#for the last goddamn time

[chipped-chimera]

I enter the cyberpunk 2077 tag. I see a post about the game not being 'punk' because of all the triple A gaming company typical shit 'means it's not punk'. I roll my eyes so hard I exit the tag.

Points, context, rebuttal, whatever beloooow (I am not reblogging post because I don't want to attract hate to OP, but I am writing this cause I'm sick of seeing it).

Yeah triple A dev treatment fucking sucks. It sucks CDPR vowed to do different and didn't but that is missing a bunch of context. Here comes the context -

I've been following CDPR since about 2010-ish. They've always held onto older era gaming attitudes and respect their consumers. I guess in a way they were still made for an older era around the Cyberpunk release for the following reasons.

They shot themselves in the foot with their own marketing. Hiring a big name may have done that. If you look at the teaser trailer for Cyberpunk 2077 on announcement it basically says release date wise 'its done when it's done'. Being part of that older era they want to put out a COMPLETE game. Well tested. They came from a time where game updates were a LUXURY and that's why I trusted them to release a good product.

Marketing however got so big that it exited the realm of core fans and into the general public (derogatory). When they announced another delay, I was chill. I trusted them. Shit takes time man, whatever it takes to make it good AND treat your employees well bro. General public however was out for blood, sending death threats, pulling preorders.

There's this fine line you have to tread in marketing. Too little hype, no one knows about your product. Too much hype, you skyrocket expectations. Hype at the wrong time - you end up peaking at the wrong moment and end up losing momentum for release. You can see the conundrum here. They were arguably in the skyrocketed expectations and the losing momentum risk region.

So they did crunch time for release. In a way they had to. I mean sure they could have been 'punk' like OP suggested and said fuck you to the non-core fanbase but unfortunately punk doesn't pay bills. It doesn't keep the lights on. It doesn't keep your employees employed. It doesn't stop them from getting sent death threats for a delay.

So they rushed it out, it bombed. That sucked BUT it brought them peace. Because while everyone was making fun of them and quickly forgetting about it to go laugh at the next bomb of the month - it meant they could actually get onto fixing/finishing their game because people like ME knew them. It wouldn't be left as is. Also let them work at a less insane pace.

I started playing it (I finally had a PC that could handle it) right before the Edgerunners release and the public reboot. It was a fucking. Solid. Game. I studied game design and if I didn't get sick and had to stop this game would have been my goddamn final paper. There are so many good choices narratively and mechanically to the point you can't separate the two. It was everything I expected.

They worked hard to get there. We currently live in an era where entertainment is treated like fast food and people can be fucking incoherent when they're told to have patience. Why do you think so many games release in a scuffed state? Why do you think this new 'redemption arc' story in the game industry has become increasingly common? Because Devs keep getting sent DEATH THREATS just for doing work. That's fucking insane. No wonder they're working overtime and sleeping at the office because the general public has turned gamedev into an industry that basically uses psychological torture as a whip to get your game out 'on time'.

Yes there are absolutely horrible triple A gamedev companies, usually under the stable of a larger company (EA, Activision etc. take your pick) but CDPR ain't that. In my eyes their hand was forced.

You know what is punk? Going with a little, 'unpopular' (basically not DnD) ttrpg written by a black man and building a new IP and experience from it - AND having him on board and getting his active input during development. Because dear lord current media in general seems to be allergic to taking risks and new IPs.

You know what else is punk? Releasing free DLC updates that would be a micro transaction otherwise (no I am not talking about Phantom Liberty and I argue that's an 'expansion' though I guess no one uses that word now) and putting the goddamn pdf of the ttrpg handbook they based it off with the game download. Putting stickers in physical releases (going by my witcher experience), giving you goddamn HIGH RESOLUTION IMAGES of in game posters to print for yourself FOR. FREE. No one DOES THAT anymore.

Also arguably putting out Cyberpunk is punk just in the narrative it tells in the goddamn first place - especially in the current climate, but I think I've made my point here.

Also my last point, in big letters because it's driving me fucking insane:

CYBERPUNK. IS. A. GENRE. A GENRE. THEY DID NOT INVENT CYBERPUNK. BLADE RUNNER. NEUROMANCER. ALTERED CARBON. IT'S A GENRE. THE PUNK ELEMENT IS IN THE NARRATIVE. IT'S NOT SOME KIND OF 'STATEMENT' ABOUT THEMSELVES, IT'S A GENRE AND ALSO THE LITERAL TITLE OF THE TTRPG THE THING WAS BASED OFF IN THE FIRST PLACE.

Anyway I'm sick of seeing CDPR being thrown under the bus and being treated in ways that will actively end up affecting future development. I really, really hope they haven't been too affected but if they end up feeling forced into modern day gamedev cycles and all the bullshit that goes with it ... well I know why.

And it starts with people who spout shit like this.

[hinamie]

long way home

[inknopewetrust]

ELECTION PSA

If you are in line to vote and your state’s polls close (ex. Illinois closes at 7PM CST), do not get out of line! They are REQUIRED to let you stay in line and vote.

Don’t let anyone convince you that your vote doesn’t matter. Your voice, especially those of you in a swing state, matters greatly for the future of our country.

[local-hellhound-steals-spaghetti]

Watching Spirit: Stallion of the Cimarron again as an adult is so great because not only do you appreciate the nostalgia and joy of it, the stunning 2D animation mixed with early 3D techonology and well written tight story with a main character that never speaks.

But also you appreciate that the plot relies on horses, despite not being typical talking horses in cartoons, being extremely intelligent to the point that they are aware of their captivity and exploitation. And it involves a hyper intelligent horse dismantling (or, at the very least significantly delaying) American colonialism's expansion into the west.

This horse also very likely killed many colonialists when they were either launched at high speeds from his back, kicked in the head or blown up in a train explosion.

Good for him.

[clotpolesonly]

Call Down The Hawk - Maggie Stiefvater / Graywaren - Maggie Stiefvater / Peinture 324 x 181 cm - Pierre Soulages / The Son Of Man - René Magritte / Graywaren - Maggie Stiefvater / Graywaren - Maggie Stiefvater

[show-us-kaidenshenandoah]

every time i watch anything with him in it (admittingly, predominantly from the Dropout app), i am reminded that Lou Wilson is the most handsome man to have ever lived. like, objectively. he just is. i will hear no arguments for any other person to be ranked higher. Lou Wilson: whose face single-handedly shows humanity can go no higher in beauty. he is THE most attractive man in the world. argue with the wall lmao

[trek-tracks]

Okay, hear me out. TOS 4 is the time travel movie. So AOS 4 is the time travel movie, but it's not about whales.

It's about a conversation AOS Spock had with TOS Spock before the latter died, when TOS Spock mentioned that things didn't really go irrevocably wrong in his universe until Admiral Kirk disappeared with the Enterprise-B. AOS Spock wonders what repercussions this has had on his own, somewhat more distressing universe, and when the AOS Enterprise bridge crew finds itself assigned to protect Earth by examining an unstable temporal ribbon that seems to be crossing through the galaxy--well. Spock wonders. Is this the Nexus? They find out soon enough that it is. And since Spock's the first one in, technically, the Nexus gives him what he wants, which is what the Nexus has--the ability to cross universes as well.

Now everyone, out in two groups on separate missions has to resist succumbing to the temptations of the world of the Nexus while they try to rescue Admiral Kirk, making sure his mission is still completed (so as not to destroy anything for the TNG folks' reality) but that he survives, so that they can figure out how to get through the Nexus and pop him back in his universe right as he's supposed to leave on the Enterprise-B. AOS Spock is sure he can figure out those calculations somehow. Some of the temptations are funny, some are sad, but we find out where Uhura and Sulu and Scotty are in their lives, and where they want to be.

Like Spock got to meet TOS Spock, TOS Kirk gets to meet Kirk (and Spock, and McCoy, and eventually the rest of the bridge crew). AOS Kirk learns that the life he's been envious of all this time didn't turn out well in the end because TOS Kirk ran toward duty alone despite what he had, and TOS Kirk learns that a) he could have suffered so much more loss, b) he's just one of a set of infinite possibilities, just like AOS Kirk is, and c) he's been wasting eternity exploring those other possibilities of happiness in the Nexus when he could have been content with what he already had.

He finds out what happened to TOS Spock, and it's agonizing. He sees this weird young Spock and Bones, both of whom could bench-press him, and he misses his Spock and Bones so much that the Nexus starts trying to change the fantasy world, to their detriment. It's only when the crew sticks as close as possible together and all concentrates on wanting the same thing that they're all able to shift the Nexus to their goal. Then Picard shows up. Things get complicated.

We hear, from Generations: And in the end, what did it get me? An empty house...Not this time.

and from Star Trek V: I knew I wouldn't die because the two of you were with me.

I thought you said men like us don't have families.

I was wrong.

TOS Kirk decides that, yes, he wants to leave, and he wants to go back. But they're not entirely sure how to line up Picard's plan and TOS Kirk's plan and the AOS plan and have it all work. It's a lot to figure out.

To simplify things, AOS Kirk decides he's going to volunteer to go die in TOS Kirk's place so that they can return TOS Kirk and at least one of them will have a decent ending, because his own life still feels so uncertain. This seems like it's going to work until his Spock and Bones both read him the riot act. But it's Bones who really goes off.

Karl Urban gets a great speech as Bones about how both Spock and Kirk met their counterparts, a chance which he will likely never be afforded and neither of them learned anything from it. Spock went off and punctured the walls of a universe even though TOS Spock indirectly destroyed AOS Vulcan through it. Kirk is trying to run away and die again because he doesn't know what to do with himself, even though TOS Kirk had an unhappy ending to a good life because at the end he ran away and tried to die again. Bones just tries to pick up the pieces. You don't fix things by tearing them apart, and you don't fix them by tearing yourself apart. You fix them by healing the rift. AOS Kirk's eyes light up. They're going to fix the rift.

They're going to give this random meaningless villain what he wants, throw him into the Nexus, he can have infinite joy, then they're going to seal it and heal it.

After all, AOS Bones says. He had a drink with TOS Kirk at the man's insistence, even though the Saurian Brandy didn't taste like anything, and Kirk told him he could cure anything from a rock to a rainy day. The tasteless brandy? Apparently Bones is the person who can actually perceive that nothing here is real, so he doesn't want anything except for everyone to remain safe.

From Beyond: Better to die saving lives than to live with taking them. 

Bones says: Better that no one dies at all. This time, no one dies.

So TOS Kirk and the Bridge crew go with Picard to subdue Soran and honestly, it's not that tough with all of them. Nobody had to die. And as they fix the rift, with TOS Kirk and Picard's Enterprise about to be thrown back into their universe on one side and the AOS Enterprise into theirs on the other, Picard suddenly realizes that he never clarified how they were getting Kirk back to his own time. And how will they explain his status?

TOS Kirk grins. Good thing I know how to slingshot around the sun, he says. And when they report me missing, I'll just say I didn't go in the first place. Clerical error. Who are they to argue with an alive man?

AOS Kirk has so many questions, but the two of them merely salute each other, and then they're thrown back.

Back in his own time, TOS Kirk walks into a Starfleet Academy apartment, and hear him say:

Bones, I heard you got laid up with Andorian flu and Spock was taking care of you, and this I just had to see! How many hypos? Don't let him talk you out of any, Spock. They're all important, every single one, even ones he hasn't heard of.

A pause.

Yes, I know I said Starfleet needed me. I just thought maybe you two needed me more this time.

Back in the AOS universe and Spock's calculations are totally off in getting home, because he didn't account for the gravitational pull of--

Vulcan. The planet that apparently still exists.

TOS Spock still came into their universe--he was always going to live longer than his ties to his Enterprise family. But his actions had been tempered, less destructive, which had clearly resulted in the Enterprise being able to save the planet. They were going to have to find out how.

Not everything had changed, of course. Nero had still been Nero, they had still come together. But Jim only vaguely remembers dying, now, as though it had happened to somebody else. He feels more settled than he ever has before. Some of that's the time travel revision, and some of that's the meeting with his alternate self, and some of that's Bones' yelling. Spock feels a sense of closure. Bones is just relieved that nobody died this time.

Uhura suddenly and quietly alerts them to the chronometer. It's a week before they left, which means there are now two Enterprise bridge crews on Earth, and that they need to lie low for a week to avoid running into themselves.

What should we do, Captain? she asks.

Jim smiles.

Let's go to Yosemite.

[aletterinthenameofsanity]

Does it ever hit you that Martha sat down in New New York and told the Doctor that she needed his honesty more than she needed to go home and that religious music played in the background at that scene and it was almost framed as a confession, in the most religious sense, and go a little bit feral? That as early as her third episode, she was framed as his equal, equally divine, equally a doctor, able to confront him, able to make him honest, able to sympathize with him, able to abide with him? That so few companions have ever spent so much time in one time period with the Doctor (1969/1913, for example), being with him/her, not running, just staying? That for every fucking thing Ten did wrong as John Smith/after coming back to himself in Human Nature/Family of Blood, he trusted her enough to leave himself vulnerable and human in her care, because he trusted her as a Doctor, because she was just as much a Doctor as he was? That Martha was, more than any other companion of the Tenth Doctor's, his equal, that her final speech about not being second was not just talking about her not being second best to Rose but about being second best to him? That she finally understood what had been true from the moment that they met and she closed Stoker's eyes and the Doctor realized that she had not just bravery and cleverness but a kindness that he had forgotten, that Martha Jones, more than anything else, has been and always will be The Doctor?

[casualavocados]

Why do you always use that to piss me off? ...It makes me happy. We agreed that I'm in charge of the bars. But you come here all the time to watch me. How am I supposed to lead my people? Use your head, okay? Suit yourself. What's the matter? Chen Yi. Chen Yi! [...] Don't make me worry.

Chen Bowen as CHEN YI & Chiang Tien as AI DI KISEKI: DEAR TO ME (2023)

[nyatbinary-81]

@vulpixisananimal

[Soothing Restful Song]

[You hear a bell. Chiming, tolling, calling your name.]

[beaft]

they should invent a me that isn't exhausted all the time

[omaano]

"Trouble on Zeffo! After his daring rescue by the crew of the Mantis, Jedi padawan Cal Kestis has embarked on a journey to possibly restore the Jedi Order! Following the steps of Jedi master Eno Cordova, hope has never been easier to grasp. But standing in the way is a massive storm…"

My art piece to go with Steampunk Star Wars written by @hotcocoandmarshmallows my amazing partner for the @swprequels-big-bang. Please give it a read, to see what Cal gets up to on this alternate version of the Mantis, and Zeffo!

[littlestkoi-n]

the rage I feel when reading Blood of Olympus chapters 45-56 is almost equivalent in magnitude to the absolute joy I experience when reading The Last Olympian chapters 1-23.

remember when percabeth was good? when they meant the world to each other but had other people they cared about (nico, for one. both of them. so much), other worries and other storylines aside from their romantic plot? and when nico's completed arc wasn't repeated for no reason other than to dump more trauma on the youngest character in the series? when background characters were included in the story not for all the unnecessary last minute romantic subplots but because they were fun and fascinating to learn more about? and were actually friends with main characters? remember when grover was percy and annabeth's best friend forever? and antagonists were actually interesting and intimidating and had compelling goals? and the story revolved around friendship and family and loyalty? and death was definite and loss was palpable and battles were thrilling?

yeah. good times.

[notbecauseofvictories]

my parents got me a "flower of the month" subscription, and I have to say, I'm really digging the opportunity to take dramatic photos without leaving my apartment.

[stardust-moth]

In order to fully understand why it was so hard for Mike to express how deeply he loves El, and why his speech at the end of season 4 was one of the biggest, most important moments for his entire character, we need to look at not just who Mike is as a person, but also everything that has happened since he met her.

Every single time he opens up his heart to her, something horrible happens to her or she's taken away from him almost immediately afterwards.

1x08; he's an awkward little ball of feelings that are way too big for a boy so young. He makes a nervous attempt at confessing and asking her out on a date; when he can't find words that she'll understand, swoops in for a kiss instead. She lights up immediately and smiles. It's a brief moment of hope and pure happiness. Maybe they can have some semblance of a normal life and be normal kids after this is all over.

Minutes later, all hell breaks loose-- they're almost shot, El pushes herself too far until she can barely move, she's almost taken away by the Bad Men, the Demogorgon appears, and she uses the very last of her strength to sacrifice herself to save him and their friends.

He has to watch helplessly as she disappears.

He spends a year caught between believing she's dead and hoping she's still out there somewhere (but if she is alive then why won't she talk to him anymore...?). Kept silent under threat by the lab, he can't confide in anyone or even acknowledge her existence, not with anyone except those involved... but everyone else is keen on moving on and pretending it never happened. He can find some solidarity in Will, at least, who is in a similar kind of emotional turmoil... but it's not the same and it's not enough.

2x9; he is finally reunited with El, and she runs into his arms like she missed him too. She tells him that all those nights he called out to her, she heard him; she was there reciprocating his feelings the whole time.

In a burst of emotions that he's been forced to suppress for an entire year, he lashes out at the reason they've been kept apart (Hopper), screaming and sobbing. It's a massive catharsis for him, and for once an adult is understanding enough to hold him and not punish him for it.

Minutes later, she is going to go headfirst into a pit of monsters, the place where Mike had just firsthand witnessed dozens of people (if not more) get ripped to shreds only hours earlier, and she is going to attempt to close the Gate-- a feat that he knows may take every ounce of her power, just like last time. He cries. He can't lose her again. She promises he won't, and before she can seal that promise with a kiss, they're pulled apart again.

He has to watch helplessly as she drives away.

3x1; all seems to be okay now. He and El are happily together, and he feels comfortable enough to be playful, romantic, and intimate with her. It's the most emotionally open we've ever seen Mike thus far.

For reasons he can't understand (bc there's no way Hopper explained himself beyond "I'm in charge so do as I say or else"), Hopper is angry about it and threatens to never allow him to see her again: the one thing he fears most.

He panics big time and fucks it up in the process by lying to her. During a frantic attempt to apologize while also abiding by Hopper's rules, he runs into her at the mall. He panics again-- if anyone finds her here, and knows that he was here too, it's all over, and Hopper surely won't hear reason. El dumps him cold on the spot, spurred on by Max and her rebellious attitude (and without any context of course). He isn't given much opportunity to respond. He knows he's in the wrong for lying to her, so what could he even say...?

He has to watch helplessly as she drives away.

It's a hard blow, and he retreats back into himself, unable to get any joy out of playing D&D (which he clearly hasn't lost interest in), back to the deadpan sarcasm and accidentally snapping a little too harshly at anyone whom he feels would take El's place.

3x6; no one seems to understand the danger El is putting herself in. Everyone is berating him for worrying about her safety. He's seen firsthand what these monsters do to people, he's seen firsthand how El pushes her abilities too far. No one is listening.

The words "I love her and I can't lose her again" burst out in his desperation, perhaps before he's even had a chance to realize how deep those feelings run, despite whatever protective walls he's tried to build around his heart to keep it from getting broken again.

Soon after, all hell breaks loose. El is nearly killed several times over, her leg is ripped open, she pushes herself so hard that she breaks herself and loses her powers completely. Her father is taken from her. She's shattered by all of this, and there's absolutely nothing he could do or say to make it better.

She tells him that when he admitted he loves her, she heard him, and indeed she loves him, too... But now she's leaving.

He has to watch helplessly as she drives away.

4x1; they've been apart for a few months, and write letters back and forth to each other. El's letters paint a picture of an ideal new life: she and the Byers family are doing well; she's starting school and it's going well; she's made new friends, she likes her new home, everything is going well. She seems to be thriving. She sounds happy, maybe even happier than she had been living in Hawkins. Maybe Max was right, maybe she's better off being her own person without him, and maybe the respectful thing to do is step back... It's a small insecurity that creeps up subconsciously. In his replies he holds back, afraid of clinging too hard.

Though there's little logic in it, he's afraid that if he tells her he loves her again, another disaster might strike and this lovely happy life she's finally found might get taken from her. After all, that's what always seems to happen when he does.

4x2; after months of waiting, they can finally see each other again. He wears her favorite colors, picks a handful of flowers for her, and falls happily back into step with how they used to be. Soon that same day, however, reality becomes clear and the facade crumbles. People he was told were her friends show up to torment and publicly humiliate her. She had been lying. She isn't happy here, she hasn't healed, she is right at the edge of a breaking point that he doesn't see coming at all. He can't believe she would lie to him, she's not the kind of person to lie... especially not about something like bullying, something that she was always so understanding about with him.

On that logicless subconscious level, he wonders if it's all his fault-- he should have known somehow, he should have been there for her. She protected him from his bullies, he should have protected her from hers. He tries to come to her rescue. She runs away from him.

He's helpless to save her, again.

4x3; after a night to process everything that happened-- and deciding that the betrayal he feels from her lying to him is nothing compared to the turmoil she must be going through right now-- Mike approaches her in the gentlest way possible, wanting to listen and trying to understand. El, however, isn't receptive at all to his attempts at reassurance. She is at an all-time low, she's given up. She believes she is unlovable, irredeemable, a monster, just a thing that doesn't even have those superhuman abilities to compensate anymore. Mike can't believe what he's hearing-- doesn't she know that she's always been so much more than her powers? She's always been so much more than what she lacks in quote-unquote "normalcy"... None of those things matter, they have absolutely no bearing on whether she's worthy of being loved, because he loves her, completely regardless of any of these things. He always has...

El starts flinging his restrained words back at him, the products of his insecurity and trauma-induced fear. That fear takes hold yet again, and he stumbles, afraid of saying too much or not enough, because surely both could result in pushing her away-- she's retreating, hearing none of it; nothing he tries to say consoles her.

Moments later, local police come knocking. She's taken away in cuffs, and she's so broken inside that she won't even look at him when he chases the police car down the street and promises he'll get her out somehow...

Once again, he has to watch helplessly as she drives away.

4x8/4x9; after days of driving through the heat and dryness of southwest desert, having narrowly escaped being shot at with military-grade assault rifles, witnessing the death of and burying a man whose last words were that El is in danger... After watching dozens of people get mowed down by a sniper in a helicopter, and watching that same helicopter be smashed into the ground in a ball of flames...

There she is. Just as powerful and beautiful and alive as she's ever been. When he runs to her and embraces her, she looks at him like she can't believe he's real. She's beaming a smile right from her soul and it's like all the insecurity and self-doubt that have plagued them both just vanish from existence now that they're in each other's arms again.

Like always, however, the universe comes crashing down soon after. Max is marked for a gruesome death and all of Hawkins is in danger. They're miles away and helpless, and the only possible way for El to save everyone is if she goes in alone. She's stronger than ever, but so is her foe. Once again, she descends to face all the demons of hell on her own, and Mike can't do anything.

She's losing. She's choking. She's dying. He's helpless.

He must be cursed. He must be. Being with her, loving her, allowing himself to admit he loves her, it always brings only pain and suffering and loss. His heart is so full that it's aching, it's bursting out of his chest, and he can't contain it any longer.

She's going to die and it's going to be all his fault, because he fell in love, and it's cursed her.

Just before it all crumbles into utter despair, the earnest support from his oldest and dearest friend-- one who's always shared and understood his feelings of helplessness-- sparks a light of hope in him: "You're the Heart." You're not helpless. You can save her.

The words that come spilling out of Mike's mouth are truer than any he's ever dared to speak before, and it's the most terrified he's ever been, but he has enough courage for this moment. Despite all of the fears that have been building, stifling, choking him to death for years-- fears that the light of his life will inevitably disappear again, and there's nothing he can do to stop it-- despite it all, he pours out his heart to her.

He loves her. He's always loved her. He loves everything she ever was, is, and could be. He can't imagine a world without her in it. She saved him, in every way a person can be saved. And he needs her to live. He believes in her.

And it works. It's music to her ears.

[dumbass-tm]

*twirls my hair* hiii tged fandom :3

idfk anymore im so tired 😭😭😭