, or even anything Righteousness is running on, having a bunch of different conversations at once if he needs to? Or is the original Ibex just gone, and what's left is a personality imprint hanging on to the connection to his still living body, imitating his former self like the automated recording Cass saw wore his face? In other words, has Ibex completely fused with Righteousness, or assimilated and destroyed by it? Does he not exist anymore as an independent singular being, or does he not exist at all? Most info indicates the former, but there was also “You’re not in there anymore” “No”.

If Orth and Jace are anime fans with their Kingdom Come and Panther, then Ibex is the guy who's way too into dinosaurs or paleontology. It's as if the heads of various confessions were called Triceratops, Stegosaurus etc. and only one of them knows wtf that means, and also he compares his Divine to… Were there scavenging dinosaurs? I'm looking at an article that suggests T. Rex might have been a scavenger, so yeah he would compare Righteousness to a goddamn T. Rex.

Hey what do you think is the most thematically aproppriate part of the Hieron anime for Orth to watch alone at night during the Kingdom game. What's the best thematic parallel for when he turns off the episode and thinks he made a mistake. Do you think that he once, after a long day and a long month and maybe a long year of feeling helpless and doomed, sits down for a distraction but ends up sobbing “How could they let this happen to Mother Glory”

On Joypark, there are definitely statues of Eidolons, ancient and holy, that were repainted and repurposed as Hieron deities. Imagine a giant Greek or Roman style marble statue of Apote – and it’s painted over as Samot, with an anime face and in really bright plain colors like these “reconstructions of original coloring” that actually only use base colors so they look like cheap action figures.

I was reading Austin's top ten games of 2016 list on Waypoint and he gave first place to The Sprawl! Aww!

The Downloads folder in my phone gallery is funny bc it mostly consists of every freely available f@tt map and also that one photo of Tristan Walker (because I tried to redraw it, very unsuccessfully). I go check a map and every time am met by Ibex just. staring at me. It's unsettling

Some of the many options for how Apostolosian gender could have been presented:

Apostolosians prefer to be addressed by the most neutral available human pronoun, represented as "they" in English, because the human languages don't have anything close enough

Apostolosian pronouns are represented in English by a set of real-life common pronouns and neopronouns

There's a list of Apostolosian pronouns and they're just used in English verbatim (Really impractical because the players need a cheat sheet, but the most fair)

Humans apply human genders to Apostolosians. Apostolosians may be offended, may find it convenient, or something else

As Austin said in the post-mortem, the Eidolon system is not gender. It's represented in English by titles/honorifics/etc

Any of the above, and the creators are aware of the difference between personal pronouns, grammatical gender, and social gender

And that’s not even touching the core problem of what the concept of gender in a futuristic, techonologically advanced society would look like. Yes, I'm complaining about this for the third time but I'm just. So tired of native English speakers' takes on gendered language. They could have made Apostolosian gender look like anything and they made it look like that fucking mess... God, I really hope TM is good enough to make me forget and forgive the experience of listening to “he... sorry, they” for 100 hours. [Note from present me: Well… mostly]

Here’s my take on this: eidolons in Apostolosian language are absurdly broad noun classes with associated classifiers (which fits both the idea that they’re gender but not actually, and that each of them is a patron to several unrelated aspects of life) Apostolosian: the word “(Apo)thesa” is used to refer to people who follow the corresponding eidolon, as well as for counting buildings, heavy machinery, military units, specific strategies and tactics, log entries, historical documents and chronicles, history textbooks and monographs, and eras :) Human: what the fuck

Very critical, imaginative worldbuilding in which 80,000+ years into the future humanity somehow has 21st century gender and 21st century capitalism! TBH, I find any sci-fi set in the far future inherently silly – we can’t really imagine the future technogy and its effect on society. But it feels like C/w barely even tried, and to hear it boast about “critical worldbuilding” is kinda strange. I assumed that meant they build the world critically, not that they recreate modern society or some aspect of it and criticize that! It’s just another Star Trek then! And it was already clear right during the setup when they said “We don’t want Star Trek aliens” and immediately created Apostolosians.

I haven't seen a single piece of fanart with Taako and Mako. Come on, does nobody want to see these two next to each other! Especially considering the outfits artists like to put Taako in!

I really don't understand how and why people do fandom activities on Twitter and Discord where the creators also have accounts. It gives me so much secondhand embarrassment. I can barely peek at Twitter posts before running away. Old-fashioned opinion apparently but I strongly believe the main fandom space and the interaction-with-original-creators space should be separate. I need a space where I can voice my opinions, especially negative ones, with complete freedom. I need to be able to say exactly what's on my mind. But I wouldn't want any of the people on the podcast to read something unfiltered like my complaints above. Being in the same space as the source content creators obliges any decent person to be diplomatic and constructive. And the creators, in turn, need a space where they don't come across complete randos yelling at them about something they said in a podcast three years ago. I'm already feeling uncomfortable because hearing to strangers pour their hearts out for hundreds of hours gives me way too much insight on who they are as people. Of course, nothing’s stopping them from lurking on Tumblr or AO3 and even reading this very post, but a platform where they have official accounts is still a different thing! I even feel uncomfortable talking about the podcast creators using their first names so much. To my ear, referring to a total stranger by first name, especially if it's a shortened form, sounds so rude! I'm not their friend, I don't have that right! But, of course, writing something like “Mr Walker” in my liveblogs would have been even weirder, nobody does that...

Is it a common experience to not even think about fanfiction after listening to Hieron, but going straight to AO3 after C/w? I feel like since Hieron is still a work in progress, writing/reading about it is stepping on the GM&players' toes, and C/w is finished so it's like they gave us the keys to the playground, it's the fandom's turn now. This story has so much blanks and they must be filled! In one of the early episodes they joked that something cute they said would encourage people to ship Mako/Cass and I was like "Bold of you to assume they aren't already" and, indeed, I was right and it's the most popular C/w ship on AO3. Too bad I’m so indifferent to it…

It’s a shame we never had a full scene with Ariadne or even learned what they were up to during the finale.

I still don't understand how Ibex went from “evil CEO” to “leader of a proletarian revolution”, these sound like completely opposite concepts to me

I probably have talked about this too much and have pretty much given up on ever getting a clear picture due to all of these reimaginings but… Righteousness and Voice… Ibex takes Righteousness out of Mako but he still has Voice, that was pretty much openly stated, correct? So how does that work? I’m guessing Righteousness is hidden somewhere in Voice’s code. But if so:

Did Maryland know? On the one hand, she’s too competent not to. On the other, why would she ever allow or accept that?

How did Righteousness not get corrupted by Rigour too? Maybe it did, but broke off the connection with the rest of itself to contain the damage? Or maybe, on the contrary, it kept in contact and was sending intel to Ibex the whole time? But in that case he would have provided more help in the finale.