#but man. its very cathartic and hard not to let my brain wander there

[dontpunchdogs]

man i love having a deeply emotionally charged conversation w my imagination for hours instead of being able to sleep

[amoveablejake]

Album of The Week: ‘Shine’ by Daniel Lanois

Stand out song: ‘Shine’

Sometimes I have a clear idea of what the album of the week is going to be and others I let it find me. I know, that may sound a bit silly bits it’s true. I’ll look through my music collection and see if a particular album draws me in I’ll start playing something as my mind wanders. Because most of the time I write this album of the week pieces before turning in, my mind is already in a more dreamy state than it is the rest of the time which I know is hard to believe. Due to it being in this position, my wee brain seems to not want to waste any time with albums that don’t click and instead only has enough energy to focus on true hits. ‘Shine’ is one such album and one that easily accompanied today’s dream like state.

‘Shine’ is an album that exists inbetween ideas. It’s caught in a liminal place and that, to be clear, is no criticism. When I listened to it for the first time I was genuinely surprised by it because I wasn’t expecting it to verge into ambient music territory which it does with great success. Quite honestly I went into the album completely blind after my Mum sent it to me during the first lockdown and listening to it was a completely new experience and a cathartic one at that. ‘Shine’ begins with songs sung by Lanois before moving into gentle ambient tracks that hold up as much as the wonderful three opening tracks. It’s hard to pick between those three opening gambits but there is something about the title track ‘Shine’ that lifts me off my feet. After this moving into ‘Matador’ and then the exceptional ‘Space Key’ is a true meditative joy. ‘Space Key’ offers a moment of quiet reflection which after the beginning of the album is very welcome. Not because you need a breather because of intensity but rather because you’re lulled into a sense of relaxation and ‘Space Key’ helps to secure that you stay there. Admittedly the pace is picked up when you move to ‘Slow Giving’ but at this point it’s almost as if you have had your moment to compose yourself and find your peace before walking across hot coals.

When I write these album of the week pieces I often speak about where I imagine myself listening to that album or where it makes me think of. ‘Shine’ does make me think about driving north through Canada up in the mountains and the rain, losing phone signal and watching the towns grow ever smaller. But, it’s not the only place the album makes me think of because really it makes me think of everyday, anywhere. That’s because this is an album that breathes in the air around you. This is a companion album and what I mean by that is I think this is one of those special albums that will always stay with you throughout everyday. Yes, it may get tied to certain memories or feelings but there is something about it, this undefinable quality that will keep you coming back to it to relive in those memories and to take comfort in its beautiful unfolding.

-Jake, a man who has debated whether he should leave the above where he did but ultimately decided to because it felt right to leave the album examination on a note of beauty, 07/06/2021

[lurkingcrow]

Some of the posts on my dash have reminded me of certain facts. Which of course set of the little cogs within my brain turning with new crack possibilities…

It is the middle of the Clone Wars, and Asajj Ventress has sworn vengeance upon Count Dooku for the way he betrayed her. Her attempt to use Savage Oppress to obtain her revenge has failed, and the assault on Dathomir has taken a horrendous toll on her Nightsister brethren. And yet, Mother Talzin has shown that Dooku’s defences are not impenetrable. As she kneels amid the barren ruins of her ancestral village, Asajj calls upon the ghostly matron for advice.

The spectre reveals that the method she used is not available to Ventress - not only is she not trained in the deeper Nightsister mysteries but she does not have access to a convenient lock of Dooku’s hair, and have I mentioned how desperately I want the story about that? I mean, how the hell did Talzin manage to get it - what self respecting Sith doesn’t take care not to leave pieces of themselves where practitioners of Dark Magics can get them?

Anyway, that’s obviously not an option here, but Ventress needs to find a way to get past Dooku’s not inconsiderable defences. Mother Talzin points out that while she may not be able to target him directly, even a mighty Sith Lord cannot rid himself of all his connections. It is a longshot, but it is possible that a spell targeted at another might still be able to affect Dooku tangentially. All they need is a piece of something tightly linked to one who Dooku is still connected to…

The Jedi Temple has upped security since the incident with the Holocron Vault - patrols around the archives in particular have been increased, and the computer systems themselves not carry some rather impressive surprises for those attempting to infiltrate them. Security measures around the Jedi’s personal quarters however is not tight - oh the creche is well protected, but most of the Jedi are spending greater and greater periods on deployment and there is little need to guard empty quarters.   

Which is why no one can work out exactly what Ventress was after - her infiltrating the Temple was not completely unexpected, even if she does seem to be running freelance these days, but she didn’t seem to leave with anything of value! No military systems were breached, the archives are intact, and while some initiates report seeing a strange “Knight” wandering the halls there were no attempts at kidnapping (in fact if anything Ventress appeared to be taken aback by the appearance of children in the halls - they will never know the parade of might-have-beens that filled her mind in that moment). Ventress is just glad no-one caught her raiding certain people’s freshers. It was traumatic enough as it was without having to explain why she was raiding hairbrushes.

So having acquired the necessary materials Ventress returns to Dathomir and within  a one of its many sacred caverns begins the ritual, using all her skills to call upon the Darkness to bring “Yoda’s last Padawan” (or “Most powerful” depending on whatever canon has decided regarding certain apprenticeships) to her for the purposes of vengeance.

She’s not sure what exactly she’s expecting (the tie between Dooku and his former Master may not be strong enough to do anything, and who knows exactly how the spell will achieve it ) but it’s certainly not the flash of light followed by the sudden appearance of a young, blonde, human male who is most definitely NOT Count Dooku.

Luke Skywalker is having a very strange day. One moment he’s communing with the Force Ghosts about where best to start rebuilding the Jedi and the next there’s a massive shift in the Force as he finds himself falling in front of a rather intimidating woman standing in the middle of what looks suspiciously like some kind of ritual circle.

He wishes he were more surprised.

But according to Ben’s stories this is exactly the kind of thing that happens to Skywalkers, so he brushes himself off and puts on his best smile to greet the strange Force user. Something doesn’t quite feel right about the atmosphere, the Force isn’t responding the same way as he’s used to, but with any luck this is NOT yet another Imperial loyalist looking to avenge the Emperor's death by torturing the galaxy’s most infamous rebel cum Jedi Knight. “Hello there! I’m afraid I appear to be rather lost. I don't suppose you could tell me where exactly I am? Or why I’ve been brought here?”

Now Ventress is something of an expert in appearing unruffled in the face of unexpected circumstances (usually related to the appearance of Skywalker and Kenobi). So on being faced by a remarkably calm apparition politely enquiring about what's going on, she simply cocks her hip, raises an eyebrow and archly responds; “And who exactly are you?”

This of course leaves Luke somewhat taken aback since, A) his face has featured heavily on wanted posters across the galaxy for the last few years, B) his role as “The Last Jedi” is widely known and he is currently carrying his lightsaber openly on his belt, and C) one would assume that the person performing the Dark ritual would have some idea about who they were targeting. So he keeps it simple.

"I'm Luke." He says, smile never dimming.

Great, thinks Ventress - yet another man who thinks he's so clever. Time to show him she’s not a woman to be take lightly.

"Well then, Luke, I'm afraid this seems like a case of badly mistaken identity.” she says, slowly circling her captive. “ Here I was, eagerly awaiting the arrival of the illustrious Count Dooku so that I can brutally and painfully extract my vengeance, and instead the Force gives me you…” with a quick flick of her wrists her blades are at the ready “...a weak and worthless Jedi.”

Oooh, Luke thinks as his surroundings are bathed in red light, Darksider then. Still - at least she's not actively trying to kill him at the moment, so negotiations might still be possible.

He holds out one hand, palm open, while the other remains in reach of his lightsaber.

“I'm sorry I'm not this, what did you say his name was? Dooku? I don't know the name, I’m afraid. But I have no quarrel with you. If you’ll just let me contact my friends I promise I’ll be out of your way as soon as possible.”

Asajj feels her draw drop.

“What do you mean you don't know the name?!” she hisses. “Are you a complete imbecile?”

The Jedi’s mouth opens as if to respond but one look and his jaw clicks shut.

“Good boy. Now I know you Jedi aren't exactly the brightest of sorts, but I’d at least think you’d be able to recognise the leader of the Separatists, the man responsible for starting the war and your precious Order’s own sworn enemy. Which means…” she presses closer, raising her sabers in a swift movement to frame his throat, only to be intercepted by the Jedi’s own green blade. “

... there's more to you than it appears.”

For all his quick reaction to her threat  the Jedi looks rather shellshocked. Something in her words had left him off balance, and that was very interesting.

She takes a step back, gesturing magnanimously with one hand. “Go on then. Explain. My patience is not infinite.”

Luke takes a deep breath and takes a moment to compose himself. And when he speaks, blue eyes locked with her own, Asajj feels compelled to believe him.

“I don't know the name because by my count the Clone Wars ended decades ago, and the Empire was never exactly keen on acknowledging it's defeated foes.”

Well then.

The discovery that time travel appears possible is somewhat overshadowed by Ventress’ amusement that Dooku was apparently betrayed by his own Master and his memory reduced to little more than a historical footnote. Luke doesn't quite see what's so funny, but makes a point to mention that said Master was himself eventually thrown down a reactor shaft by his apprentice and that just sets off a chain reaction of laughter and they end up sitting against the wall or the cavern exchanging stories about the folly of the Sith.

It turns out to be highly cathartic for them both.

When her laughter clears Ventress admits that she has no idea why Luke ended up in the middle of her spell, and she has no clue how to get him back to wherever he belongs and wait… her spell called for Yoda’s apprentice. Does he know the insufferable little troll?

Yes, Luke sighs, yes he does, did, why does time travel make tenses so hard? But no, before she asks, he can't just go to the Jedi. Not without alerting the Sith Lord and…

Luke looks at Asajj. She looks back. He begins to grin widely as he notes that while it's not exactly what she was looking for,  how would she like to join forces for a worthy cause? That being of course the abject humiliation of the Sith and the complete ruination of all their plans for galactic conquest.

“Oh my dear Jeci” she purrs in response “I think this is the beginning of a beautiful friendship!”

And so begins the buddy cop movie we never knew we needed, where Ventress and her time travelling partner set out to foil both Palpatine and Dooku's plans, arguing all the while. Highlights include:

The moment Ventress realises she has voluntarily allied herself with a SKYWALKER and seriously questions her sanity

Luke discovering that apparently it is indeed possible for his sister to yell at him for being an idiot across both space and time, and he will never admit how relieved he is to feel Leia’s presence across their bond. Her knowledge of pre-imperial political history is a secondary benefit.

The time they both end up as impromptu bounty hunters and Luke just cannot get over how tiny Boba Fett is. As it turns out they make a remarkably good team - Luke's raw Force abilities and Asajj’s dueling skills making double crosses an exceedingly bad idea.

Ventress needing to rescue Luke from a dangerous and predatory woman whose intentions he seems not to notice.

Luke getting outraged at the plight of the clones, Ventress getting him drunk, and both of them ranting about slavery while plotting revolution. He wakes up to Leia laughing uproariously in his head which hurts so so much.

Ventress calling Luke “Flyboy” “Kid” “Banthabrain” and just about anything except his actual name.

Luke picking up on the sexual tension between Ventress and Vos and doing everything in his power to encourage it. Ventress would kill him if his foreknowledge wasn't so useful.

Ventress wanting to know who the glowing blue figure that Luke's always talking to is and why he keeps calling her “little sister”

Luke watching his father and Ben in action and being uncomfortably reminded of Han and Leia. Luke watching his father and mother trying to be stealthy and realising why Wedge claims he can't lie for shit. Luke seeing all of them interact and coming to the conclusion that he was meant to have three parents and an older sister and becoming determined to make that a reality in this timeline.

Ventress deciding the kid’s not so bad following a close call with republic authorities and Luke creating an impressively explosive diversion.

Luke hugging Ventress in the ruins of Dathomir and promising they won't be forgotten.

Palpatine wondering why none of his schemes seem to be going as planned and assigning Dooku to find out.

A confrontation in Separatist space where the Jedi become aware that Ventress and her unknown partner are on some kind of secretive quest, and Luke faces Dooku and, much to Ventress’ dismay, decides that he should try to sway his brother-padawan back to the light!

Maul and Savage vs Obi-Wan, Ventress and a very flustered Luke. Could people please stop flirting with his young mentor/uncle/not-father now already?

Luke and Ventress getting caught up in a hostage situation on Coruscant along with several senators and Luke learns why Bail Organa and Padmé Amidala are near legends in the Rebellion - and also that there's no way Mon Mothma hasn't guessed his heritage by now.

Anakin getting irritated that there seems to be someone that he can't outfly and why do they have to be allied with VENTRESS of all people.

And much, much more! 😉

[extraneousdominomask]

I don't understand the hate for Sly 4. Can you explain why you think the game sucked?

Alright. I’ll give you a summary of the major issues I have with Sly 4, and try to keep it brief. Here’s an itemized list of 30 years of disagreements (Sweet Jesus):

-First off, the first half of the game is fucking incredible. (If that sounds like a weird place to start, that’s only because it is.) The opening recaptures the spirit of the games wonderfully - and given I was a returning fan, fresh off an eight-year hiatus, that was amazing - Japan is beautiful and builds well, and Cotton Mouth Bluff is probably my favourite level in the entire damn franchise.Even leaving aside how I can’t pretend bad installments of my favourite things didn’t happen - that’s just not how my brain works - part of the reason Sly 4 irks me is because it had so much goddamn potential. It’s an updated Sly Cooper game where he and the Gang go on time-adventures. We were so close to something incredible. This should, by rights, be my favourite game in the series, and also of all time.I’m angry because I care.

-Carmelita’s redesign. She was already a very sexualized character, but she used to have sensible jeans and a sense of vaguely realistic athleticism. Sanzaru insisted on pushing the sexualization further, and since we started at a pretty advanced point, it got taken to frankly disgusting levels. Her waist terrifies me. You can see her ribs. The badass Interpol inspector is now worryingly underweight. It legitimately creeps me out.

-I don’t like the caveman level. This is the least analytical gripe, I admit that. I just… don’t like the caveman aesthetic. Never liked the Flintstones or anything similar. That’s just subjective.What’s not subjective is how the Gang ending up in just the right place and time to stumble across another of Le Paradox’s lieutenants is a strong contender for the least likely coincidence in all of fiction. But whatevs. Them improvising an escape while falling down a cliff was cool.

-Likewise, as Cooper ancestors go, Bob is very underwhelming. He’s a big ugly block who reuses the Guru’s joke. Instead of Henriette or Slaigh or anybody else in the Vault or Henriette, we got this guy. Great.

-The Grizz. Unfunny character with an awful boss fight. Complete bungling of what a graffiti is or does or sounds like. Unnervingly racist.

-The Penelope twist. Good god in heaven, what even was that? I mean, I was interested. I gave the game the benefit of the doubt, all ears for what the explanation was. Unfortunately, that explanation never came. We’re still not sure what the hell was going through Penelope’s head. She’s just evil now. A lovable character, funny and endearing and not overly sexualized (which in this series is rare), just… twisted. For no real reason.There’s zero textual information justifying her decisions. Especially because the focus is entirely on Bentley, giving her no room to explain herself. And sure! Bentley’s great, I love him, but I also love Penelope and I also love(d) their in-practice painfully brief relationship. I want Geeks in Love doing Crimes Together, not a half-assed betrayal twist.

-Ms Decibel. Irritating to watch. Retread of both Octavio and the Contessa. Has no reason for having mind control powers. The fact it’s just “ha ha there is a trumpet in her nose” genuinely irritates me. This isn’t hard sci-fi, but it ain’t Looney Tunes either. Try harder.The Joke Is That She Is Fat And Ugly. Ha Ha Ha.

-The Carmelita belly dance. Sweet CHRIST. If I keep coming back to this, it’s because it’s gotten me progressively angrier ever since the first time I played it and felt an uncomfortable churn in my gut.This shit is genuinely disturbing. She is coerced. Why did Sanzaru think this was a good idea? Everybody in the writer’s room signed off on this; anyone who may have wanted to stop it didn’t manage to. Then it got animated and designed and Grey DeLisle was called into the booth to voice how beloved strong-willed icon of my childhood Inspector Carmelita Fox was deeply uncomfortable with this sexual act three men she was close to were forcing her to perform. I don’t find this shit amusing. Kids play these fucking games, man.

-Carmelita’s (lack of) use in general. She gets some good moments when she’s first dragged along, again making Tennessee’s level the best. Then she storms off during Bob’s. Then, after wandering back and calming down? Next to nothing. She’s barely there.Bentley shutting down over Penelope’s betrayal was a perfect opportunity for her to take charge and show off her tactical prowess as an officer. What did we get? “Uh… let’s go with Galleth’s plan, then walk forward through Penelope’s front gate. idk guys” Outside of objectifying her, Sanzaru had no idea what to do with her, and it shows.

-The underwhelming climax. The finale of Sly 2 felt earned. The original three all had great final acts, but I bring up the second because it resembles the fourth. In both, there’s a last-minute upset where everything the Gang has accomplished so far is suddenly snatched away.But Sly 2 built that feeling. From the moment Jean Bison sees through the Gang’s disguises, things get worse and worse. The time they spend in stony silence, hiding in that battery, really creates a sense of encroaching dread. Things are going wrong, but they’re going wrong slowly. And that’s worse.Sly 4 - perhaps due to a dwindling budget - rockets through where that suspense should be. “Le Paradox showed up and stole Carmelita and then his plan worked and he was king of everything and we were sad but we went to fight him anyway.” wow. my emotions. i’m so invested.One of the lines I can particularly remember is “I don’t ever remember feeling so defeated.” Oh, you don’t, Sly? Not when you lost every Clockwerk Part at once? Not when Clockwerk was reassembled and Neyla merged with him? Not when you watched your parents be murdered in front of you?It’s 100% Tell, 0% Show. That’s not how you do a finale.

-Le Paradox. God. Just… god. Obnoxious in a way that isn’t entertaining. An awful, nasty character who does not receive an adequate level of comeuppance for his overblown, overwrought crimes. Rapey. He hates Sly for something Conner did; Sly has no agency here, he’s just a victim, pulled into the story because he’s directly threatened over something he had no part in. That’s bad writing. Bad writing which retreads other, more interesting antagonists.Doesn’t hold a candle to Clockwerk, Arpeggio, Neyla or Dr M. Unlike them, Le Paradox survives his game, which a) feels like too light a punishment if everybody else got a dramatic death and b) creates the worrying prospect they intend to bring him back. Ugh. Would work fine as an insignificant filler villain; instead, has means, power level, and (intended) gravitas outstripping Clockwerk. Total disconnect between his persona and his stupid, childishly powerful plan.Bigger =/= better.Skunks don’t come from France.

And, of course, the grand finale. The last thing to happen to Sly Prime. To this day, four and a half years later, the current state of the original series, and what may well be the overall ending at this point no matter what Sanzaru originally intended long-term. Everybody sing along at home~!

-A terrible cliffhanger ending with no sequel greenlit!

There. That about covers it. For me, anyway. Everybody has their own take.For the record, every box in that brain meme is a genuine opinion of mine. Sly 4 is most certainly a Sly game. It has amazing art and great moments. It brought in a ton of new fans, and kept the franchise going. That can’t be undervalued.But it’s the most flawed installment by a wide, wide margin. Sly 1 was rough, but a lot of that feels like beginner’s jitters. 4′s flaws feel more like huge, enthusiastic strides in the wrong goddamn direction, made by well-meaning people who are super excited to bring the franchise to places I do not want it to go. Like Sexual Objectification Town.

I don’t hate it blindly, but I can’t pretend I love it. I’m not gonna repress my negativity. This is my blog where I talk about Sly Cooper. And when I talk about Sly 4, I won’t skip over its flaws. In the vague hope that maybe, if I explain how and why these things don’t work, there’ll be less of these mistakes in the world. For my own writing, if nothing else. Straightening out my emotions into coherent, rational analysis. Looking toward the future.

…that and because it’s cathartic.