#frog reviews

[forgthetheaterkid]

Review 1: Hamilton!

Rating: 5/5

How familiar I am with it: I’ve seen it twice on tour and I’ve listened to the cast album too many times to count

Characters: Each character was written so well and had many layers (like an onion) EXCEPT FOR PEGGY I WANT JUSTICE FOR MY GIRL

Songs: My judgements a wee bit iffy on this one since I’ve heard them all so many times, but they are all really good. They’re all bangers and are really catchy and the sadder songs rip out your nonexistent heart (The World Was Wide Enough has me tearing up EVERY TIME)

Plot: It’s a bit hard to tell where you are at times when you start listening to it, but otherwise it’s pretty easy to guess from the soundtrack alone. I also can’t really talk about how exciting the plot was because it was literally a dudes life (but the plot was definitely entertaining)

Overall thoughts: As much as I’m kinda sick of it, Broadway probably wouldn’t be as popular today without it. Heck, Hamilton was my first musical and it pulled me into the world of theatre. It’s definitely a fantastic musical and I highly recommend it (though if you haven’t listened to Hamilton in 2024, what are you doing, silly goose? Get on that!)

[book-of-frog]

Deeplight by Frances Hardinge

Deeplight by Frances Hardinge is a fantasy novel about long-dead gods who lived in a realm under the sea called, surprise surprise, the Undersea. The remnants of these gods can be found in the Undersea, and the people of the Myriad (the islands on which this story takes place) scavenge these pieces for technological advancement… or to sell to the highest bidder.

I’ll be honest, this was a struggle to start. I’ve been trying to read more often (my incredibly long TBR is begging me to do something) and as the first read of 2023, Deeplight was… not the worst. The protagonist, Hark, has no agency for the first ½ of the book and the character making decisions on his behalf is insufferable– deliberately on the author’s part, but it doesn’t make for a gripping story. I kept reading for the worldbuilding, mostly. The concepts of the long-dead gods, their death, the godware, the islands in general– all of it was stellar, and despite my distaste for the characters the ideas behind the plot were intriguing enough that I continued. It was very much worth the wait, I can say. The second half of this novel picks up the pace and the quality drastically, and the payoff is well done. The stakes of the climax are tense and the solutions have been well foreshadowed. The characters do get better by the end– there are two in particular I very much enjoyed– but it feels a little late.

Overall, I’d give it 3 stars. I’ll probably go back and reread the second half, and I would like to mess around in the world of Deeplight if I get the time. This book’s biggest strength by and large is the world. Hardinge has created a universe full of intrigue and potential that sings with character– It’s just a shame that their characters don’t quite live up to that standard.

[squash1]

here’s to being there.

[the anthropocene reviewed by john green / stranger things / the raven cycle by maggie stiefvater / käthe kollwitz “the people” / ted lasso / in memoriam by alice winn / sex education / frog and toad]

[artist-issues]

Yeah, again, you can tell that the creators of Wish wanted certain moments to be impactful and to hit as hard as any other animated Disney movie’s moments did. But they didn’t. Because there was no convincing build-up for the moments to peak on.

You can tell which moments they are.

When Asha and the King sing “At All Costs” - If you listen to the song on its own, and you have no context (which is to say, you make up the context on your own) it is moving. Because it’s a pretty-enough song with vaguely passionate lyrics, once you assign meaning to them. But the movie doesn’t build up why this song should be an impactful declaration for either Asha or Magnifico. We already knew that Magnifico made it his job to “protect” the wishes (which are the subject of the song.) Asha, on the other hand, has only just been introduced to us, and we know she “cares too much,” so we already knew she’d protect people’s wishes. The song isn’t giving us a deeper understanding of them, or a more interesting angle to look at their motivations.

But, that’s not really the problem. The problem is that the wishes are the subject of the song. And that whole concept, of wishes being tangible objects that hold the most important and beautiful part of people’s hearts, but when they’re tangible, they remove that part from the person, is bad. It’s not good to try and build a story of stolen-treasures on.

Because that’s how they’re treated. Like treasures that the king is hoarding, after manipulating the people of Rosas into giving them up. And you know what? That’s a terrible thing to sing a protective love song to.

Just think about it this way: the story is about a King who takes everyone’s favorite keepsakes (family jewels, ornaments, old photos) and promises to protect them, but in actuality…for some reason…the moment they hand the keepsakes over, they forget whatever made the keepsake important to them. And then the King and a young woman sing a heartfelt song to the photographs and old brooches about how they will love and protect the photographs and old brooches.

Do you see why this song is pretty but not impactful in the story? They shouldn’t be singing to the wishes. Even Magnifico. They should be singing to the people. The movie plays it as if that is what they’re doing—singing a heartfelt promise of protection to a person, or a people. But that’s not what they’re doing, and do you know why?

Because the people have forgotten their wishes.

By definition, the actual human beings in Rosas cannot care (believably) about the bubbles in King Magnifico’s tower. They can only vaguely care about the chance of being happier than they are now, someday, if the wish they don’t even remember is granted. And what a terrible lesson, never mind plot point.

Anyway.

I digress. The point is, for a personally-worded, vow-of-protection-song to hit the audience meaningfully, it needed to matter to the person receiving the vow. But there is no person receiving the vow. Because of the narrative and lazy concept, only Asha and Magnifico care this much about the wishes. Because the people who made them have forgotten them. (More on this when I talk about Asha’s mom.)

When Sabino’s wish is not granted - This is supposed to be like a “Tiana’s restaurant gets taken away from her when she’s outbid” moment. The character is crushed when the thing they wanted and really believed they would finally get is taken away.

Doesn’t work in Wish, though. Because of a few things, but the main two are:

The audience has no reason to believe this means so much to Sabino because he hasn’t been shown really longing for his wish to come true.

This movie avoids any vulnerable emotion in facial expressions.

When Tiana loses her chance to have her wish come true, it is also unfair—she was already promised the property, but the brokers accepted a larger offer anyway, and it’s implied to be because of racism. Similarly, everyone acts like Sabino is entitled to (“promised”) having his wish come true because he’s so old and it’s his birthday. Plus we, the audience, know that Magnifico isn’t rejecting his wish for good reasons, and that Sabino’s wish is unselfish. So it’s meant to feel unfair and sad when he doesn’t get it, but it’s not. Not like it felt with Tiana.

Not only does the lazy concept of wishes and forgetting them once they’re tangible hamstring all of this—but the fact that Sabino has had nothing but a handful of sparse lines (ones like “we don’t know for sure that I’ll get my wish granted”) to convince us that he really cares about this hamstrings it, too.

When Tiana loses her restaurant property, it’s only about 24 minutes into The Princess and the Frog, and we have already had:

1 - A song about how hard she’s worked for it. 2 - An opening scene where her relationship with her father connects the restaurant to a deeper, more personal meaning for her.

3 - Several scenes where she is shown doing drastic things to get enough money for it; her drawer full of tip money; the two jobs she works with only a minute’s sleep in between; her friends asking her to come dancing but reiterating the fact that she often loses time for fun and their good feeling toward her because “all she does is work.”

4 - We are also shown that people don’t believe she’ll get it. The cook at her job mocks her for her wish, which makes it all the more important to the audience that she gets it—to prove the jerks wrong.

Of course, it doesn’t hurt that the restaurant is directly tied to Tiana’s character flaw AND her strengths, at the same time, so that it’s killing two birds with one stone—we’re shown who Tiana is, and we’re convinced to empathize with her when something sad happens to her.

Sabino has zero of those things going for him. No character details or set pieces to hint to us that he wants the wish to be granted so badly—no speeches about what it means to him—no memories tied to how he began to wish for this thing—because there can’t be. Because he’s spent 82 years not wishing. Because he’s lived the majority of his life totally forgetting what he wanted. You couldn’t logically show any evidence that he wanted it that much, then, could you?

So Sabino can’t be shown caring too much about not getting his wish. Therefore the audience doesn’t care either. We’re shown a glimpse of his sad face, and Asha’s sad face, and then told, “now feel sad!” But the work wasn’t put in to make it happen.

They cut their legs out from under themselves.

Now you could say, “well it wasn’t really about Sabino’s disappointment, it was about Asha’s disappointment.”

Yeah, but that doesn’t really hold up either. I’ll explain how in the next moment-that-should’ve-made-us-feel-something failure:

When Asha’s family doesn’t believe her - This scene is very clearly supposed to be like the one where Mulan has an argument with her family about her father going to war, and knowing her place, and he yells at her and she runs out distraught.

You definitely feel for Mulan and care about how she’s feeling in this scene—you might even cringe at the part where her dad yells at her. Part of that is because the scene is so well-done—there’s the buildup of tension as the camera cuts between each family member quietly drinking their tea, refusing to talk about the day’s devastating events. Then Mulan bursts out by slamming her teacup down and starting the yelling, herself, in outrage. Her dad stays quiet and steady like he has the whole movie up till now, so then when he stands up and shouts at her, about the exact thing she has been so upset over since the Matchmaker’s, the audience really feels the impact.

You don’t feel the same way about Asha, and it’s not just because her family argument scene wasn’t done as well—it’s also not just because, as you can see above, the movie keeps tiptoeing away from emotional vulnerability in the way the characters look.

It’s mostly because there’s been no impactful buildup to this scene. Again.

When Mulan has an argument with her father, you know what it means to her to have him yell at her about doing what’s right in her own place—you’ve had the whole first few scenes of the movie to convince you of it.

Mulan is upset because she wants to find her place and she loves her father very much. But she does not, ever, say the words “I love my father so much.” She doesn’t even outright say things like that before the argument. She doesn’t say to the Matchmaker, “Won’t you please give me another chance? My father has been praying about this for weeks, and I can’t bear to disappoint him. My father is a great man; he fought for the Emperor and was wounded in the wars; for his sake, can’t you help me?”

Asha does. Asha says to King Magnifico (but really, to us, the audience) “My grandfather’s wish! It’s beautiful.” And “Your Highness, couldn’t you grant his wish?” And to her friends, and to her mother, and to her grandfather himself—over and over she just reminds us with flat, “okay-we-get-it” dialogue and exposition of what she wants.

Whereas Mulan shows us. She convinces us. She runs up to her father, in the very first scene, and we’re shown that even though she has trouble remembering what she’s supposed to say to the matchmaker—even though she has trouble remembering what time it is and getting her other chores done—with this one part of her life, her father, she can remember exactly what the doctor said about how much tea he needs to drink. And she is prepared for her own clumsiness to make sure he gets it.

And even after she doesn’t get what she wants, and is shown to be so ashamed she can’t even look at him (because that’s how much she loves him and cares what he thinks) the only thing that makes her feel better is when he carefully compares her to a late-blooming flower and basically promises that he believes in her, anyway. We know how much Mulan cares about her father because we’ve been convinced by the way the movie artfully and carefully shows it.

We also know that she cares about knowing her place, specifically because of her family’s wishes for her. So all of this combines to prove to us that having her father shout at her about knowing his place and why he’s going to die willingly is a devastating thing for her. Enough for her to run out of the house sobbing and cling to a pillar as if she can’t hold herself up.

But when Asha runs out of the house (barely sobbing, just kind of breathing fast, because there’s no vulnerability in this movie) and stumbles up to a tree in the same way, we don’t really believe something so devastating has happened to her.

Everything happened too fast. She just kept saying she cares about Sabino’s wish coming true, and that she loves him. When he explodes at her (and really out-of-nowhere asks if she wants to “break his heart”) it’s the first time he’s shown any kind of intense emotion, either toward her, or about his wish.

There is no build-up. So it just feels awkward, and kind of like a high school production where one of the kids hasn’t even been trying to act, but in one scene, he suddenly starts yelling because that’s what his character is supposed to do. And it’s just cringe because you haven’t seen that level of energy, happy or sad, good or bad, at all up until now.

And that’s a problem because it leads right into Asha’s “This Wish” song, which is supposed to be like her “Mulan riding off to war” moment. But it’s not set up well by the emotions tied to the family argument, or the emotions tied to the conflict with the King, so you don’t really care.

Moving on to the next emotional-moment failure:

When King Magnifico threatens Queen Amaya - I don’t have much to say about this one; I think you’re getting the point. When there’s nothing but bland words and one-liners spoken to convince us that the characters are thinking and feeling how they’re thinking and feeling, moments like this one just feel boring and forced. And try-hard.

Like, the lighting? The music? Fine. Good. When he points his new magic wand at her threateningly, and clearly appears ready to betray her? All that stuff is fine. It just hasn't been built up to, so it doesn’t hit.

It’s like, “that’s it?” He just says one line about, “Are you betraying me?” And she pours forth a bunch of lines like “no I’ve always believed in you and in Rosas.” And then he’s basically like “okay, I’m convinced, moving on” which of course is him already knowing that she’s betrayed him and already having a plan to trap Asha…but still. From Queen Amaya’s point of view, there’s nothing emotional here.

We’re supposed to believe they’re madly in love and that she trusts him wholeheartedly, so that when he falls to dark magic and she chooses to side with Asha it’s this big moment. But it happens so fast.

There’s no moment where Queen Amaya grieves her husband. There’s no real sense of loss, or even of impactful betrayal. The voice actress delivers every line like she’s trying and failing to feel what the character feels as she reads the lines to a 5 year-old who needs every concept spoon-fed to them.

And King Magnifico drops her like a bag of dirt instantly. No sense of loss from him, either. He’s not even condescending to her, like, for example, Mayor Lionheart was to Dawn Bellwhether in Zootopia. Or like Jafar was to Iago. All of those things would’ve made their quick severing of bonds to each other make more sense.

But we’re not shown that Queen Amaya has sensed any darkness building in her husband over the years, and is just now realizing that this is the last straw and maybe he was never the man she thought he was. She treats him like she adores him (blandly) for the whole first half of the movie. No hint of doubt. Even when he goes for the forbidden book the first time, she easily convinced him not to and then wandered away like “well, took care of that.”

When Asha’s mother loses her wish - The biggest problem with this moment is still lack of buildup, and that is because the tangible-wish forgetfulness thing is stupid as we’ve established. We don’t believe she feels grief, even when she says she does, because we don’t know this woman at all. We don’t know what she wants, or how badly she wants it—we certainly don’t feel that she’s been missing her wish.

But the other offenses are worth mentioning. When Asha’s mother’s wish is broken by Magnifico, she just…gasps. And her father-in-law says her name, and Asha yells something typical like “no!” She looks a little weak in the knees, like maybe she can’t walk for a second, so the 100 year-old man supports her.

But the cameras spend no time on how this is affecting her. The shots of the family escape in the immediate aftermath of this world-shattering thing don’t let us see Asha’s mother’s face. Not that her facial expression is that devastated, anyway. It’s just “typical sadness” expression. There’s a shot where they’re going from the house to the stolen horses and if I remember correctly, Asha’s mother has her back to the camera the whole time; I was looking at her because I was like “something devastating just happened; this is the most interesting part of the scene.” But there was nothing to see.

They could’ve had her visually turn grey. They could’ve had her go mute, stare off into space, suddenly become scarily unreachable. They could’ve had her weeping uncontrollably. They could’ve just had her go catatonic—after all, we’re supposed to believe that even the chance of having “the most beautiful part of her” returned to her heart was just destroyed. Wouldn’t that logically make a person…cold? Calloused? Unfeeling? Uncaring? But no. She’s as just keen to express concern for Asha and apologize for being wrong about Magnifico and urge Asha to keep believing in herself, passionately, as she would’ve been before. No big deal, just lost the most beautiful part of myself forever.

Doesn’t help that we never knew what the mom’s wish even was, so even we can’t miss it.

So when she gets her wish back at the end, and she’s like, “come home.” It’s just…cringey.

When Asha convinces the crowd to wish for Magnifico’s defeat - The idea of the movie is that “the power of the stars is in you because we all came from stardust, so keep wishing and working toward it even when it’s hard.” So this moment is supposed to be impactful.

But it isn’t. Because that kind of thing isn’t impactful. They literally sing a song, glow, and Magnifico is defeated. Even if we were supposed to believe Star was dead, and this is bringing him back like Tinkerbell coming back to life, it’s still not impactful. Because one, it happens way too fast. And no character really emotes about it, like Peter did when he thought Tink was dead.

Two, that hasn’t been the point of the whole movie; the main character never had trouble believing that she was powerful enough to enact change. She barely doubted her own wish. If they wanted us to be excited that she could win based on the stardust in her heart, and in the kingdom’s hearts, alone, then they should’ve given us several scenes where it’s like “Asha is relying too much on Star’s power.”

But no, doubt and disbelief and reliance were never character flaws of hers for this moment to overcome. She doesn’t really have any character flaws, let’s be honest.

Even if you want to say “well sure, Asha didn’t doubt her own power, but the kingdom did! Otherwise, why would it’s citizens have put so much reliance on King Magnifico?” Okay, that’s nice, but 1) that is never solidly or impactfully alluded to in the story, beyond jokes about how handsome they think the king is and the literal plot point of trusting him with their wishes. And 2) having a whole kingdom of background characters believe something false and then get their minds changed in a split second is not nearly as impactful as having the main character’s mind changed first—and then she passes that knowledge on to them.

Like Judy Hopps learning to try to understand Nick, then encouraging all of Zootopia to try and understand each other. Like literally any good story where a whole kingdom needs to realize something.

Also it is never a good idea to defeat your villain just by singing about how you want to defeat your villain. Nobody should have to tell Disney that. They wrote the book on this.

But this movie was made by a company that no longer knows itself.

I could say more, like about the moment where Asha supposedly is at her lowest, or the part where Star “leaves,” or when her friends work together, or the “Knowing What I Know Now” song, but it’s all the same problems.

[the-sage-libriomancer]

Rewatched Princess and the Frog today and honestly it feels more like a celebration of Disney's 100 years than Wish. A classic fairy tale respun in interesting ways while still being undeniably Disney? Check. A traditional story with modern twists and a (narratively) strong female protagonist? Check. A return to 2D animation in a time when the medium was dying out? Check. Hell, it even takes place in the same time period (1920s) that Walt Disney released the first animated feature film and started a hundred years of magic. There are multiple references to older Disney movies, from classics like Pinocchio and Sword in the Stone to (then) recent films like Aladdin and The Little Mermaid. It features the fucking wishing star! In a more narratively sound manner than Disney's actual 100th year celebration!

And even beyond that, Princess and the Frog feels like it pays tribute to the magic of magic - the power of believing in stories, of having a dream, of working hard to reach your happy ending while never losing sight of what's really important. There is so much effort put into this movie and it shows: the animation is gorgeous, the story is creative and structurally sound, and behind the scenes reveals that the producers put their backs into making sure both the African American aspect and the New Orleans cultural aspect were accurately depicted. It was the first Disney movie in over a decade to return to the Broadway musical format, and they literally had to dust off the abandoned 2D art tools because the company hadn't used them since 2004.

Princess and the Frog was a labor of love through and through, a heartfelt tip of the hat to Disney's legacy while still being its own story. I don't know what could be more celebratory of Walt Disney's dream than that.

[thedreadblog]

OHHH MY GOD

[shhhsoftnwet]

No worries everyone! They’re just having a bloody good time and spilling ketchup everywhere 😀🥫

[charsui]

I made a stupid YouTube video if anyone is interested

[bathtub-frog]

I don't care what anyone says we love and respect Chikorita in this household

you can get the sticker here

[gnnosis]

we were together. i forget the rest / on togetherness

[ ted lasso, 1x10 / the west wing, 3x05 / the anthropocene reviewed: plague, john green / frog and toad all year, arnold lobel / the raven king, maggie stievater / four friends, salman toor / leaves of grass, walt whitman ]

[forgthetheaterkid]

Can you do a mini review for heathers? /not forced

I'm obsessed with it rn and you asked for asks lol :>

I’D LOVE TOO :D (AND IM SO SORRY THAT THIS IS LATE)

Heathers

Rating: 5/5

How familiar I am: I’ve seen the og movie, a bootleg, and I’ve memorized the soundtrack

Characters: I love these characters so much! I really like how the musical gives Veronica way more depth and shows her regret for killing Heather C, Kurt and Ram (they really show this in “Prom or Hell”) ALSO CASTING DIRECTORS WHY DO YOU ALWAYS MAKE HEATHER CHANDLER AND JD HOT???? I’M NOT SUPPOSED TO BE ATTRACTED TO A (pardon my language) MYTHIC BITCH AND A PSYCHOPATH!!

Plot: Aw look! A girl finally gets her wish to be popular! 😊 And she meets a cute, totally mentally stable boy ☺️! I’m sure no murders will happen here 😁

Ok but for real this is such an interesting plot. When I first listened to it, you literally could not tell what was happening next. It’s really entertaining and gives a lot of characters a chance in the spot light.

Songs: Dare I say there’s not a single bad song. Candy Store? Iconic, even though my alto ass can’t hit those notes. My Dead Gay Son? Hilarious and their rainbow ties kill me each time. Meant to be yours? I love acting out being a little bit psycho :) Dead Girl Walking Reprise? I’m not quite sure why this song scratches my brain perfectly but it was my third most played song on Spotify last year. Blue? Even though I prefer “Your Welcome” since I think it handles the topic better, Blue is still unsettling under its upbeat demeanor. (just like All You Wanna Do) I could literally do a mini review on each of these songs if somebody wanted (actually that might not be a bad idea because I’ve lost a wee bit of motivation to do big reviews everyday as you could tell) These songs are great and the only one I’m not the biggest fan of is “Kindergarten Boyfriend” but I’m not taking off points because I can kinda sing it :3

Final thoughts: This is such a good musical with great characters, (AND great character development), iconic costumes, fantastic songs, and an all around fun (and kinda murdery) time!

ALSO FUN FACT WHEN JD SAYS “You’ll go to some college and marry a Lawyer” THATS A REFERENCE TO LEGALLY BLONDE BECAUSE ONE OF THE PRODUCERS (or maybe writers idk) ALSO WORKED ON THE LEGALLY BLONDE MUSICAL

[gifs-of-puppets]

2023 Muppet Year in Review: Kermit the Frog and Miss Piggy traveled to London in May to attended the Coronation Concert of Charles III.

[squash1]

[godzilla-reads]

🐸 A Frog in the Fall (And Later On) by Linnea Sterte

Rating: ⭐️⭐️⭐️⭐️⭐️/5

A minor frog yearns for adventure when he meets two traveling vagrant toads who are transporting the spirit of a flower to the tropics before winter comes.

I hate making comparisons with books, but this is like Studio Ghibli meets The Wind in the Willows. It’s so wholesome, thoughtful, and fun. I love Minor Frog and how he has so much youthful joy and imagination. I love the toads with their vagrant lifestyle. I really enjoyed each character we meet on the way, especially the dog. This book is beautiful and wonderful and I wish I could just gift it to so many people.

[frogs-stealing-sleep]

I try not to be too negative especially on main but wtf is the Minecraft movie

I am not looking forward to this at all

Also Jason's outfit/design reminds me of Dora so... Have that

Reasons I'm not looking forward to it under cut

Not everyone wants to hear me yap-

I did the pic cropping btw

It's a list/ramble cause my brain works best that way

It's uncanny the sheep everything it looks .. weird gross and uncanny

What is this plot I understand the movie isn't released but why are the piglins the bad guys? Why isn't it like a playthrough or speed run of it? That'd make bank look at YouTube

The "star power" celebrity casting feels so bad here. It's an obvious cash grab especially here and I'm worried about them not feeling right nor fitting their roles. In the trailer they look so awkward??

Why is Steve white I understand the star casting but the costume design and they didn't do anything to Jack at all?? Like they put him in a blue shirt and said here ya go ✨ cause thanks?? I hate it

It feels like a cash grab in general like overall?

It feels cheap and to make the same money Sonic, Fnaf, Mario(which I have my own issues with..), and others I probably forgot

It feels loveless and lifeless in a game where creativity has no bounds, you can do anything, and where exploration is key what are they doing? The same action movie plot we've seen..

It's not a love letter to the highest grossing/bought movie it's a cheap grab at it and I am pissed

This is probably full of errors and mistakes but I don't care I don't want this to take any more of my thoughts up

[fantasyfantasygames]

Nothing to Do During the Marathon

I had nothing else to do during the marathon so I started thinking about my life, Yvette Borneo, 2023

Current winner of the longest-named-game title, and especially the highest title-to-game-length ratio. "I had nothing else to do during the marathon so I started thinking about my life" (NED-DTM) is a one-page-two-sides solo journaling game where you write flashbacks to things that brought you to this point. You play a runner, determined and well-practiced but still young (early 20s), running your first marathon. Your mind drifts to key moments in your past, which you the player write down as your character experiences them.

NED-DTM gives a list of potential events, from joining the track team to being encouraged by your parents to suffering an injury that you thought would end your career. There are about twice as many positive events as negative ones, and essentially no neutral ones. (I can imagine that neutral events would not be as fun to write about.) You have to incorporate at least three things that your character sees along the path of the marathon. The game gives you ideas: fellow runners, kids carrying water, cheering grandparents, someone stumbling on the path and being helped up, etc. There are no mechanics, just guidelines.

The game encourages replay through writing from later perspectives in your character's life: marathoning in your 30s, 40s, and 50s. Thanks for making me feel bad about my health, Borneo. A short number of potential life events are provided for each. They generally center around family, friends, and training.

As a one-pager, NED-DTM has basically no art. The layout is a little tight. It might be worth pulling it out into a two-pager just to get some whitespace and larger font. The works-in-progress for Borneo's upcoming games show a definite improvement in design skills.