#i do not think they intentionally faked an interview with the series creator where he commented that he didn't like sonic's design

[knockknockitsnickels]

The minecraft movie trailer looks terrible (as has been thoroughly discussed) but at the very least I am hoping and praying that when the movie gets released and looks exactly like the trailer that it will FINALLY put to rest the constant "it's bad as a marketing ploy!" shit that has been everywhere since the Sonic movie 🙏

[calzona-ga]

Showrunner Krista Vernoff and out trans actor Alex Blue Davis talk with THR about how they'd like the ABC medical drama to advance the storylines for trans characters and actors.

There's a line of dialogue in Thursday's Grey's Anatomy that showrunner Krista Vernoff rewrote more times than she can count. But the impact of the line — from out trans actor Alex Blue Davis (who plays new intern Casey) to his boss, Bailey (Chandra Wilson) — was worth reworking a million times: "I'm a proud trans man, Dr. Bailey. I like for people to get to know me before they find out my medical history."

The moment comes after Casey has just saved Bailey and all of Grey Sloan Memorial from a hacker who, having taken over its computer systems and air conditioning, left several patients in jeopardy and pushed the hospital to the brink of closing. The episode also followed Casey's very personal reveal, having let both his new colleagues and viewers alike get to know him as a person before they learn something deeply personal about him.

"We worked very hard and very closely with Alex and [LGBTQ advocacy group] GLAAD on this storyline," Vernoff tells The Hollywood Reporter. "The scene in which Casey disclosed to Bailey that he was a 'proud trans man' was rewritten more times than anything else — we wanted it exactly right."

Inspired by President Donald Trump's proposed (and since blocked) ban on transgender individuals serving in the armed forces, Vernoff set out to tell a story about a trans veteran. Vernoff then intentionally cast a trans actor for the role of Dr. Casey Parker, one of the long-running medical drama's six new interns for season 14.

"We wanted the audience to get to know this character before they knew his private medical information; we wanted his disclosure to not feel like an 'A-ha!' shock but a genuine unfolding of this character's truth when he felt safe with someone," Vernoff says.

Thursday's episode resolved the hospital's cliffhanger from last year's midseason finale as Casey confides in Bailey that he was arrested for hacking into the DMV's computer system. Bailey is initially stunned as her background check on her new intern didn't catch that very important fact. That's when Casey discloses that there was a mistake on his driver's license that wasn't a typo: his local DMV declined to issue him a new license with his proper gender after he transitioned so he hacked into the system and fixed it himself.

"A lot of people don't understand what you mean when you say 'mistake' on a driver's license — they think it's a typo," Davis tells THR. "It wasn't enough for people to understand what female-to-male is and it's hard to have that changed [on your driver's license] in a lot of states. It's a serious issue."

Davis, whose previous credits included episodes of 2 Broke Girls andNCIS: Los Angeles, says he knew when he was cast that he'd be playing a character with comedic sensibilities that come from a Sandra Oh-like level of directness — who also was transgender. "What's cool about the show, the episode and Krista's vision for this character is he's about way more than being trans," Davis says, noting that he sees Casey's story as unexplored territory on the small screen. "I cried at the table read, it was very moving for me. I've been waiting for a moment like this on TV my whole life. I am so honored I got to say that line on TV because it's a long time coming."

Indeed. Just like Ellen's coming out on her ABC comedy in 1997 proved to be a landmark moment in television and pop culture, transgender characters have become more common on the small screen: Showtime's Shameless features trans actor Elliot Fletcher (who also played trans characters on Faking It and The Fosters) in a romantic storyline with a gay character; Orange Is the New Black star Laverne Cox made history last season as broadcast's first openly trans actress playing a transgender series regular character (on CBS' short-lived Doubt) and multiple trans actors have had roles on Amazon's Transparent. But what Davis and Vernoff hope Grey's can do is advance the types of storytelling featuring trans characters and actors.

"Trans people for years have been represented as punchlines, victims and villains and not as whole people and I was not aware of that until I went through the experience of my friend's son disclosing that he was transgender," Vernoff says.

Those (married) friends were former Grey's Anatomy showrunners Tony Phelan and Joan Rater (whose son helped inspire Cox's character on Doubt) and whom Vernoff remains close with after working with them as far back as season two of the Shondaland medical drama. (Phelan and Rater's son, Tom Phelan, played a trans character on Freeform's GLAAD Award-winning drama The Fosters.)

"When Tom transitioned, I found myself confused, frightened and bewildered by it all because I had never personally known a trans person or understand what it meant for Tom," Vernoff confesses. Rater, Vernoff recalls, at the time sent a lengthy email to friends and family in which she posed questions and answers that they might have about her son. Vernoff was moved by the experience and never forgot the feeling of love and acceptance she saw for Tom from Phelan and Ratner and those around them.

"Realizing that a trans person is like any other person with a journey in this lifetime — they are not victims, villains, weird or wrong; they're none of the things people believe when they support laws like the one that Trump put forward," Vernoff says. "My goal as a storyteller was to help illuminate that experience as an ally. I reached out to GLAAD for help in doing that because I am only an ally and not a member of LGBTQ community. They were more than happy to help."

For the L.A.-born Davis, also a singer-songwriter whose music has been featured on shows including MTV's Pranked, seeing more inclusive storytelling in which trans characters are not sensationalized is a welcome change.

"TV is opening up a greater range of roles [for trans characters]: Laverne played a lawyer on Doubt, and I'm playing a doctor — both roles haven't really been seen before [for trans characters]," Davis says. "People can see trans folks in a new light: these are people who walk among us and are human beings who have lives. They're not defined by being trans." And just like the gay actors playing straight roles debate that has (thankfully) come and gone, Davis and Vernoff hope the next frontier is seeing trans actors playing characters in which their gender is not the central storyline as well as trans actors playing heterosexual characters where their trans-ness also has no impact on the role.

"What's important for me to remember is there are opportunities out there where I don't have to play trans," Davis says. "I'm an actor. I love acting. I do love that I'm also representing a group of people who have been underrepresented, and that's awesome. But being trans is not my identity; I identify as male. There are male roles out there that I want to play. And being an actor who happens to be trans, it'd be awesome if all those roles opened up for me because people see me and how I define myself."

As for what comes next for Casey, Vernoff says the writers have talked about casting a love interest for Davis' character. The showrunner also hopes to reunite with Fletcher, with whom she worked on Shameless, and cast the actor as "just a dude" on Grey's.

"There's so many beautiful stories to tell and representation changes minds and hearts," Vernoff notes of the impact of art on society. She pointed to Grey's creator Shonda Rhimes adding characters like Arizona (Jessica Capshaw) and Callie (Sara Ramirez) at a time when it was still considered a rarity to put gay or bisexual people on TV and having audiences fall in love with them before revealing their sexuality. "When there's bigotry in the world, people can point and say, 'No, I have a friend who is gay and it's someone you know' — and you realize that it's a character you love on TV. That's how we influence people to open minds and hearts."

That's part of the reason Vernoff wants to try and avoid telling a story in which Casey faces any backlash just because of who he is. "One of the things we talked about with GLAAD is wouldn't it be revolutionary to just tell human stories about trans characters? There's a fair amount of hate that's already depicted and hate feeds hate. I just wanted Casey to be a whole person who is an Army veteran, a good doctor and one of the gang — who happens to be trans. I didn't want to do hate," she says.

That's not to say that Casey won't disclose his medical history again in an upcoming episode as Vernoff and the Grey's writers have yet to break the last third of season 14.  

"We talked about how, when and why trans people disclose their private medical history to their community. Casey might disclose out of advocacy, if we had patient who was trans or doctor who was insensitive to patient but I imagine Casey has disclosed to some of the interns," Vernoff notes. "My goal for Casey was to gently disclose his private medical history to Bailey and, by extension, to America and then keep him in our world as the doctor he is becoming. I told GLAAD and Alex that I'm open to continuing to talk and work with them if there are more stories that would be helpful or ways that I can be an ally."

[symbianosgames]

Metroidvania. What image did that word create in your mind? Super Metroid? Castlevania: Symphony of the Night? Or a newer title from an independent developer, like Chasm or Axiom Verge?

1986's Metroid and its SNES sequel, in particular, are touchstone titles in what has now unquestionably become its own genre. The first in the series introduced many console gamers to the idea of a large, explorable 2D platforming world; in 1994, Super Metroid refined that gameplay immensely while adding deft storytelling. Three years after that, Symphony of the Night expanded this formula in all directions, adding both complexity and depth at every turn.

"First off, I didn't like the state of action games at the time," says Koji "IGA" Igarashi, when asked where 1997's Symphony of the Night came from. "Titles divided into discrete stages were tending to get more and more difficult, leading to the situation where good players quickly finished them and beginners were no longer getting their money's worth. There was also the fact that the people on our team, including myself, really liked The Legend of Zelda, so we wanted to create a game in that style."

In retrospect, it's little surprise that this game launched a genre; it was a clear attempt to break away and create a holistically enjoyable game for a wide audience. The result worked too well to remain unique.

Castlevania: Symphony of the Night

Though retro game fans can point out any number of similar titles, Igarashi and his team arrived at a functional, repeatable design -- and Symphony of the Night came quickly enough on the heels of the acclaimed Super Metroid that it could become entrenched as a formula.

"I think it wasn't until Symphony of the Night and its sequels melded Super Metroid and Castlevania that the classification narrowed to mean something like, 'Side scrolling action-adventures with a obstacles in a continuous map that you can surmount only after finding the requisite items and backtracking,'" says Tom Happ, whose upcoming Axiom Verge is one of the most promising new titles in the genre.

The next turning point for the Metroidvania was the seminal 2004 indie title Cave Story, created by Daisuke "Pixel" Amaya all on his own. It wasn't just a highly creative evolution of the genre; Amaya's ethos of building the game by himself made it a title that is inextricably linked with the rise of the indie movement, and the game's art and design have proved as influential as Amaya's D.I.Y. production style.

Cave Story+

2009's Shadow Complex, developed by Chair Entertainment for Microsoft, is also worth mentioning. Its massive commercial success as the console market for independently developed games began to take off showed that the genre had a viable future.

That's not the only reason it's notable. "One moment that always stood out to me was when Donald Mustard said (to you, no less) that Super Metroid was 'the pinnacle of 2D game design'; I kind of feel that was the first moment somebody really tried intentionally to make a 'Metroidvania' rather than just an action-adventure with aspects of Super Metroid or Symphony of the Night," Happ says, referencing my 2009 interview with the Shadow Complex creative lead. 

Now that it's an entrenched genre, developers are trying to capture the essence of the Metroidvania -- and to extend it further. I spoke to a number of them to find out why and how they're doing it.

My first stop was to ask these developers what makes the genre so enduring -- why does it fascinate today's independent teams? After all, it's been a niche for years and years; it's only recently, post-indie boom, that the number of games exploded.

"The concept is universal," declares Erik Umenhofer, developer of Temporus. James Petruzzi, of Chasm developer Discord Games, agrees: "I think the core mechanics are timeless: exploration, character improvement, platforming, and combat."

Chasm

"I figure it's the excitement of enjoying the adventure, mixed with gameplay that's easy to get comfortable with. I think the exploration element makes you feel like you're moving the story along yourself a lot better than with titles divided into stages. That, and I think having character-growth elements allows gamers to enjoy the story right up to the end," says Igarashi, when discussing the genre's appeal.

"Platformers have always been an easy, up-front genre to get into... Compounded to those simple mechanics, the addition of backtracking, upgrading, power-upping and accessing new areas... adds a lot of spice to how the adventure opens itself up for the player, giving her/him the impression (even if it's a false one) of being inside a very big context that's ready to be explored in a multitude of ways," says Alonso Martin, developer of Heart Forth, Alicia.

"You are the story. You are the adventure. It is up to you to discover where to go and unearth the mysteries of the world you're stuck in," says Renegade Kid's Jools Watsham, who recently launched his own Metroidvania, Xeodrifter. He sees the genre as a way to offer players a game that focuses on "exploration, freedom, self-improvement, and overcoming previously impossible challenges."

It's the genre's blend of elements that has made the Metroidvania so enticing to players and developers both, says Umenhofer: "It's everything that you want out of an indie game. Not a huge time commitment, easy to play, fun and challenging, and usually relatively cheap to make and buy."

Symphony of the Night's map screen. Source: GameFAQs

The focus on exploration that Watsham touched on is a major part of the genre's appeal, if the words of these developers are anything to go by.

"In this genre the phrase 'knowledge is power' -- something we are taught all our childhood -- is true in a literal sense," says Andrew Bado, developer of the upcoming Legend of Iya. "At least that's why I love the genre -- to explore and discover and learn about the world I'm let loose upon by the creators."

"I think it's extremely important that players guide themselves because, ultimately, it is something the player should do. Personally, I prefer, instead of going to a park to play, I would rather go to ruins to play. Because you can think, feel, and search, for yourself, your own way to play," Cave Story creator Daisuke Amaya told me in 2011.

"Nothing is more exciting than possibility," says Matt White, developer of Ghost Song. "True discovery is only possible if you can find things that you may not have, and have experiences within a game that you may not have."

"I like it when you play through the game and learn things piece-by-piece, and that's very important. There's things like the gameplay system that you just learn it as you go along," Amaya says.

"Giving the player a sense of discovery is a crucial part of good game design, even if it's a 'fake' sense of discovery. ... Metroidvanias are at their best when the players are progressing on their own accord, or at least that's what I think," says Jo-Remi Madsen, of D-Pad Studio, developer of Owlboy.

Happ concurs: "The semi-openness of the map design gives it the feeling that you're not just experiencing a scripted sequence of events, but causing the events (in some cases not always in the same order)." And that "allows players to really get lost in the world," says Petruzzi.

Guacamelee

There's a long-term advantage to this kind of design, too: These "labyrinthine worlds filled with secrets encourage healthy communities of dedicated players who continue to play for years," says Jason Canam, game designer at Guacamelee developer DrinkBox Studios. And that capacity for replayability "is where a game can go from fun to legend," Umenhofer says.

"Well, certainly, when we were making Super Metroid, I thought, 'I want to make something lasting that will be fun even if played much later.' All I can say is I'm really happy that we succeeded in that goal. But, if I had to take a guess as to what the lasting appeal is, perhaps it's the impression left on people by the drama of the game," longtime Metroid series developer Yoshio Sakamoto told me in 2010. 

If anything, Super Metroid's reputation has actually increased since 1994. That natural drive toward replayability -- which anybody who's given Super Metroid or Symphony of the Night a second, third, or fourth spin knows well -- energizes hardcore communities, says Canam: "The genre lends itself quite well to speed-running and gameplay optimization... These games are continuously mined for new strategies, exploits and shortcuts."

[embedded content] A Super Metroid speedrun race, from Awesome Games Done Quick 2014

While the developers I spoke to are fans of classic titles in the genre, that's not the only thing that drives them toward developing new Metroidvania games.

"The child-like sense of wonder and exploration is something that can be very magical. That is what draws me to the Metroidvania genre. It can be exciting, scary, thrilling, and extremely rewarding," says Watsham. His approach to designing Xeodrifter was a case of "looking inside and seeing what my inner child wants."

Xeodrifter

As White has it, "I want to pretend the game world I'm playing in is indifferent to my presence -- I want it to feel as though I'm just a guest in this world, and it'd go on existing and being there whether I set foot in it or not."

Happ also makes a subtle but significant point about how these gameworlds function for players: "In a way the beaten path of the game exists just as an established baseline to allow off-the-beaten-path exploration."

The world-structure of the Metroidvania allows designers to add a variety of ideas, Amaya says: Cave Story is "everything that I like; whether it fits the world or not is secondary, and comes after I decide. That's why there are so many different elements to those caves. I really like how the fans see all of those different elements and reconstruct a world for themselves."

Canam offers another perspective on what the gameworld can be: "Level design is, at its core, all about how the player interacts with an area or locale, but in a Metroidvania game, since the storytelling is related to the player's progression, then the level gets to be a character in its own right. I think of the level as an adversary that the player will encounter, explore and eventually overcome. It's very satisfying to create and (hopefully) very satisfying to play!"