#hacking action

[wastedskins]

Lollipop Chainsaw, 2012

[shslprince]

I like to think they were friends pregame

[videogamepolls]

Requested by anon

[iidsch]

also more codelyokoposting but I really really dig XANA as a villain. It's not a person with a complex background that led them down the path of evil, it's not a morally grey character you sympathize with but condemn. It's a powerful AI capable of controlling almost anything in the real world. It doesn't have a face or a body, we only know it for its symbol and for the monsters it controls in the virtual world. It's willing not just to kill people through various methods (poisoning, drowning, car crash, fucking space lasers too?) but also Earth as a whole (it tried to blow up a NUCLEAR PLANT and crash two trains with toxic chemicals in them). And we don't even know why it does this, at least not for now. It may not even have a particular reason, just some sort of virus or malware in the form of an AI that seeks nothing but destruction without any goals in mind. This "pure evil" characteristic doesn't come off as childish, like in some children cartoons, it's just kind of scary to think that such an incomprehensible and destructive force exists, almost feels like a natural disaster

[vxmpire-vxlle]

Alice: Madness Returns.

Did you play this gem?

[arcadebroke]

[hidingoutbackstage]

The poor quality songs releasing solely on Spotify with no rhyme or reason to them…literally all other EAH and Mattel social media not saying anything about it…Allison Bloom not knowing what the hell is going on…MATTEL THEMSELVES CALLING THE SONGS AI GENERATED???

[acquired-stardust]

Transformers: Devastation PC 2015

[hylialeia]

the more I read and re-read other fantasy, the more impressive asoiaf becomes to me in its unabashed embrace of the darkness in its characters' POVs. and I don't mean in the "edgelord grimdark" way that so many people (wrongly) ascribe to it, or even in the "historical accuracy" way that so many people use to defend it. I mean more in the way it actually aids in the immersion of the world and story.

other fantasy series will relay the events and the world through their characters, sure, but I never realized just how censored they feel in comparison to asoiaf. things happen, characters feel a certain kind of way about them and relay that to me-the-reader. then they do things, plot happens, etc. sometimes it's quite compelling, even! but in asoiaf, I-the-reader am a brain parasite. the characters think thoughts they would never tell me. I see their worst impulses, their immediate instincts, their intrusive thoughts. a lot of it is unsavory, but it's done in such a way that it all feels deeply real and true to life.

in asoiaf, the characters are not telling me the story; I've invaded their internal dialogue am drinking it in through their biased yet genuine perspectives. I feel less like a reader and more like a ghost that's possessed them through the page. and I think that's the thing that the sets the series apart from others for me

[shadowcaststudio]

Where's the Floor

So lately when I do thumbnails for my comics, I play a game called "Where's the Floor". Basically, put a grid down to represent the surface plane.

I picked up this trick from watching animatics from "Rise of The Teenage Mutant Ninja Turtles" from Nickelodeon. This leads me to this helpful trick, it's the grid pattern on the floor to show perspective.

Whether it is the floor or the ceiling, it's an easy way for me to know where the camera is in relation to the surface plane. Therefore, giving me an idea of how to draw the characters in that perspective. Also leads to dynamic shots and amazing high action scenes.

There was one other set of videos on youtube that uses their cameras pretty affectively, and that's a dance troupe from Russia.

You put a grid on the most important surface in that shot and it's basically the same principles!

Even their bird's eye camera, zoom ins made me think of shots taken in dancing scenes from Disney.

If you break down a shot from your favorite animated series, you can guess where the grid is, how it's tilted, and how the character should be in perspective to that.

Having this concept simplified really has helped with layout, perspective, and taking steps into more dynamic action scenes for me.

[paintingpuff]

Netflix ATLA and the Air Nomad Genocide

I've started watching NATLA, and though I'm not really enjoying it, I've found it really interesting to compare its writing decisions to the show as a way to break both down and see how their parts tick. Since NATLA is trying to be more faithful than some other adaptations, the changes it does make stand out more and reveal the mechanics of the storytelling.

While I overall think a lot of NATLA's changes--even the minute ones--made the story execution weaker, the more complicated and interesting change of theirs is the intro, showing the day the Fire Nation ambushed the Air Nomads.

Pacing Criticisms

Cards on the table, I think that putting this sequence at the very beginning was a mistake. Watching Aang's emergence from the iceberg in NATLA made me realize how much the original cartoon imbues its beginning with mystery that makes for a much more active viewing experience. Aang doesn't know much about the present, Katara and Sokka don't know much about Aang's origins, and in their back and forth of information, we the audience organically learn both. Watching Katara and Aang piece together how long he's been frozen in ice was more satisfying and natural than Grangran deducing everything immediately when Aang showed up.

But Sherlock Grangran was kind of the only decision the writers could do, because if they tried the build up the cartoon did, it would just feel tedious to the audience, because we already know everything from the start. They kind of wrote themselves into a corner there.

But let's ignore that problem. We could imagine in another draft that this sequence of the Fire Nation attack shows up as a flashback, kind of like what happened in ATLA with The Storm.

That then begs the question: How does this sequence’s inclusion change the audience's experience, and is it for better or worse?

Facing Vs. Hiding the Horrors

Both series portray very dark and horrific situations, but the way they try to evoke horror from the audience are very different approaches, and for me raises a question I've been asking myself for a while: When wanting to display discomforting violence, is it more effective to imply/hide it, or to show it in detail? Somewhere in between?

(I specify discomforting violence, as opposed to violence meant to be catharsis or spectacle.)

There are arguments for both. Explicit violence can create a visceral, physical reaction to an audience member (especially the squeamish ones), though for some it can come across as gratuitous and even exploitative.

Whereas hiding the violence can horrify the audience by leaving a lot to the imagination (insert that quote about fear of the unknown from Hack Penmanship Lovecraft), or give the sense that the events are so awful that even the camera has to look away. Some also say this gives the characters more dignity, though others think this softens the emotional reaction almost as a form of self censoring (there's a reason kid's media often tries to show horrific stuff off screen, such as the original ATLA).

Ultimately I've come to the conclusion that the former approach works for some stories, whereas the latter works better for others, all of it based on a ton of factors.

So I don't think NATLA's choice to delve into more detail about the Air Nomad genocide is an illogical decision. I wasn't sure about it when I heard it, but I thought that maybe I'm just attached to ATLA's off screen approach, so I kept myself open.

And dialogue issues aside, I don't think the scene is that poorly done. But it did ultimately solidify for me that ATLA's narrative is stronger without an explicit depiction of the Air Nomad genocide.

The Grief of Never Knowing

The image of Gyatso’s skeleton from ATLA has haunted me ever since I saw it as a kid. It was an emotional gut punch in a very well done episode, but this particular screenshot has stuck with me, and that is because of the Fire Nation soldiers. A lot of people have pointed this out, but there are a lot of bodies here, and it implies that Gyatso managed to not only kill these soldiers, but do it when they were strengthened by the comet. That image is very discomforting--Gyatso is always seen from Aang’s perspective, and thus we only see him as the gentle old mentor and friend, one who cheats at games and throws pies he meticulously baked.

It also puts into Aang’s position and the grief he has to face. From his perspective, he was gone only a few days as 100 years passed. He never gets to see the interim, and thus neither do the audience. He is left with the same implications as we are, and has to face the realities of grieving the fact that sometimes you’re not there when they leave.

An excellent point from @endless-nightshift here is how one of ATLA’s core themes is coping with the aftermaths of atrocities and war, analyzing their long-lasting affects rather than just the initial shock of violence--something I had never consciously realized but once said out loud makes a lot click into place for me. There is a reason the show starts a full century into the war rather than just a few years. 

François Truffaut once said that “there is no such thing as an anti-war film,” because the medium of film is inherently better at elevating and glorifying what it shows rather than deriding or deconstructing it. While I don’t think it’s impossible to do the latter, the extended action sequence that is the intro to NATLA causes that sentiment to echo in my mind as I watch, rather than invest me into the story. 

The implied atrocities of ATLA draws me in to empathize with the wounded characters and world, whereas the explicit action of NATLA pushes me away. 

…and that’s where I was planning to end this analysis, but there is one thing NATLA’s intro adds into the canon that I think is actually genius--if they take advantage of it in the future. 

The Air Nomads are Joy

When I first saw the addition of the Comet Festival, I saw it as a purely mechanical decision to have all the Air Nomads in one place for the attack, as well as to make the act even more scummy. However, the more I thought about it the more I realized how it could tie into one of my favorite themes of ATLA: the Air Nomads (and especially Aang) as the joy and hope of the world. 

(I saw an old tumblr post about this theme that inspired this section. I wish I could link it but I can’t find it anymore, I’m very sorry and if anyone can help me find it tysm)

There is a recurring motif of associating the Air Nomads with humor and fun. Iroh mentions their good humor; Gyatso baking pies just to prank the other masters with it; Roku’s first airbending flashback being him using it to mess with his friend. This is a core tenet to Aang’s character as well. The first line he has in the show is inviting Katara to go penguin sledding with him. Half the stops he makes in Season 1 is purely to have fun. He excites Kyoshi island with an airbending party trick. The humor in ATLA’s tone isn’t just there because it’s targeted towards kids, but is the bedrock of the series’ themes. 

(On a personal note, the humor is also what got me and my family into the show. We saw the intro sequence with Aang crashing into the statue and it made my mom laugh so hard that we watched the whole series, and years later we’ve rewatched it dozens of times and own all the DVDs)

Joy and fun and hope were the first things to die when the Fire Nation attacked, and part of Aang’s job is returning that to a world that has been scarred by decades of war. You may already be seeing where I’m going in regards to the Comet Festival. 

A core conflict in the cartoon finale is Aang wanting to keep to the principles of the Air Nomads while still finding a way to stop the war (side note: I think the resolution and Aang’s decision to spare Ozai was a good one, I just think the execution was a little janky). Beyond the surface level conflict of who wins in the battle between Aang and Ozai, there is the additional tension of who will win ideologically. The return of the Avatar State is an interesting development in this dynamic, having Aang suddenly physically winning the fight, but spiritually losing up until the last moment. In the end, it is a triumph where Aang manages to find a third option to win both conflicts, despite them seeming diametrically opposed. It is about defeating Ozai and the Imperial Fire Nation by wholeheartedly rejecting their ideology of violence and might-makes-right. 

But now I see a really cool opportunity for NATLA with what they’ve established in the intro sequence: What if Aang reclaimed the symbol of Sozin’s Comet for his people? That day of the Fire Nation attack, centuries of the Comet Festival were wiped over in history, with people now naming that event as Sozin’s Comet and the beginning of the war. Wouldn’t it be poetic for Aang to mark the ending of the war by wiping away that stain done to his culture, taking it back from the Fire Nation in what ways he can? To turn a tool for genocide into an event of joy and fun once more. 

I’m reminded of moments from the cartoon like Suki commenting how beautiful the comet looks. It would just tie everything up beautifully, and I really really hope the NATLA writers--if Netflix does give them enough seasons to get there--take advantage of this.  

So, to sum up what I think of NATLA so far: I think a lot of its changes have made the story weaker, but I don’t want them to stop trying changes. If I wanted a 1:1 copy of the cartoon, I’d just watch ATLA--it’s also on Netflix, after all. With more work, I can see the writers making changes that accentuate and build on the beauty of the original. 

(Note: These are the thoughts I’ve accrued from just watching the first episode. I plan to watch more, but it does exhaust me at the moment. Still, I hope I can do more of these kinds of analyses, it’s a really fun writing exercise for me)

[wastedskins]

Bayonetta, 2009

[cupcake-plays-a-game]

March 24th 2024 - I haven’t posted in a while but I’ve got a few weeks off university so I decided to get Scarlet Nexus on sale to scratch that Astral Chain itch and it is really cool!

I think it’ll take more time for it to grow on me because I have to sit through a lot of dialogue and story before getting to the fun action gameplay but the game is really pretty

[videogamepolls]

Requested by anon

[tunaculosis]

Dimension 20 has a chance to be unfathomably based so soon, or it has a chance to become the worst version of itself yet.

[300iqprower]

Ya know SMTIV, what this is actually perfect. Remember what I said about how Nasu could never be asked to show even a modicum of respect to Tezctalipoca as a figure, and how the "Tezcatlipoca" in FGO in no way has the spirit of their alleged origins?

Well I don't care much for this design either.

In fact I don't like SMT's (or more specifically Soejima's, who is still very much talented as I'll make clear) Tezcatlipoca design at all. I personally find it ugly and having an aesthetic I'm not that fond of, particularly the sort of "Bigfoot sighting" pose he has going on.

But i don't hate it, and I certainly am not morally opposed to it like FGO's, because even if I personally dislike it, ya know what it is? It's still undeniably based on Tezcatlipoca and keeps that spirit in several ways evident through design alone, let alone the way he's implemented into the game itself. It's a design that feels like it respects the culture it's taking its name from, and I'd much rather it do that than have an aesthetic I'm more fond of but lack any representation of its source material.

Just on a surface level you can see the ways in which this is meant to be Tez.

Holding a human heart with one arm, which were sacrificed to him in Aztec rituals

His body is visibly black and navy blue and made of a stony substance, which is a reference to the association many aztec gods but especially Tez had with obsidian rock, and the main symbol of Tez is an obsidian mirror.

Despite this, his other arm and legs are dissolving into smoke at the end, which is a reference to his main title of Smoking Mirror.

His skull-like head is pretty clearly meant to invokes a Calavera, which even if you didnt know the name of you've probably seen if you've ever witnessed a Day of the Dead festival.

That's all just the surface level stuff. There's plenty more if you know to look for it.

While one of his arms is visible, neither of his legs are, which fits with how Tezcatlipoca lost at least one of his legs to the giant crocodile Cipactli when the world was created

While blue isn't the primary color Tez is associated with, the use of teal/navy blue specifically fits with how he was often depicted with an almost interchangeable combination of grey-ish dark blue and black.

Despite my "bigfoot posture" remark, it very much fits Tezcatlipoca, whose spirit animal was the Jaguar, an animal well known for stalking and ambushing prey (rather than chasing it down like African big cats are known to do).

the way the smoke curls around as if forming an extremely distorted prosthetic foot matches how Tez's missing foot is specifically portrayed in the Codex Yohualli Ehécatl (AKA, the source of the image on Tez's wikipedia page), particularly with how the coloring shifts to orange-yellow at the end.

The most shaky but still worth noting claim: The emphasis on the blood flowing from the heart, combined with the gems embedded in Tez's head, could even be a reference to the Ezpitzal, which while looking very different in mesoamerican art still is no doubt connected, given how the key traits are flowing blood and embedding precious stone in [a crown above] the head.

So....do I like this design? No, personally, not really. I'm way too much of an edgelord to settle for such a toned down and subtle design for a figure like Tezcatlipoca.

Do I respect this design? Absolutely, zero question. It's the kind of design you could never get if they didn't at least TRY to research Tezcatlipoca, let alone do so well (at least i can only assume well based on the result). That's the difference between this design and "some white guy from the GAP who likes guns". You can tell they gave a shit, not just in general but specifically in regards to the culture being referenced.

(Oh, and also unlike FGO Tezcatlipoca, I don't need to be told "someone famous drew it" to be able to figure out someone talented drew it. )