#if the prequel game had actually been horror themed this would have been an interesting thing to imply towards XD

[thedeafprophet]

I am once again so damn curious of How the whole red honey situation went down. The Palace seemingly got into almost immediatly after the fall, so who the hell introduce them to it. When did the cage gardens get established. How did this come to be. I'm so damn curious

[silent-lily]

i saw your reblog! GOOD LUCK PLAYING OMORI MAN !!!! hope you have fun!!! i know we haven't interacted all that much but still, as a mutual, don't hesitate to scream at me about this game if you ever feel the need to do so! also beware of spoilers! this game will indeed fuck you up but don't we all love to be fucked up by a particularly good storyline sometimes !!!!

also if i may ask, what's your favorite silent hill game? and should they be played in their particular order, or is it ok to just pick any part of the series and enjoy the ride from there? i remember watching a silent hill 3 stream a while ago and absolutely loving that game, never played the others though; i would love to get deeper into the series and that's why i decided to ask you about that :P

HEYYYYY!!!! Thank you, I don't know how far I am in the game but I am certainly having fun! RPG Maker games have always been one of my faves, so Omori just took its rightful place amongst the other well-known gems :) I usually just scroll through Tumblr, reblogging stuff /w comments in the tags but if the need arises - I will gladly scream at you haha. I love love LOVE games that may fuck you up a bit (or not a bit) - psychological horror is one of my faves.

Okay, now THAT is a question I love to hear, as well as the second one. Long-long talk ahead, so I'll put it under the cut for convenience.

My faves are the games that are considered "Classic Silent Hill quadrilogy". Yes, all of the four - even though, if I'm perfectly honest, SH1 and SH3 are THE Faves actually, mostly because of the "Fucked Up Cultist Bullshit" parts of the series and the familial connection of the protags (in SH1 we play as the father, in SH3 we play as his grown-up daughter) who I love dearly. Also Alessa, the one who brought The Fog World and The Otherworld to life.

Many people consider Silent Hill 2 a good part to get into the series (as in to see what the series is all about, its main themes and its "psychological horror" style), and I agree! BUT - if you want to know the actual origins of all fucked-up stuff of that small town you better go with the first part, Silent Hill (1999) (or even another part about which I'll talk in a bit). There's no actual PC version of it out there but there are hacked PSOne versions which can be easily emulated.

Now, SH1 and SH3 are directly connected via story and characters, SH2 and SH4 are mostly standalones BUT connected together via some plot details. So I advise to follow this order of playing because it goes along with the canonical chronology of events:

Silent Hill 1 -> Silent Hill 3 -> Silent Hill 2 -> Silent Hill 4: The Room

(also for the love of everything DO NOT PLAY THE HD COLLECTION VERSIONS OF SH2-3; they're horrible and glitchy as PC ports and the voice acting was changed and it's WORSE than the original; look for Enhanced Editions)

All games that came after these four are considered of, well, lower quality and not as well-thought through. Which is true BUT: - Silent Hill Origins may also be good to look into because it's a prequel to the first game but better to just watch a playthrough in my opinion before going to the first part (I had too much of a hard time emulating it and... eeeehhh I didn't really like the gameplay even if it tried to be like in the "classic" ones); - Silent Hill Homecoming can be looked into as well even though it's the most hated one of all the Silent Hill games, story-wise and gameplay-wise. For me, I actually found some interesting details in it that I liked (again, mainly The Fucked-up Cultist Bullshit) so I don't hate it as much as any other SH fan. Again, though, better just watch the playthrough - the game, even if it has a port for PCs, is awfully broken and HARD to play by yourself.

There are also in the Main Series: Silent Hill Shattered Memories (a reimagining of the first game minus The Cult Stuff) which is... not that important to everything in the Main Storyline, it's basically an AU; and Silent Hill Downpour that can look kinda plain and boring after everything else because it copies plenty of the tropes that were in the previous games. They may be ignored (but in the end it's up to you of course - you may look into them as well).

So yeah, here we go! The games can be divided into two types basically (with SH Shattered Memories as an outsider):

Shit happens because of The Local Cult, involving innocent bystanders (chronologically - SH Origins -> SH1 -> SH3 -> SH4 The Room -> SH Homecoming);

Shit happens because people with heavy burden get trapped in their own nightmares and inner demons brought to life (SH2 and SH Downpour).

Tl;dr What's the best order to PLAY: SH1 (emulated on ePSXe) -> SH3 (Enhanced Edition) -> SH2 (Enhanced Edition) -> SH4 The Room (Enhanced Edition or GOG Ver.)

What's the best order to WATCH AS A PLAYTHROUGH for the story: SH Origins -> SH1 -> SH3 -> SH2 as a small breaker but it's needed -> SH4 The Room -> SH Homecoming

That's all! Oof sorry for THAT many words but... yeah Silent Hill series has been my love and passion for 15+ years so I LOVE to share things about it! Feel free to ask more stuff too! :)

(it would certainly be more noticeable how much inspiration was drawn from these games into creating Omniphobia after watching through all of them haha)

[ja-khajay]

2020-2021 Animation Watch(ed)list

I haven’t posted about animation in a while that I remember, and I know a lot of my followers are into it as much as me so I decided to make a list of the animated movies and series I watched on the past year or so, coupled with my short, spoilerless take on them. Enjoy!

Organized by

Things I saw for the first time

Things I rewatched

Under a cut for the sake of your dashboards! PS: I have not added any images yet. If you are interested in knowing more about the visuals of these movies, I might make an old fashion ask-prompted imageset list.

Part One: Things I saw for the first time

The Bear’s Famous Invasion of Sicily

Movie, 2019, Italian/French

9/10, a delightful little movie with amazing visuals. It feels like an animated picture book.

One of those “plot is in the title” media! I had never heard of this before but was heavily recommended it by my family members, who all loved it! It’s a sweet story, nothing groundbreaking but the unique colorful visual style alone makes it worth it.

The Castle of Cagliostro

Movie, 1979, Japanese

10/10. Reminded me of all the books i loved reading as a child

I assume its because it’s so old and the art style and themes are so different that it gets little to no love compared to other Ghibli movies, which is a shame! It’s fun with an endearing cast and as always, great animation and music

Mushishi

Series, 2006, Japanese

10/10 three episodes in I knew it was going to be my favorite series ever

One of the few things I’ve seen I’ll describe as life-changing. It’s absolutely lovely but never toots its own horn about it. Humble, calming, emotional and surprisingly mature. It’s pretty impossible to binge due to how intense the experience is. I just want to walk in the forest now...

FMA: Brotherhood

Series, 2009, Japanese

6/10 Dissapointing adaptation of a classic story

I read the manga for this when I was in middle school and remembered loving it. The animated version does an ok job of presenting the characters and worldbuilding and has some nice action scenes but overall looks really damn cheap and just. Not very good. Seeing I already knew most of the plot I did not have the element of discovery that made me marvel so much reading the original. It’s still a nice series but I really recommend reading it instead.

Code Lyoko (s1+2)

Series, 2003, french

3/10. 1.5 being for the opening song alone

This show sucks ass if I hadn’t been watching this with my bestie I would have dropped it two episodes in. The art style is ugly the stories are always the same and the first season has a (later removed thank fucking god) LITERAL “erase any consequences” button as a plot device in every episode. If you watch it for one thing let it be the nostalgia factor of early 00s Vidya Game Plot

The Legend of Hei

Movie, 2019, Chinese

7/10. Impressive visuals and a poor story

I finally watched this, peer pressured by the load of gifsets on my dashboard! It’s a sweet movie with really impressive animation, sometimes a bit too flashy for my taste (the action sequences go so ham they become not very readable...) but the story was just ok? The setting is barely explained and you are instead bombarded with vague epicspeech about powers and stuff that made me fondly remember Kingdom Hearts lol but that asides it’s a really good time! I need to watch more Chinese movies the few I know are just delightfully off the shits in how they approach action and I love that

Hunter x Hunter

Series, 1999, Japanese

9/10. Superior to the recent one!

I first got introduced to the series via the 2011 one. Comparatively, the 99 series focuses way less on action and way more on the characters, which I love because that fits my personal preferences! Despite mediocre filler episodes and some weird slight pointless plot changes, what it changes from the original manga doesn’t have much of an impact on the characters. The animation quality isn’t always consistent including a huge art style change for an arc (???) but it’s overall pretty nice. The series really shines in the last arc it adapts.

Oban Star-racers

Series, 2006, Japanese/french

9/10 a lovely surprise

This series is completly obscure despite having been created by people famous for their other series (Cowboy Bebop, Code Lyoko that i can name) and it’s a crime! It’s a kids show but without being stupid about it who tells the story of an inter-planetary race. If you liked that one scene in the star wars prequels you know what I mean. It’s got surprisingly nice animation for a TV series, and some truly great character design. The art style is a bit unique in a not for everyone sense, but I didn’t mind it much. It’s also THE most offensively 2000s series i’ve seen in terms of visuals. y2k kids assemble

The Little Prince and the Eight-Headed Dragon

Movie, 1963, japanese

8/10. Classic fairytale format with incredible visuals

Watched this for the art style because I know it inspired Samurai Jack, and it delievered! I dont’ have much to say about this one, it’s a very simply film but it’s sweet. For my pirates out there if you want to find it in good quality with english subtitles it’s VERY hard to find. If you just want to see the looks of it, it’s on Youtube with portugese subs.

We now enter the Gobelins Shorts Zone....!

My Friend Who Glows In The Dark

10/10 makes me cry each time

Pure delight...great animation writing everything. A little short about death and friendship but not in the way you imagine!

Colza

9/10

Visual treat...homely and nice :) not far from a 10 but a 9 because nothing about it is that groundbreaking

Sundown

9/10

If you’ve ever been ten minutes from failing a group project because of a single dude you will REALLY enjoy this. Loved the colors and personality

T’as vendu mes rollers?

10/10

It’s SUCH a sweet little short I loved that one so much

Dix-huit kilomètres trois

10/10

Surprisingly well written dialog. Visuals are great but the humanity of the characters carries this to another level

Un diable dans la poche

9/10

Amazing visuals and the most tense/creepy of Gobelin shorts i’ve ever seen. Chilling

La bestia

8/10

I had some issues with the pacing. Interesting story and visuals choices but I was not fond of the art style

Goodbye Robin

5/10

Confusing but predictable. Both at once??? Yes!

Le retour des vagues

6/10

Cool animation stuff but felt pretty pointless

                                                                ***

Part Two: Things I rewatched

Ruben Brandt: Collector

Movie, 2018, Hungarian

10/10. Underrated as hell

Watched this fully blind for the first time in an animated festival and rewatched it with friends. It’s a crime I never see anyone talking about it given the amount of whining I see about the lack of both adult animation and 2D movies? This film is a unique love letter to art in the form of a weird mix of charming crime story and psychological horror with amazing visuals. I recommend watching it blind and also buying it to show appreciation for how nice it is!!! WATCH THIS MOVIE...

Mononoke

Series, 2007, Japanese

10/10 Visual/storytelling masterpiece in the weird shit departement

If you can stomach intense stuff watch this. The visuals are incredibly unique and beautiful and under the jewel tones and art direction high takes it’s a really cool horror series. My only obstacle to enjoying it the first time I saw it was how dense it is - simply put, it’s so...culturally Japanese it’s not very accessible to me who doesn’t know anything about the culture? Watching it for the second time helped understanding the stories more! 

Corto Maltese in Siberia

Movie, 2002, french

9/10 but really close to ten. A great adaptation!

I’m a huge fan of the original comic so I entered this a biiiittttt suspicious it would suck but it was a really pleasant surprise! It has all the wonder and charm of the original and the animation was surprisingly good for the little budget. If you’re not familiar with the series, it’s a sort of geopolitical action/adventure movie but with it’s own really poetic vibe to it. It’s almost impossible to find online but happens to be fully on YouTube so go ham I guess?

Redline

Movie, 2009, Japanese

10/10 cinema was invented for this, actually

Every review of this movie i’ve seen gives it five stars and starts by talking about how immensly stupid it is. I’m no different. It’s a masterpiece of escalating energy with the depth of a puddle and it fucking rules. It’s free on YouTube too so there really is no excuse to not watch it. Watched it for the first time on a huge cinema screen and despite this my second rewatch on my small laptop was as/even more enjoyable. If you watch this stoned with friends you might travel to another dimension

Spirited Away

Movie, 2001, Japan

10/10 deserves the love it gets

I watched this a single time as a kid and had little memory of it! I mean it’s Ghibli you know it’s going to be good as hell but this one rly shines in how colorful and detailed it is and in it’s world! It made me remember I had a huge crush on the dragonboy as a kid. I’m gay now

Kung-fu Panda (1&2)

Movie, Usa

10/10. KFP fucking rules

Honestly my favorite franchise of the whole disney/dreamworks/pixar hydra. It’s fun as hell, doesn’t skip a single beat and has amazing animation and character designs. If something is a good time I will not care if it’s deep or not and boy I fucking love these movies

Sinbad, Legend of the Seven Seas

Movie, 2003, Usa

5/10 Some great some really bad and overall generic

I tend to hate american cinema and this includes that era of animation I have no nostalgia for. Sinbad is in a weird place because I love adventure stories and the visuals of the movie absolutely deliver but it’s very predictable and TANKED by the addition of the female character, pushed in your face as “look we have woman!!!” despite her writing being misogynistic as hell lol. The evil goddess rules tho. This movie would have been a solid 9 if instead of the girl the two dudes had kissed

[thanksjro]

Eugenesis, an Overview: Let Me Get Weirdly Serious About This Book For A Sec

HOLY SHIT WHAT A RIDE.

So, let’s recap what we’ve learned over the last 282 pages.

In 2001, James Roberts published nearly 300 pages of fictional prose, based in the established franchise of Transformers, specifically the Marvel UK comic continuity. This novel tells the story of the Transformers, in their dwindling numbers, being attacked, not by their opposing factions, but by an outside force hellbent on revenge. Those who are captured by this force- the Quintessons- are stripped of their very individuality, forced into servitude until the moment they die of exhaustion. Everyone is pushed to- and in some cases beyond- their limits, the horrors of a literal genocide beating down on them like a tidal wave. Only by casting aside their differences and banding together can they hope to survive the nightmare that is the Eugenesis Wars.

But people don’t really talk about all that, even though it’s a majority of what the book’s about. No, people only talk about what happens after the Quintessons are defeated. People only talk about the robots getting pregnant, because honestly it is the most bizarre thing.

Not because the idea itself is terribly odd- I mean, at least it’s in line with the lore the comics set up. It’s bizarre in how we get to that point. All the torture, all the suicide and death and depression and destruction of entire belief systems, leads up to these robots getting pregnant. Almost like that was the whole point. And considering that this story is presenting to us a bridge for the gap between the classic Transformers and the Beast-Era ones, it could have very well been.

I won’t say fetish, because that doesn’t feel quite right, but our dear author seems to have a sort of… obscene fascination with the concept of mechpreg. A fascination that will carry on well into his career as a professional comic scriptwriter, setting readers on edge for the duration of his run with IDW.

Comparing Eugenesis to More Than Meets The Eye and Lost Light, you get an interesting view of Roberts’ growth, as both a writer and a human being. Eugenesis is the work of what Billy Joel might call an "angry young man”, focusing on the despair of wartime and the futility of one’s struggle against the flow of time and mortality. The theme of time only being perceived as linear, and being in actuality an unending plane where all moments are equal and eternal might seem oddly specific, but it’s reflected upon by multiple characters within the story of Eugenesis. Perhaps this is why he has Brainstorm and Perceptor collectively and completely jack up time itself in the Elegant Chaos storyline.

Character moments sprinkled throughout the narrative give us a glimpse of the relationships that would be written later on- some of the most compelling scene writing happens between Quark and Rev-Tone, two original characters who have such a delightful dynamic between them, they very quickly became some of my favorites. You truly believe that they care so strongly for one another, they would do just about anything to keep the other safe. And they do, in a couple cases.

Then there’s all the death. There’s a lot of death in Eugenesis, and none of it is by way of natural causes- you’ve either got suicide, murder, or suicide-by-way-of-murder. You really see Roberts shine in these death scenes, both then and now, as he captures the utter, raw tranquility as one stares down their own demise, and on the other side of the coin, the complete annihilation of one’s very heart as someone they love is destroyed. It’s downright poetic how he handles these scenes.

Still, there is a difference in how the aftermath is handled. When someone dies in the MTMTE/LL run, there’s always meaning and purpose to it- nobody dies just to die, and those who are left behind are left at least something to comfort them.

A message of love.

The return of a friend.

A chance to keep living.

A chance to be a better person.

You don’t get that in Eugenesis. In most cases, there’s no salve for the wound, only more hurting. There’s no time to even mourn, as the fight rages on and on and on. Any happiness pulled from the narrative for the characters is laced with a bittersweet understanding that these folks probably aren’t going to make it, and they’re just as aware of that fact as the reader is.

And yet there’s something kind of beautiful about that, in a twisted sort of way.

Eugenesis is a sort of love letter to those dark thoughts hiding in our heads, those deeply scary intrusive visions of everything we care about being ripped away from us. It’s a book make up of catharsis, of hurting that begs for some sort of outlet. The characters in this story are lost, and scared, and hollowed out before the mass extinction even arrives, and are put through wringer after wringer, like some sort of distanced facsimile of self-harm.

Perhaps I’m reading a bit too into this, but with how intense things get, with self-insert characters no less, I can’t help but wonder if the James Roberts who was writing Eugenesis truly needed this outlet in more than just a creative sense.

Which isn’t to say that there aren’t issues with this novel just because it was a vessel for catharsis. Pacing can end up going so rapidly it feels as if you’re being pushed towards the edge of a cliff, then stutter to a halt to the point where continuing on feels like an absolute slog. But it always seems just as you’re about to put the thing down and give up, something completely thrilling, completely insane and powerful and profoundly attention-grabbing happens, pulling you right back in. If nothing else, this book demands one’s attention.

There are also some other, more interesting issues with Eugenesis. Issues I wasn’t really expecting to run into. To highlight one such issue, we’re going to play a game.

The game is called Guess That Character Design!

Hey Transformers fandom, got a new quandary for y’all to fight over. Forget the Frenzy/Rumble color debate, forget the Bombshell/Skywarp is Cyclonus debate, it’s time for the What The Actual Everloving Fuck Is Quark Supposed To Look Like debate! Do we follow the comic and its script, which show him as being either about on par with Rev-Tone and Mirage or taller, but fails to note any sort of color because it’s in black-and-white? Or do we follow the novel, which states he’s short exactly once, and crimson? And if he’s red, where did the blue paint chips come from in Part Five? They sure didn’t come from Rev-Tone, who I know is mostly red- not because the novel told me, but because I’ve seen art of him outside of this. Honestly, other than him having big honkin’ shoulders and a bust to match, nothing about Quark’s visual aesthetic is concrete.

Now, I could tell you all about his quirks and mannerisms, how he holds himself, how he talks, how he interacts with others, all sorts of stuff. Nothing wrong with the writing there, characterization’s great! I just couldn’t tell you for the life of me how his body is supposed to look. Rev-Tone’s in the same boat, except it’d be even worse without the helpful input of some friends. Did you know he has a visor? Because I sure as shit didn’t until someone showed me. It’s never mentioned in the book. You can barely see it in the prequel comic art if you’re looking for it, and the script is less than helpful to me because I’m not Matt friggin’ Dallas, nor have I had the pleasure of reading Transtrip. All the information presented in the novel about his looks involves his mouth.

Hell, some of the writing in Eugenesis seems to imply that he actually just has normal eyeballs.

What I’m getting at here is that Roberts leans a bit too much on the reader knowing exactly as much as he does about the characters, the plot points, the lore. And he knows A LOT about Transformers.

This book essentially requires the reader to have the wiki open with multiple tabs at all times. Roberts put his heart and soul into the prose, but the world-building had his nerdy little brains smeared all over it, because there are some obscure references in here, not to mention the sci-fi jargon. You basically NEED an internet connection to get through this- I’ve never read a novel that pretty much forbid an acoustic reading, but here it is, in all its glory.

Eugenesis is a dark, morbid, conflicted story with the oddest little bright spots in it. Within five pages, you’ll go from some of the most horridly bleak death scenes to someone accidentally burning a hole in their hand like a cartoon character. But never once, in nearly 300 pages, does it ever stop trying. It may not succeed in what it’s attempting 100% of the time, but goddamn does it go as hard as it can. This isn’t something that was done for money, or fame, or anything like that. Eugenesis is a passion project in the purest sense, and you can really feel it in the way it’s been crafted. For all the frustration it put me through, never once did I think “man, this guy just doesn’t care.” The ambition Roberts shows in the prose, in the world-building, in all the funny little moments that show just so much personality within the story, truly were harbingers for what was to come just a decade later.

Ambitious. Bleak. Brutal. Weird. Ultimately unforgettable. That’s James Roberts’ Eugenesis.

But let’s get to the heart of the matter, shall we? The one question that truly matters for any novel: is it worth reading?

Well, that depends.

If you had a hard time with the darker parts of MTMTE/LL, I really couldn’t recommend that you read Eugenesis. You will have an awful time, because most of it is Grindcore x100 levels of depressing and brutal. There were a couple points where I had to take a break because things got so intense- and I’m not exactly squeamish. Maybe stick to a breakdown- like this one!- or try a group read-along. Friends make everything better, after all.

If you like Roberts work and want to see where he came from, like I did, I highly recommend you find a copy- digital of course, there are only a few hundred physical copies in existence. I recommend you find the 2nd edition, which includes Telefunken and fixes some of the more glaring continuity mistakes and typos.

It’s a good read. Just... it’s a lot at times.

Like, a lot.

Up next-

Oh, what? You didn’t think that was it, did you? This url is way too sweet to just be done with so soon.

Next, I’ll be taking a gander at Children of a Lesser Matrix, which is something that was never finished by Roberts, but is still floating around the internet because hey! It’s the internet.

If anyone has any other somewhat obscure writings from JRo, feel free to send them my way. Especially if you have any of the TMUK zines from back in the day. I wish to consume all the works.

[cannotescape]

Thoughts on The ballad of songbirds and snakes

I was curious to read the latest installment in the hunger games saga and I wasn’t disapointed. I’ll try to stay spoiler free in the review. In any case, the spoilers will be after a read more.

Many successful YA authors has been revisiting their work these past years. I... wasn’t impressed by most of them. The only sequel I’ve read that was worth the original work was La belle sauvage imo (not the entire Book of Dust series, sadly).

After reading The ballad of songbirds and snakes, it seems that the key for writing a sequel is actually to make it a prequel lol, with 0 to 1 character from the original. Add to it foreshadowing and a few hints and you get a winner.

A Snow redemption arc?

Knowing the premise, my first fear was that Snow was going to be the protagonist. I was smelling the redemption / justification arc from miles away. But Collins isn’t Rowling and Snow isn’t Snape (there is a Snape-like character though. he’s pretty interesting). The book can be summarized in one sentence: explaining a behavior isn’t the same as excusing it.

The book put the reader through an interesting experience: should we root for Snow, knowing what he will do in the future, and how long can we excuse his behavior? My reading experience was basically me trying to guess what Collins wanted me to think. I was waiting for the end to make up my mind about the book. There were hints that made me pause and go “huh” but I truly wasn’t sure how all of this was going to end.

I understood really late that Collins just let her readers choose what they wanted to think. You want to excuse Snow? You can, there’s enough material for that, and there’s enough good people around him for you to root for him. Linking his fate to Lucy Gray’s was clever. Making us believe that they were in the same boat (the hunger theme and the attention given to food made sure of that), when they couldn’t be farther apart? Well done. I can’t believe I fell for it.

So yeah, in my mind, Snow definitely isn’t redeemed or even excused in the end. You end up hating him even more. Collins doesn’t do manicheism apparently, so you get to empathize with him. Life and people put him in a difficult situation. But his pride and the importance he has given to his family’s status is what allowed people to blackmail him into doing... things.

Hints that Snow wasn’t being redeemed:

- talking about Lucy Gray like she’s his property - his strategy of differentiating her from the districts and immediately making her a potential Capitol citizen - not visiting Clemmensia in the hospital (it was emphasized enough times to make me pause) - choosing ignorance when faced with a situation he doesn’t want to deal with (refusing to acknowledge what Tigris must have done to survive during the war) - being quick as fuck to justify killing people (self-defense, yeah, but for how long?) - being condescending against Sejanus and district born people.

2. Just another Hunger Games book?

I started reading the story thinking it was going to be a hunger games book. It’s not. First of all, the games are nothing like the future ones. For historical and plot-related reasons (they’re building the games after all). What is striking is the lack of excitement: from the audience in the Capitol, and from the readers. Collins knows how to build suspense, she proved it with the first trilogy. It made the catharsis worked 100%: we were as much the spectators of the games as the Capitol.

Removing the excitement from the games? Making them dull and exposing them as the sheer horror show they are? Bold move. I also noticed that, overall, the tributes showed more empathy than in Katniss’ games. The war ended 10 years before. They had yet to forget “who the real enemy is”.

Just like in the THG, Collins used metaphors of the games in different parts of the book. The mentors have their own games going on (with a “prize” that is often presented as a lifesaver) + what happens in the very end. It didn’t bother me. I like symbolism and the games pervading every aspects of life is a good one.

What doesn’t make this a hunger games book is also the fact that... Katniss isn’t Snow. We’re following his story but he isn’t the real protagonist. Lucy Gray is a much better candidate, but the book is an actual demonstration of what happens when the narrative is taken away from you. The third person narrator was a nice change too. I think it allowed the narrator to present his thoughts as the truth without being immediately seen as biased. Free indirect discourse also makes you forget that the thoughts being expressed are Snow’s. Until the very end, when it becomes impossible to separate him from the narrator.

3. Class analysis

The rise of the bourgeoisie / nouveaux riches vs the fall of an ancient aristocracy grasping at straws to stay in power. Classic.

I don’t remember who theorized it (Gramsci maybe? or Paretto?) but the best way for a system to stay in place is to welcome a few “exceptional” people (and the word is meaningful in the book) from the lower but rising class. The Capitol is actively implementing this policy. The war made them aware of the benefits of having allies in the districts, mainly the richest families. The end of the book emphasizes the link between bourgeoisie and aristocracy - between money and status. And the most succesful citizen will be at the intersection of them.

Bonus: mockingjays and jabberjays being metaphors of the bourgeoisie and aristocracy. Mockingjays are a district evolution of the Capitol-made jabberjays, and they’re slowy but surely taking over.

Meaningful quote: “Give it up,” he muttered to the thing. “You’re no jabberjay.”

Oh, and what happens when the decaying aristocracy doesn’t want to bulge or evolve and the rising bourgeoisie is getting tired of being refused power and privilege?! Yep, a revolution. Not saying a revolution led by the working class can’t happen (it’s basically the hunger games’ plot), but the bourgeoise / aristocracy allyship certainly can slow the process down.

4. The hanging tree

Loved to read about how the song was created. And seeing its meanings change the more the story progresses. At first a remembrance of the Capitol’s cruelty, then a way to communicate a meeting place. Finally, a mourning song about treason. The line “they said who murdered three” only hit me with its full meaning two days after finishing the book lol. The murderer wasn’t hung after all.

Meaningful quote: “Music caused trouble”. I fucking love the simple irony in all those little sentences when you know how all this will end.

Tldr: All in all, I really enjoyed this book. It gives you insight into Panem’s world (and ours let’s be honest, the parallels are blatant) and makes Katniss’ story even more powerful imo.

Also, the only love story worth mentioning was one between two girls lmao so there’s that (it’s a blink and you miss it kind of thing, but it’s there).

Spoilers under the cut (not very spoilery tbh but better be safe).

5. Lucy Gray

Like I said, the real protagonist. Her legacy has literally been erased, which is fucking heartbreaking. There’s a reason why I couldn’t remember if she was even mentioned in the original trilogy.

And yet her legacy lived on. The song she wrote not only was passed down from one generation to the next depite being immediately forbidden, but it also became the symbol of the rebellion. Same symbolism can be seen in the mockingjays, who are deeply associated with her.

I just have a lot of feelings about her and I’m happy that Katniss made everything worth it in the end. And despite being two very different characters, Katniss became her reincarnation designed specifically to haunt Snow. And I just love that Katniss doesn’t know anything of Lucy Gray. But she’s unknowingly reenacting her life. Because her legacy was that powerful. Or because everything that Snow hated in District 12 are very present in these two strong girls. Funny what an environment can do

Meaningful quotes: “Well, I hope old you doesn’t haunt new you. We’ve already got enough ghosts between us.”

“Good-bye Lucy Gray, we hardly knew you.”

“She could fly around District 12 all she liked but she and her mockingjays would never harm him again.”

6. The philosophy behind the book

Freedom vs order and security, the social contract, what an individual can do against a corrupted society, is it possible to change things from the inside? (interesting to have Plutarch’s ancestor mentioned), the elite reproduction (hi Flickerman!), what do cricumstances do to human beings (the Mary Shelley’s quote at the beginning).

Meaningful quote : “People aren’t so bad, really,” she said. “It’s what the world does to them. Like us, in the arena. We did things in there we’d never have considered if they’d just left us alone.”

[rpgmgames]

September’s Featured Game: Turovero: The Celestial Tower

DEVELOPER(S): Queenie ENGINE: RPG Maker VX Ace GENRE: RPG, Adventure, Psychological, Dark Fantasy WARNINGS: Violence, Light Horror Elements, Sensitive Themes SUMMARY: Turovero: The Celestial Tower is a freeware, dark fantasy role-playing game created with RPG Maker VX Ace. Players take on the role of four young adventurers - Sigurd, a brave and kind-hearted knight, Leilia, a gentle and motherly cleric, Edric, a gifted yet sharp-tongued mage, and Ruby, a cheeky, fun-loving thief - who have no recollection of their lives prior to meeting one another. Determined to free their world from the influence of an ancient evil, the Dark One, the group sets forth on their most perilous journey yet as they climb the mysterious divine tower, Turovero. However, as the heroes ascend the Celestial Tower, they begin to realize that not everything is as it seems. Just what is the Dark One that plagues their world so, and what truly happened to the Four Gods of legend? The answers to these questions lie in wait for them at the top of the tower… but do they truly want to discover them?

Play the game here! Our Interview With The Dev Team Below The Cut!

Introduce yourself! I'm Queenie and this is my second game that I've developed, written, and composed for (my first game was Prom Dreams: A High School Love Story, a horror / dating sim game available whever you can download Turovero from). I've been making games in earnest for about 4 years now, but I did use to muck around in the old bootleg version of RPG Maker 2000 when I was a kid I guess. Because one of the main complaints about my first game was the artwork, and because I, er, can't draw very well, I also enlisted the help of @genkaiko, @caffeineandcarpaltunnel, @pleasedrawmore, and @meakersneakers to draw the character artwork, title and ending artwork, enemy artwork, and cutscene artwork respectively. Check them out too if you've got the chance!

What is your project about? What inspired you to create this game initially? *Queenie: I've always enjoyed horror games and games that started out normal / cute / cliched but slowly turned into something darker as they went on. I also really love RPGs and adventure games. So, naturally, I figured I'd combine the two at some point, and thus the initial concept for Turovero was born!

How long have you been working on your project? *Queenie: Total development time was around 2.5 years.

Did any other games or media influence aspects of your project? *Queenie: Considering every games I've made so far is essentially cobbling together various ideas from games and anime I love, you bet your ass it did LOL. Gameplay involves a mix of classic Final Fantasy-esque battles and Zelda-style field puzzles, whereas the story and atmosphere takes inspiration from other RPG Horror games and anime such as Madoka Magica and Higurashi. Essentially, dark psychological drama wrapped up in a nice little JRPG shell. Or something like that.

Have you come across any challenges during development? How have you overcome or worked around them? *Queenie: Besides my complete and utter lack of art skills (which I thankfully had my team to help me with!), I also really struggled with the field skills due to RPG Maker's admittedly shoddy collision detection. I was eventually able to make the mechanic work around 90% of the time (and if it doesn't, protip: push up against the object before activating the field skill), so it's thankfully playable, but it sure was a pain to work with :T

Have any aspects of your project changed over time? How does your current project differ from your initial concept? *Queenie: I actually try to fully create a solid outline of my games and then stick to it, for the most part, so that I don't lose track during development. So, to be honest, not a whole lot changed besides some minor details, such as names, battle skills, and combat balance adjustments. Although, I did originally envision the theme and look of the final "dungeon" a bit differently (which I obviously won't go into details about), and only went with the current design because I couldn't get the sprites to cooperate with me and I was like "well, eh, this is the next best thing I guess". :P

What was your team like at the beginning? How did people join the team? If you don’t have a team, do you wish you had one or do you prefer working alone? *Queenie: I did about 80% of the game myself, but I did have an interview/portfolio submission process for artists. I knew many of them previously, and the title artist I'd already had a working relationship and internet friendship with, so that made things easier as well. It also helped that I could share my ideas (and memes. lots of memes.) during the development process so I didn't have to keep the game 100% secret, haha.

What is the best part of developing a game? *Queenie: The music!! I freakin' love composing okay. I also love writing emotional or comedic scenes, then see other people's reactions to them as they play. Speaking of which, my jar of Player Tears seems to be running a little empty lately... :3c

Do you find yourself playing other RPG Maker games to see what you can do with the engine, or do you prefer to do your own thing? *Queenie: I usually just go with the kind of gameplay my story needs and that my developer's skills will allow; sometimes I see another game and go "oh, that's possible?", and might keep that knowledge in handy, but I don't actively seek out gameplay inspiration or anything.

Which character in your game do you relate to the most and why? (Alternatively: Who is your favorite character and why?) *Queenie: My boy Edric and his grumpy yet adorable tsundere ways LOL. I have a thing for characters with love problems okay ;;

Looking back now, is there anything that regret/wish you had done differently? *Queenie: I do kind of wish the game had a way to do something like unison attacks from the Tales series, since it'd be thematically consistent with the game's ideas of friendship and unity, but at the time I wasn't willing to fudge around with the battle engine too much, so I shelved the idea.

Do you plan to explore the game’s universe and characters further in subsequent projects, or leave it as-is? *Queenie: I have ideas for some prequel stories (in an e-book or even a visual novel format) that expand upon the characters and world a bit, but I'm waiting to gauge interest in them.

What do you most look forward to upon/after the release of a project? *Queenie: Player reactions and Let's Plays, definitely. I feed off of player reactions. I crave them like a zombie craves brains. If you play my games please tell me how much you suffered - er, enjoyed it, it really makes my day!

Is there something you’re afraid of concerning the development or the release of your game? *Queenie: Honestly, only that it'd attract the wrong kind of fan - you know, the ones who harass people over fictional characters and over a work not being 100% to their particular standards. Thankfully that hasn't seemed to happen yet, and most people who've played my games are super chill and awesome.

Do you have any advice for upcoming devs? *Queenie: Use outlines and try not to shovel features into your game just because you can! Figure out what kind of game you want and then focus your energy on making it the best version of that image that you can. Sure, my games may not take advantage of everything RPG Maker can do, but I don't think they need to - I only needs the elements that will help me tell my story the way I want to.

Question from last month's featured dev @Teal Crown: If you're working on a team, how do you manage to keep organized? (Otherwise: If you could meet your favourite dev, the one that inspires you the most, what would you ask them?) *Queenie: My artists and I kept up via Tumblr messenger and Discord mostly. I also made a beta testing server when the game reached the testing phase, which was very helpful and also loads of fun. :)

We mods would like to thank Queenie for agreeing to our interview! We believe that featuring the developer and their creative process is just as important as featuring the final product. Hopefully this Q&A segment has been an entertaining and insightful experience for everyone involved!

Remember to check out Turovero: The Celestial Tower if you haven’t already! See you next month! 

- Mods Gold & Platinum

[rayofspades]

Everyone in the World Forgot How Remakes and Sequels Work and I Have to Talk About It Because I’m Losing My Mind

I tried very, very hard to make this a coherent and somewhat organized post, but it’s still gonna sound like the ravings of a mad woman, so...prepare yourself.

Also, this isn’t gonna be an analysis of why remakes and sequels are so popular, because it’s exactly as simple as it seems: people like things that make them feel nostalgic and creators have caught on to this and realized that by remaking a familiar property, their new product has a built in fan base.

Great.

What I want to talk about is how the concept of remakes/reboots/sequels/whatever has been kind of destroyed. Both audiences and Hollywood have created these weird perceptions that are flooding the market in a way that is exhausting to audiences and confusing to creators. 

So, I’m here to discuss all the different types of remakes and why they work or don’t work and how this culture has been conditioned to support them regardless of quality.

Alright,

let’s do this.

Part 1: Cross-Media Remakes:

I find it somewhat impossible to criticize the existence to book--> movie remakes too much because they’re a vehicle for both creativity and audience expansion, even in cases where they’re motivated by money. Harry Potter and The Hunger Games made for some pretty solid movies, and that’s largely because those books just translated well to film. Obviously some changes had to be made to account for time constraints and visual storytelling, but they can get away with having a similar structure and still feeling entirely new based on the hard shift in presentation from book to film. 

I would make a similar argument for Marvel movies. From what I understand, those movies change more from their source material, and there are a lot of them, but it makes perfect sense to adapt comic books to reach a wider audience. I feel like the main reason people are becoming tired of Marvel movies is their overwhelming quantity, not so much the fact that they’re remakes. 

I would also love to talk about the popularity of GoT and LotR, but I don’t think I’m familiar enough with those franchises to properly discuss them, so I’ll leave that to someone else.

But there is something else I want to talk about.

While Harry Potter and The Hunger Games translated really well to film, the same isn’t true for some other cross media adaptations. 

Part 2: Adapt or Die:

In the late 70s, Stephen King wrote The Shining. I’ve read the book and I really enjoyed it, largely due to King’s writing style (the prose, the internal monologues, etc.)

The thing is, The Shining doesn’t really translate well into the film format; it’s really long and a lot of what makes it good is tied to its presentation.

So when Stanley Kubrick adapted The Shining into a film in the early 80s, he changed a lot.

Like

a lot.

The setting and characters remain pretty much the same, and the story follows similar beats, but certain events and themes have been drastically altered to the point where I would consider it a different story.

(Brief aside; the three most famous/iconic scenes from the film (”Here’s Johnny!” “All work and no play”, and Jack frozen in the snow) are ALL exclusive to the film.)

Regardless, both the movie and the book have maintained their own popularity with their own audiences. Both are considered good and both are considered classics. 

Although, from what I’ve heard, The Shining film did receive criticism back in the day for being needlessly unpleasant. Interesting. 

It’s a somewhat similar story with John Carpenter. If you ask people to list good remakes, 90% of the time people will list The Thing (1982). It’s practically the poster child for “hey, not all remakes are bad, guys.” 

In this case, Carpenter was working from both a previous movie (The Thing From Another World) and the prior novella (”Who Goes There?”). Carpenter’s film definitely borrows more from the novella, but it was obviously going to be compared more to the previous film, and it is  v e r y different from the previous film. Carpenter’s film (like The Shining) received criticism for how gross and unpleasant it was, but became the definitive version of The Thing and stood the test of time to become a horror classic.

Basically, if you need to change the original product when remaking it, do it. That is the best thing you could possibly do. It gives the creator a chance to actually create their own unique product that just happens to be based on or inspired by an existing property. This is actually a legitimately cool phenomenon; taking preexisting stories and altering them to fit a new cultural context or simply expanding and improving on ideas. It’s a similar concept to “old wives tales” and fairy tales, and how those stories are constantly changed and retold and in doing so become timeless. Gee I wonder if fairy tales are going to come up later in this post.

Part 3: Bad Changes are Bad

*Strums guitar* This one goes out to all audience members out there who have convinced themselves that bad remakes are bad because they’re too different from the original. *Strums guitar*

Stop. 

Please stop.

Look, comparing a remake to an original to showcase how bad the remake is is perfectly valid criticism. It can highlight how an idea can be botched when it’s not handled properly. Sure. That’s fine. I highly encourage people to compare the dialogue, characters, and world building of Avatar: The Last Airbender and M. Night Shyamalan’s The Last Airbender. It’s important to recognize how one story is an utter fucking masterpiece and one is a poorly told train wreck.

Here’s the thing:

people seem to criticize the film on the basis of “it’s different” and, I mean, sure. But it’s not just that it’s different, it’s that it’s different and....um....

bad? 

Like, one of the “complaints” I saw about the movie was that firebenders now need actual fire in front of them in order to bend it, and I consider that to be just a neutral change. It’s not really better or worse, it’s just different. And please don’t comment on this post with “skflsfjsf NO it’s because in the original firebenders used the SUN as their source of fire” like yeah I know I get it it’s still an inconsequential change.

Now, saying that the earthbenders being held on land as opposed to the sea is a bad change? Yes, that is valid criticism because it makes no goddamn sense within the movie’s universe and just makes everyone look dumb.

That movie is an utter fucking disaster. It’s poorly directed, it’s poorly written, the casting decisions are baffling, the acting is horrible, it’s poorly paced, and it’s bad.

It’s a bad movie.

I would apply the same logic to the new Death Note live action movie (the American one). Putting aside the racial controversy for a minute, I’m fine with changing things about the plot and structure to properly adapt it into a movie. But...yeah. The plot is bad. It just comes across as really dumb and weird.

So yeah, bad remakes are bad, but it’s not as simple as just being “different.”

If y’all keep complaining about remakes making changes, then you’re only encouraging the products I’m about to talk about in the next few Parts.

Arguably the worst and most prolific products of them all...

Part 4: Sometimes, Things That Are the Same.......Are Worse

Alright, I’m gonna start with a really extreme example, but it perfectly captures the essence of what I’m trying to say.

In 1998, Gus Van Sant made the incredibly confusing and brave(?) decision to remake Alfred Hitchcock’s Psycho. And I do mean “remake,” as in, it is shot for shot the same movie. It’s some sort of bizarre cinematic experiment.

I really like the original movie, so you would assume that, since this movie is literally the same movie, I would like it too.

I don’t.

No one does.

It’s the same movie but with worse performances.

It’s pointless.

Its existence is both unnecessary and confusing. Watching it was a bizarre experience that just made me wish I was watching the original.

(The best part about this is that 15 years after this remake came out, Carlton Cuse and Kerry Ehrin solved remakes forever by making Bates Motel; a contemporary prequel/reimagining of Psycho (1960). This show takes the characters and key events from the Hitchcock film and puts them in a different setting with an altered version of plot points. The creators openly and repeatedly state that they did not want to just remake Psycho and instead wanted to tell a tragedy/thriller using the framework of Psycho. To me, this perfectly encapsulates what remakes are supposed to be. It’s a good show and it’s severely underrated. Please go watch it, just ignore like half of season 3 and you’re gold.)

Unfortunately, the most common and (arguably) the most frustrating type of remake/sequel/reboot/whatever is the “let’s do the same thing...but different” type.  They can be a retread of the original plot or just take the title and elements of the original and use them while adding nothing substantially new.

Independence Day: Resurgence, Alien Covenant, The Thing (2011), and proooobably most direct sequels in any popular franchise (like the Transformers movies) fall under this category. 

The most notable ones in recent years are D i s n e y  r e m a k e s, but those get their own section.

Also, I’m hesitant to talk about these because it might just be a cultural difference, but it deeply bothers me when I see Japanese live action films that are based on anime and they just...keep everything the same? 

Like, in a live action remake of FMA, why the fuck wouldn’t you make up some grotesque and upsetting monster thing for the Nina Tucker scene? Why would you just use the design from the manga/anime??? WHY WOULDN’T YOU ADAPT IT TO MAKE IT WORK FOR LIVE ACTION?????????????????????????????????????

But hey, what do I know. It might just be a culture thing.

From what I’ve gathered and experienced, people have the following problems with these types of overly-faithful and/or pointless remakes:

1) They’re boring because it’s just a retread that feels inferior. 

2) They try to replicate elements of the original without understanding the actual appeal (aka the tangible details are addressed while the underlying ideas get sidelined or misunderstood).

3) They just...don’t adapt well.

Even if we were to take The Last Airbender and give it to a competent director who has a decently written script, that’s a case where you probably should have changed a lot more to properly make the jump from animated show to live action movie. Obviously, a lot of things would need to be cut or moved around in order to properly pace it.

I’m gonna talk more about this type of movie in a different section so for now let’s move on to the most recent remake craze that’s driving me up the wall.

Part 5: “I’ve got the power of remakes and anime on my side”

Fuck.

So part of the appeal of anime for me has always been its creativity. While some of it is pretty derivative when looking at specific genres, I’ve always found there to be a significantly wider range of creative ideas and concepts in anime than in any other medium. 

But now the industry’s running on fumes and someone let it slip that you can make a quick buck by just remaking a popular IP.

Fuck.

And I don’t wanna rag on the new-ish trend of readapting old anime for the sake of following the recently completed manga. This has had unbelievably successful results with FMA:B and Hunter x Hunter (2011) becoming massive critical hits (and two of my favourite shows).

(Although it hasn’t escaped my attention that studios have, in fact, used this gimmick to make half-baked and poorly crafted products with the knowledge that the existing fan base will buy that shit anyways. I’m looking directly at Berserk (2016) and Book of the Atlantic.)

But now they’re also adapting/sequel-ing shows purely for the sake of cashing in on the original (or adapting pre-made sequel products that were already made with that mindset in the first place).

Clear Card was boring as fuck and transparently existed to sell toys. 

I dropped Steins;Gate 0 after around 8 episodes when it become abundantly clear that it took the “let’s take elements of the old plot and just....do stuff” route without keeping any of what made the original cool and unique. 

The Evangelion movies seem really antithetical to the original show, and the third one feels like it was made by someone who thought they understood Evangelion and hated it. (But luckily the original is coming to Netflix next year so who even cares. Give me that 10/10 show.)

Although I will admit, Devilman Crybaby’s existence kind of falls under what I was saying earlier in this post. It’s one of many adaptations of an old manga that is changed substantially to fit the current cultural climate, with some unique aesthetic changes thrown in there for good measure.

It’s pretty okay.

But um...

Oh boy...

We’re about to get into it lads.

Part 6: Production IG Broke My Whole Brain. Brain Broken. Dead. No Brain.

Hooooooooo boy.

So, FLCL (also known as Fooly Cooly) is one of my favourite shows. In fact, it’s the only show I’ve ever watched that I have absolutely no problems with. None. Not even nitpicks. 

I’ve watched it 6 times, including with director’s commentary. It has an utterly perfect and unique/fluid aesthetic and I wish its visuals were just playing in my brain all of the time. It’s an arthouse comedy, which is a...rare (nonexistent?) genre, and it pulls it off perfectly. Its cool, its beautiful, its silly, its poetic, its creative, it has great themes that can reach both teenagers and adults, and there is literally nothing else on the planet like it.

So when it was announced that they were making a sequel 18 years later with a different cast of characters, I was...weirdly excited. Like a pavlovian happy response. I got even more excited after seeing the trailer.

Only a short while before the show aired did it dawn on me.

Wh...what are they doing?

From the trailer, I could see that they were taking some familiar plot elements (Medical Mechanica, Haruko, N.O., Atomsk, etc.) and adding some different protagonists.

Um

who gives a single fuck about the plot of Fooly Cooly?

The plot elements...don’t matter. It’s just a vehicle for cool and amazing things to happen.

So the show came out, and I saw more clips on youtube. While it is cool that they’re using different episode directors with some different art styles, the difference in quality between the directing and overall visual presentation is shockingly noticeable. I partially blame the fact that the anime industry isn’t as financially stable as it used to be, but this is also a Production IG show that’s based on an extremely popular property, so that’s barely an excuse. 

It mostly just looks like an anime with some cool stylistic elements, whereas the original looks stunningly perfect, dynamic, unique, and beautiful in every single solitary shot. 

I’ve read and watched many reviews of the sequel, both positive and negative, and from what I can tell it’s a textbook example of a “lets take components of the original and just...use them...while kind of missing the point and appeal of the original show.” Fooly Cooly is made of 100% intangible details. That thing is lightning in a bottle, and by taking the tangible details (plot elements and callbacks) and putting them in your show, you’ve already proven that you’ve completely and 100% missed the point.

Also:

this is the new show’s MAL score. While I consider anything between a 6 and a 7 to be “okay,” MAL scores tend to be higher since people rate on separate components of the show.

Like, a 6.7 on MAL is probably a 3 for everyone else. Yikes.

But honestly, the quality of the show is completely irrelevant, because that’s not the actual problem.

The only way to make a new FLCL product would be by accident. Have a director make a deeply personal product in which they do whatever the fuck they want. Have it be stylistically wild and make it look amazing. Create some sort of arthouse comedy with resonant themes and then just get Production IG to slap the FLCL brand on it to appeal to people’s nostalgia.

And that’s when it hit me.

That’s when my whole brain broke.

That accidental, spiritual sequel product can never happen. 

Because it looks like a huge risk to producers. 

Somehow, by remaking one of the most original and generation defining pieces of media ever created, Production IG proved that we do not live in a world where that type of product is allowed to exist. It can’t exist.

AAAAAAAAAAAAAAAAAAAAAAAAAAH.

Part 7: Disney and the Culture of Hype(rbole)

When I was young, my family owned two versions of Cinderella on film. The 1950 Disney animated version, and the 1997 live-action version with Brandy. 

Obviously, they’re the same story. They follow the same beats and have the same characters. However, there are some major differences in scenes, character portrayal and, most notably, the songs. Both are musicals, but with completely different soundtracks. 

If we want to go even further, we also owned Ever After, which is a completely different retelling of Cinderella with a whole new plot made for an older audience (and it’s also very good. Check it out)

In other words, I have nothing against live action Disney remakes, In fact, I think Disney movies based on fairy tales have become their own type of fairy tale; classic stories that are being constantly retold and reshaped to remain both relevant and timeless. It’s beautiful.

What the fuck is Disney doing in the 2010s?

Right now, the trend seems to be completely recreating older Disney classics, only making them live action and, um, “fixing” them.

If you want a detailed analysis of this, go watch the Lindsay Ellis video about Beauty and the Beast. I’ll briefly sum up, but you should definitely watch the video.

Look, I personally don’t hate Beauty and the Beast (2017), but once you notice that the Beast’s character arc doesn’t really exist...

and that there are a bunch of plot threads that either don’t go anywhere or are just kind of pointless...

and that there’s a weird trolley problem with Belle and the servants that completely botches the moral of the story....

and that by adding a bunch of logic to a fucking fairy tale you’re stripping it of its appeal and also just creating plot holes...

and that the singing isn’t nearly as good as the original...

and a bunch of other problems with acting and characterization....

you start to notice that “hey, they made the exact same movie....but worse.”

But, people are okay with that.

Most people didn’t even really notice. And that’s fine, like what you like. I enjoyed the movie well enough, even though I definitely prefer the original. But...I would probably also like a different retelling of Beauty and the Beast if it was a good product. Except, then it would also be...new? And potentially better? Or at least a lateral move.

I just watched the trailer for the new Lion King (2019), and it looks...kind of good. But even thinking this...I kind of long for death, because the entire trailer is just “hey, remember THIS from the original.”

I’m just...I’m just done. I’m burnt out. I’ve had it.

When are we gonna stop making the same movie over and over again?

Or when are the changes actually going to make sense? I’ve seen most of Tim Burton’s Alice in Wonderland and it just goes in the opposite direction of changing everything, but the changes are just.....uggggh. Not good. Bad changes are bad.

The thing with Disney is that they are also a hype generating machine, especially after purchasing both Marvel and Star Wars. I once heard someone say in a video that, back in the day, people were trying to make the best possible product so it would sell and get popular. People...don’t really need to do that anymore. If you get 304958493093 billion people excited about the next movie in their favourite 80s franchise by promoting and hyping the shit out of it, then you’ve already secured tons of butts in seats before the movie even comes out. Every movie is an event movie if it comes from Disney and is part of one of their big franchises. Every new thing based on an old thing is the new “best thing.”

Even a new sequel that I actually liked, The Incredibles 2, was weirdly hyped up. (Also, even though I liked it, it didn’t escape my notice that there were a bunch of plot problems with the villain and the script proooobably needed another draft. Just saying.)

So, the big questions are, in this current culture, are we ever going to get another original sci-fi property, like the 80s Star Wars trilogy? Are we ever going to see a boom in a genre outside of Disney owned properties? Are we ever going to get another insane, passion-project smash hit like Fooly Cooly?

No. I don’t think so.

Not in the current state of things. 10 years from now? Maybe. 20 years from now? Probably. 

Part 8: Concluding Thoughts

I don’t know, man.

People are still making original things, but they’re not as popular and/or creative as they need to be to change where we are right now.

The very existence of Get Out does lend me some hope. It was a creative and original movie and a very large audience of people (including myself) really liked it. 

Yay.

More of this please. 

So, um, yeah.

I’m going to go watch Fooly Cooly for the 7th time and scream into a void.

Mmmm bye.

[oscar-isaacs-number-one-bitch]

Top 10 Worst/Most Disappointing Movies of 2018 (That I Saw)

     Here we are, guys, the final two lists of 2018! Most people like to go best and then worst, but I’ve always believed in ending our reflections of the cinematic year on a positive note, so I like to do the reverse. For context: I don’t go out of my way to see bad movies since I don’t (yet) get paid to do this, and as such, some of the ones on this list aren’t truly bad per se, just disappointing given the potential they had. Also, this is my personal list. Some of you may like or even love some of the movies on this list, and that’s totally fine, but for my money, these were the bottom ten that I saw this year. So, let’s get started.

10) Bohemian Rhapsody

Told you not all of them were bad. Bohemian Rhapsody does have some nice stuff to it, like the Live Aid scene and the majority of its performances, but it mostly doesn’t add up to more than the sum of its parts, which is a real shame considering the huge potential it had. I wouldn’t count Rami Malek out for a Best Actor nomination though; he really brought it.

9) Solo: A Star Wars Story

Wow, what a weird feeling. This is the first time a Star Wars movie has landed on a “worst” list since I’ve been making lists, and it’s really a strange thing to consider. Solo, like Rhapsody, isn’t really a bad movie, but the huge potential it had was squandered on more fan-service than anyone needed and less narrative than even the prequels had. This isn’t as bad as those (well, the first two of them anyway), but even Revenge of the Sith had better thematic resonance. That’s not great.

8) Tomb Raider

Really, it’s Alicia Vikander that saves this one, plus some pretty cool sections where she actually gets to do some action stuff, but Tomb Raider feels so assembly-line it’s almost unfair. It’s one of the more competent video game movies we’ve seen in a while, but doesn’t quite have the strength to make them good with an unfocused and sluggish narrative hogging the first two acts.

7) Sicario: Day of the Soldado

Wow, I was way too kind to this one when it came out. While I do enjoy Josh Brolin and Benicio Del Toro getting to go, well, full Brolin and Del Toro, the lack of Emily Blunt’s perspective character really does hurt this one. The fear-mongering in the beginning is just unnecessary since we’ve already seen how brutal this world can be, but Day of the Soldado’s main problem is how it completely betrays the message of its predecessor that this is how we shouldn’t do things.

6) Mary Queen of Scots

Yeesh, talk about potential. Mary Queen of Scots had everything it needed to be great. Two powerhouse leads, a fantastic historical period to study rife with costume and production design and cinematography opportunities, and an Oscar-frequent studio/distributor a much better director could have actually made use of. But instead of using all of that to its advantage, it just…uses all that. There seems to be a running theme in this worst list that these movies keep forgetting you have to craft an actual interesting narrative and then add the cool stuff, and this one is no exception.

5) Jurassic World: Fallen Kingdom

I wasn’t a fan of the first one either, but at least it was a cartoonish fun time. The sequel just forgets any semblance of intelligence the characters had before, instead opting for a mid-level horror showpiece that not only isn’t all that scary, but features some of the most out-of-character turns in the entire franchise. It’s lazy, it’s frustrating, and at this point, it’s just a waste of time. Please, just stop with these. Stop giving them money.

4) Pacific Rim: Uprising

There was no singular movie I was simultaneously looking forward to and suspiciously skeptical about more than Pacific Rim: Uprising, and it turns out, I had good reason. I really enjoy the first one a lot, but without Del Toro, the creators just don’t know what to do with this franchise. Even the kaiju and jaegers in this one aren’t as impressive on a visual effects level. And that stunt they tried to pull with Charlie Day’s character? Pathetic. Literally so pathetic.

3) The Nun

And here I thought the Conjuring franchise was actually on its way to surviving without James Wan at the helm. Annabelle: Creation was a refreshing return to quality for the box office juggernaut series, but The Nun (while it had a few redeeming qualities) squandered what good will it had and failed to make Valak an actual terrifying presence rather than a cipher for two characters with no chemistry to want to bone even though one of them is literally a nun (and not even the nun this movie is about).

2) Fantastic Beasts: The Crimes of Grindelwald

Even more than Pacific Rim: Uprising or Mary Queen of Scots, this was perhaps the greatest cinematic failure in the year of 2018, and definitely was the greatest failure as far as blockbusters were concerned. The sequel to the prequel to the Harry Potter saga plays like an actual book, except the expositional author narration is shoved into the dialogue, where characters you don’t know or care about anymore beg you to take it seriously as “the dark one,” and absolutely refuse to justify Johnny Depp’s presence as the villain who doesn’t actually do anything all that villainous until the film’s final act. Go read my review for the full run-down but suffice it to say, if I hadn’t dipped into some Netflix Originals, this would have been the worst of the year.

1) A Christmas Prince: The Royal Wedding

Unfortunately (or fortunately) I did dip into the Netflix Originals this time around, and this was the result. Now, I’m not one to just up and watch a Netflix Original just for the sake of it (not really my thing), but I watched this one because I’d seen the first one and it was so bad I just had to see this, and oh boy, it is something you have to see to believe. It’s genuinely laughable, and I mean that literally – I laughed almost the entire time at how ridiculous it is, so I wanted to reward it with the number one spot since I really enjoyed the experience. There’s a bizarre anti-union subplot that makes zero sense, one scene has 5 camera zooms in a row, and Richard has a single expression for being angry where he never moves his neck. Plus the father is literally a completely different person. 15/10, would absolutely love to do a commentary on these movies sometime.

     And those are my results for the worst movies of 2018. Keep in mind, I only picked the bottom ten that I saw, even if not all of them were genuinely bad. Did any of these disappoint you as much as they did me? Are you going to catch up the Christmas Prince Netflix films now? Let me know in the comments section below!

[parttimestorier]

Short Reviews of Short Visual Novels: Halloween Edition!

With less than two weeks left until Halloween, I’m sure I’m not the only who’s in the mood to curl up with a pumpkin latte and something scary to read. Fortunately for everyone else who feels that way, I’ve been in that mood for several weeks already, so I’ve already read several spooky—or at least supernatural-themed—visual novels I can recommend! This special Halloween edition of my short reviews of short visual novels series features ghosts, vampires, werewolves, and pretty much any other creepy creature you can imagine.

Vicarwissen [VNDB|itch.io]

This entry in 2016’s Yuri Game Jam tells the story of two paranormal investigators who find themselves trapped in a creepy museum on the night that legends say the werewolf-like Vicarwissen creatures meet for a horrific banquet. I knew I would like Vicarwissen as soon as I launched it and saw the main menu, which perfectly sets the tone for the story with the image of a cellphone displaying a silly snapchat of the heroines next to a textbook about the Vicarwissen myth. The game maintains a fun balance of cute and creepy throughout, and its point-and-click elements add a lot flavour. I would have liked a little more detail about the backstory that various objects hint at, but maybe that’s something the creators could expand on in a prequel instead! I had a lot of fun with this one, so I’d certainly love to read anything else they come up with.

First Kiss at a Spooky Soirée [VNDB|itch.io]

If you want something Halloween-themed but aren’t actually into horror, look no further than First Kiss at a Spooky Soirée, from the consistently cute catalogue of NomNomNami. In this one, you play as an adorable witch named Marzipan who’s determined to get her first kiss at a party full of other magical creatures—some of whom are pretty different from what you might expect. I was especially impressed with this game’s unique CG gallery that appears like polaroids on the main menu screen. I just wish that the routes had been a little bit longer so that I could spend more time with this cast of supernatural sweethearts! Also, this was an entry in the same yuri jam as Vicarwissen, and so was one of my all-time favourite short VNs, Once on a Windswept Night—2016 was clearly good year for supernatural lesbian VNs.

Bishoujo Mangekyou: A Girl's Cursed Legend [VNDB|fan translation patch]

This Japanese VN’s fan translation patch came out just in time for the Halloween season! In the first entry of the Bishoujo Mangekyou series, a creepy teacher attempts to prey on a high school student, only for their roles to be reversed when it turns out she’s a vampire who wants to use him for a constant supply of blood. Sexual content is definitely the main focus of this one, but it has some really fun and unique h-scenes unlike anything I’ve seen in other VNs—one of my personal favourites involves the protagonist playing Beethoven’s “Moonlight Sonata” on piano in spite of an increasing amount of distraction. And there’s still an interesting story that explores power dynamics in relationships tying it all together, plus some absolutely gorgeous art and a bit of animation. The patch does have the occasional awkward phrase or minor technical issue, but I think Euphemic Translation still did a competent job for their first release, and I’m looking forward to seeing their future efforts.

Speed Dating for Ghosts [VNDB|itch.io|Steam]

Speed Dating for Ghosts is exactly what it sounds like: a game in which you play a ghost who attends a speed dating event in hopes of meeting another ghost to go out with. Its strange, surreal world is populated with a variety of unique characters—I found all of them so intriguing that it was hard to pick which one I wanted to date first. Unfortunately, Speed Dating suffers from a lack of standard features that I’ve come to expect from other visual novels. Partway into my first playthrough I wanted to save the game, only to discover that hitting escape immediately quits to the main menu, and that there was no skip function to help me get back to where I was. But if you don’t mind those little problems, there are nine bizarre and wonderful ghosts waiting for you, each ready to take you on the date of a lifetime . . . so to speak.

Carmilla [VNDB|itch.io]

Finally, my last spooky VN recommendation involves more vampires, in a digital edition of one of the earliest vampire stories in English literature. The visual novel version of Carmilla adds an informative in-game encyclopedia, expressive sprites in anachronistic outfits, and a bit of metatextual commentary to the text of Le Fanu’s classic novella, making for a fun combination of past and present storytelling techniques. It also includes some well-done effects that accentuate the impact of the story’s creepier parts. Since developers Visual Gothic adapted the story with only minor changes, it’s a lot heavier on narration than the majority of visual novels, and I wonder if it could have improved it a bit to cut down on that a little more and take full advantage of the medium by letting the visuals speak for themselves. But of course, the original story is a classic for a reason, and I would recommend this adaptation to anyone who enjoys their horror with a bit of a slower pace.

Finally, I can’t write a real review of it because of how biased I am, but if your taste is skewed more towards silly monsters than the scary variant, you might also enjoy the demo of DemiDato! I’m one of the co-writers for this project and I can’t wait to give you the chance to meet its full cast of zany characters sometime soon. And whether you try that or another one of the VNs on this list, I hope you have a happy Halloween!

[britesparc]

Weekend Top Ten #499

Top Ten Everything Ever

Four hundred and ninety-nine. That’s how many weeks I’ve been doing this four. Four hundred and ninety-nine.

Next week is the big five-oh-oh and I’m doing something typically stupid, but I wanted to make it a real celebration. That means for the next three weeks you’re going to get some rather meaningful and special Tops Ten; lists that have been long in the making, or that are just bonkers-level awkward for me to do. Like this one.

I mean, I’ve ranked films, games, fictional guns, and robots that made me cry. How much longer can I do this for? How many more weeks am I going to put myself through this?

Give me a barrel with bottom unscrap’d.

There’s nowhere to go but up, ladies and germs, and so I present to you the list to end all lists. The most definitive list possible. A list of everything. A list of my favourite things in all of time and space. A list of the official best things ever.

I mean, what more is there to say? This covers everything. I’ve tried to avoid it being really specific to one film or one person. And, of course, it doesn’t include people I know in real life, or events that have happened to me. These are, in their own way, big, sweeping things; film series, franchises, bands, stories that have in their own way changed my life. Just the greatest things I’ve come across in my nearly 40 years on this planet.

And you can’t say fairer than that.

The Transformers comic: this should be obvious to anyone who knows me well, but there’s no greater influence in my life, in terms of storytelling or entertainment, than Transformers. And of all the variants branching off from the Prime Timeline (pun very much intended), it’s the comic that’s greatest. Whether it’s the melodrama of Simon Furman or the intricate plotting of James Roberts, I’ve been addicted to the Transformers comic for the vast majority of my life. It has fundamentally shaped how I consume fiction and the sorts of things I’m into. It’s also really changed how I write, and, in fact, the original Marvel run is at least partly responsible for the fact that I write at all. I drew Transformers comics as a kid. I planned out elaborate multi-issue arcs before I was a teenager. I wrote detailed synopses and snatches of scripts for Transformers movies that would never be made. And I robbed, wholesale, motifs and lines of dialogue for the original books and comics I was working on too. It changed my life. It’s not hyperbole to say Transformers is the single biggest piece of fiction I’ve ever touched. Till all are one indeed.

The films of Steven Spielberg, 1975-1982: Spielberg is my favourite filmmaker, but it felt a bit weird to just say “Steven!” as one of the entries here. So instead I’ve decided to hone in on his early career, despite the fact that knocks out one of the biggest influences of my life, Jurassic Park. But everything I love about Spielberg is in these movies. His skill with a camera, his love of light, his great eye for casting, his way with actors; I mean, Close Encounters, which I probably first saw aged about twelve, is just a microcosm of all my interests in my teens: aliens, government conspiracies, determined men going on a crazed quest, and above all a pervasive sense of hope and optimism. Spielberg’s craft is exemplary, but that’s also true of many of his peers. His flair for action scenes and love of spectacle is entertaining, but there are many directors of whom you could say the same. What I love about him – what keeps bringing me back to him – is his warmth and optimism, his belief in the best of us. Even in his darkest movies, in Schindler’s List and A.I. and Munich (which has one of the bleakest endings of his career), there’s still joy and warmth and something worthwhile and wholesome to fight for. And whilst Raiders is a thrill-ride and E.T. an emotional tour-de-force, all of his preoccupations are encapsulated in Jaws, a tense horror film, a buddy-comedy, an entertaining rollercoaster, an acting masterclass. But it’s still Jurassic Park that made me want to make a movie.

The Marvel Cinematic Universe: so when I was a kid I was reading Transformers and Ghostbusters and other Marvel-published adaptations, but not really any actual Marvel comics. However, as a result, I became very loosely familiar with who Iron Man and Doctor Strange were (and Spidey of course) through references and back-up strips, and that time Death’s Head fought Tony’s nephew Arno Stark. No, when I started reading “proper” comics – mainstream superhero stuff – it was DC. I loved Batman, so I bought Batman, and that was a gateway to the rest of the DCU. However, despite the successes of the various DC movie adaptations, it’s the MCU that really, really got its hooks into me. For one, they’re really good adaptations, well-cast, with some great set-pieces. But the interconnected stuff is what really sings. Not just the characters popping up in each others’ movies, or even the overall arc leading up the crossover events; no, it was the actual shared-ness of it, the way the destruction of SHIELD had an impact, or the Sokovia Accords, or Asgard, Skrulls, magic… everything has an impact, an effect. And sure, it’s incredibly good fun to follow the breadcrumbs and try to work out where things are heading. As we enter a new phase – literally and figuratively – I just can’t wait to find out what’s next.

Grant Morrison’s Batman: talking about interconnectivity, no one does it better – or weirder – than Morrison. His Batman arc – and I’m referring to the character not the title, as it spans multiple series and even, arguably, includes work he did on JLA years earlier – is a web of connected theories, images, themes, events, and references. What does the Zur-En-Arrh graffiti in Gotham mean, not just in the here-and-now, but also as a long-standing reference to decades of Batman’s past? The anticipation of uncovering the next breadcrumb, the excitement of deciphering the next reference; it was long-form storytelling as a form of existential theatre, and it was sublime. But he also did two things that have utterly changed my view of the character. On the meta level, he presented a Batman where everything was canon; the grim thirties Shadow-inspired vigilante, the goofy fifties space adventures, the hairy-chested love-god of the seventies… it all happened to one man over a span of about 15-20 years. Fair enough; that’s cool storytelling. But his idea that Batman was not a miserable, psychopathic loner, that he was not insane or struggling to cope or still traumatised by his parents’ death, that Bruce Wayne was a nice guy with friends and family, who’d used his pain as a weapon, who’d gotten past his rage and grief and turned all the negative stuff outwards. Batman was what was built from all that, and Batman allowed Bruce to grow. And what did he do? He found other lost children and saved their lives, allowing Dick Grayson to take over. Batman is a force for good, in a similar way to Superman in Morrison’s All-Star book, making people better by association. And his confrontation with Darkseid in Final Crisis is extraordinary; brilliant as-is, as a piece of comicbook badassery on the page, but the metatextual resonance it’s given – Batman as a good man versus the font of all evil, David versus Goliath, Theseus and the Minotaur – is brilliant. How it ties in to Morrison’s wider Bat-epic, the whole Black Glove stuff and the devil and time travel and the myth of Batman’s creation and all of it… and just the simple thing of Batman’s last act being shooting the embodiment of evil, saving a human life, and then saying “Gotcha,” before dying, is perfect. Perfect.

The Secret of Monkey Island and Monkey Island 2: LeChuck’s Revenge: when I was little, I played Spectrum and C64 games at my cousins’ house. Then I got an Amiga – I think maybe I was ten? – and I started playing Amiga games. And it was fun and all, but then I read a review in Amiga Action, and my life changed. It was something called an “adventure game”, and it let you walk around chatting to people and interacting with the world, with great big colourful graphics and characters whose mouths moved when they spoke. And then I played it. My love of the medium and its possibilities was cemented then; and, fittingly, it was through the wordy, hilarious dialogue and comedy antics of a wannabe pirate who may, or may not, be selling these fine leather jackets. It’s not overstating things that my gaming tastes were defined by this game and its technically superior sequel. The quirky set-pieces, the weird puzzles, the playing with form (like when you “die” in Monkey 2), and the smart use of Lucasfilm in-jokery. The first game’s “How to Get Ahead in Navigating” gag/puzzle will live with me forever, as will the second game’s bonkers, nightmarish, beautifully constructed ending. As good as they were, none of the subsequent games could hold a candle to it, especially as the whole aesthetic changed into something much more cartoony. But these two? They’re my Big Whoop.

Star Wars: I imagine I know a lot of people in real life who would be surprised – nay, astounded – that I would list my ten favourite Things of all time, and yet Star Wars would not manage to break the Top Five. That’s because that as much as I love Star Wars – and I do, I really do – it didn’t hit me, didn’t speak to me, apart from one brief and weird moment in my late teens. It was games that made me fall in love, I think; games and toys. And, I have to confess, it was the prequels; the intricate digital visions of gleaming cities and impossibly acrobatic Jedi. I love the goofiness and ultra-seriousness of Lucas’ vision, sadly muddled now by the earthy chaos of the sequels. Star Wars is cool; for a while, it defined my idea of cool in cinema. An exciting sci-fi reimagining of ancient and endless myths, a confusing smorgasbord of weird stories and arcane philosophy. Plus spaceships and rapscallions and laser swords. So yes: whilst it was never my faith, so to speak, it’s still one of the coolest and most original pieces of fiction in my lifetime, and to this day there are very few things at all that I find more exciting and evocative than the thought of a Jedi pirouetting through the air with their ‘saber lit.

Middle-Earth, in print and film: one of my most vivid memories of childhood is my mum reading me The Hobbit (and also Macbeth, funnily enough). Then I bought myself my own copy, read it as a kid, read it again as a teenager, wrote (aged about 12 or 13) a sequel in which Gollum comes back to reclaim the ring. I remain to this day baffled that my teacher did not think to tell me that there actually was a sequel to The Hobbit. Eventually I did hear about it, watched the Ralph Bakshi version, and – when I read in Empire that it was gonna be a film and Sean Connery, of all people, was gonna be Gandalf – I thought it best to take the plunge. And I adored it. whilst there’s something about the lyrical simplicity of The Hobbit that I prefer, the depth and scope of The Lord of the Rings – and Tolkien’s subsequent, more disparate writing – that moves me on a profound level. It’s not just the epic nature of the work – the story itself, with its grandiose tales of heroism and adventure – but the sheer balls of the man to make such a thing, to craft wholesale an entire mythological ecosystem. And then the films! I can’t believe they managed to do that; it was pure lightning in a bottle, and we know that because they didn’t quite manage to do it a second time with the Hobbit movies. But all those glorious moments: “Fly, you fools”, “For Frodo”, “I can carry you”, “Go away and never come back” – bloody hell.

Empire magazine: it feels a bit weird, for some reason, citing a magazine as a Favourite Thing. It’s a magazine, a periodical, a journal; it tells you the news and recommends films. it’s not supposed to be part of the culture, part of the fabric of one’s being. But whilst you could debate whether criticism itself is culture, Empire definitely has a culture. It’s a club, nay, a family; something that has been entrenched in recent years through its podcasts and live shows. But for me it began as an education. I started reading it, really, to find out more about Jurassic Park (there we are again, the secret eleventh part of this list). But it went on, showing me more films and filmmakers, introducing me to esoteric industry concepts, broadening my horizons. I always liked film, but Empire made me love film. It reflected my tastes but then it enriched them, codified them, offered me new flavours. It was the first magazine to put Lord of the Rings on the cover; it celebrates Spielberg and the MCU; it had articles about The Greasy Strangler, for goodness’ sake. So much of what I love about film I learned from Empire over the last (nearly) thirty years, and so much of what I love about Empire now is because of what I learned. Bangily-bang.

Traveller’s Tales’ LEGO games: the games that did not make this list, I don’t know. Halo; man, I love Halo. Or what about classics like Lemmings, Worms, or SWOS? What about Mass Effect, Deus Ex, or Fable? What about Mario Kart, what about Civilization? They all deserved a place, really. But there’s something esoteric, timeless even, about the heights of the LEGO games. I remember playing a demo – on the first Xbox, I think – of the first LEGO Star Wars, and being blown away by the fact that, well, it was good. When the games started coming out on the 360 – Star Wars II, Batman, Indiana Jones – I was in the gloriously fortunate position of getting a lot of them for free at CITV, and I devoured them. The simple mechanics, the generous, forgiving gameplay, the satisfying tactile feel of smashing objects and collecting studs. There was something just so rewarding about playing them. And the fan-service! Giving you all those beloved characters, all those worlds, all those genuinely funny in-jokes, references, and cut-scenes. Plus they’re great to play with kids. Time went on, some games were better than others; I feel they reached their peak with the first LEGO Marvel Super-Heroes game, presenting us with an open world New York to play in and a collection of comic book characters that fitted the gameplay perfectly. Subsequent games have either put new restrictions on play, or given us more complicated stories and mechanics, or – really – just over-egged the pudding slightly. I’m really, really optimistic and excited for The Skywalker Saga, long overdue, and promising something of an overhaul. it began, really, with Star Wars; and I feel with Star Wars they’ll have their greatest hour.

Nick Cave and the Bad Seeds: fun fact: finding the tenth spot on these lists is very hard. How about a brand I love, like Xbox, or the BBC, or even Disney? Or another writer or director – what about Aaron Sorkin? Or a TV show – Doctor Who, perhaps, or Star Trek? Or how about, oh I dunno, Shakespeare? I like him. But I’ve not talked about music, so let’s do that; we’ll go out on a number. I’m not a musical person; I didn’t grow up frequenting record shops or listening to mix tapes in my room. I liked songs, but mostly I came to music through film. That was even true with Nick Cave, who I first heard in an episode of The X-Files, and read about in the X-Files magazine. But he remains one of the few artists, The Bad Seeds one of the few bands, that I continue to seek out and listen to regularly (rather than just saying “Alexa, play nineties rock”). I love the different styles, from the distorted noise of the early, post-Birthday Party years through the sombre melodies of Nocturama. I love Cave’s lyricism; his evocation of myth, his use of imagery. I love how he manages to get phrases like “morally culpable” into a song. I love the humour as well as the tragedy, the references to things both real and mythological, the sadness and eloquence of it all. I love how so many of his songs are about sex but are also really moving and meaningful; how much of the music is infused with pain and sorrow but is also uplifting. The horrible evocations of Cave’s own abuse in Do You Love Me, through to the references to his son’s death in Girl in Amber. I love Cave’s voice. I don’t know if this has come through in this list, but something I really like is stuff that makes me cry but isn’t necessarily sad. I cry when I read Sandman, when he wins the Oldest Game by challenging the end of everything by becoming “hope”; I cry when Donna tells Josh, “if you were in the hospital I wouldn’t stop for red lights”; I cry when Steve Rogers jumps on that dummy grenade. I think it’s hope and heroism and love. And that’s something that I get constantly, mainlined, intravenous, from Nick Cave. As Morgan Freeman says in Seven, “The world is a fine place and worth fighting for – I agree with the second part.”

God, there’s so much stuff not listed here. So many things I love that I feel are core; no Pixar, no West Wing, no other filmmakers cited, really, apart from Spielberg. But ten’s not a big number, and I contain multitudes.

Thanks for reading.

[aion-rsa]

Jupiter’s Legacy: Mark Millar on the Genesis of His Superhero Story

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This article is presented by:

Superheroes have a long history. After flying onto the scene more than eight decades ago, led by Superman, along with fellow octogenarians Batman, Wonder Woman, and Captain America, the pantheon of capes-and-tights characters has expanded to include countless more. And as legendary creators made their mark across decades, the origins and powers of these icons transformed almost as frequently as their costumes.

Meanwhile, the superhero team The Union, from the comic book saga Jupiter’s Legacy, have 90 years of consistent fictional history, with a singular overarching story, envisioned by one man: Mark Millar.

After discovering both Superman and Spider-Man comics the same day, at the age of four in Scotland (where he grew up), the now 51-year-old writer would go on to make a significant impact on the superpowered set. But he wanted his own pantheon.

And with Jupiter’s Legacy, Mark Millar has created a long history of superheroes of his own—now set to be adapted as a Netflix series.

“I wanted to do an epic,” he says. “Like The Lord of the Rings, or Star Wars… the ultimate superhero story.”

Co-created with artist Frank Quitely and published by Image Comics in 2013, Millar calls Jupiter’s Legacy his love letter to superheroes—and part of his own legacy.

The story begins in 1932 with a mysterious island that grants powers to a group of friends who then adopt the costumed monikers The Utopian, Lady Liberty, Brainwave, Skyfox, The Flare, and Blue Bolt. Told on a grand scale with cross-genre influences, the story spans three arcs: the prequel Jupiter’s Circle (with art by Wilfredo Torres), Jupiter’s Legacy, and the upcoming June 16, 2021 release Jupiter’s Legacy: Requiem (featuring art by Tommy Lee Edwards). With the May 7 debut of the Jupiter’s Legacy series on Netflix, the story will now also be told in live action.

Millar established himself in the comics industry in 1993 and crafted successful stories including Superman: Red Son, Wolverine: Old Man Logan, The Ultimates, and Marvel Comics’ Civil War—all of which have inspired adaptations and films, and led to him becoming a creative consultant at Fox Studios on its Marvel projects. His creator-owned titles Kingsman: The Secret Service, Kick-Ass, and Wanted, have likewise spawned hit movies.

But compared to Jupiter’s Legacy, none of those possessed such massive scope and aspiration as the story that explores the evolving ideologies of superpowered individuals, and how involved they should be when it comes to solving the world’s problems. Relationships are forged—and shattered by betrayal—with startling violence and titanic action sequences (both part of Millar’s signature style).

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“From Superman and the Justice League to Marvel to British comics—inspired by guys like Alan Moore, and so on, I’ve thrown it in there… it’s got a bit of everything,” he says.

That “everything” extends beyond comic books. Millar drew inspiration from King Kong’s Skull Island, and references the cosmic aesthetic of 2001: A Space Odyssey, which informed the “sci-fi stuff.” The writings of horror author H.P. Lovecraft “were a big thing for me,” when it came to The Island, created by aliens, “that existed before humanity, and that these people are drawn out towards where they get their superpowers.” The character Sheldon Sampson/The Utopian is a Clark Kent/Superman type, but his cohort George Hutchence/Skyfox is more than a millionaire playboy stand-in for Bruce Wayne. Rather, Millar based him on British actors from the 1960s—Peter O’Toole, Oliver Reed, Richard Burton, Richard Harris—who were suave rascals.

“I loved the idea of a superhero having a good time, getting on with girls, drinking whisky, smoking lots of cigarettes,” Millar said.

At the risk of sounding “so pretentious,” Millar jokes, he also pulled from Shakespeare. Indeed, the comics are as much a family saga as a superhero one (and written by the much younger brother of six whose parents died before he was 20). Utopian is a father to his own disappointing children, and a father of sorts to all heroes. He is Lear as much as he is Jupiter, the Roman god of gods. The end of his reign approaches, and various factions have their own appetite for power—such as his self-righteous brother who thinks he should be a leader, or Utopian’s son, born into the family business of being a hero, but who could never live up to his father’s expectations, or his daughter who is more interested in fame than heroism. 

He views Jupiter’s Legacy as more thoughtful than Kick-Ass, Kingsman, or Wanted. The plot’s driving action hinges on a debate about the superheroes’ philosophies and moral imperatives. It seeks to address a question Millar asked when he was a kid reading comics.

“Why doesn’t Superman solve the world’s problems?” he recalls thinking. “Why didn’t he interfere and stop wars from even existing?… Is it ethically wrong to stand aside and just maintain the status quo, especially when the status quo creates so many problems for a lot of people?”

On one side of the debate, Utopian believes interfering too much with society’s trajectory is a bad move. It’s not that he is cynical; quite the opposite. He thinks things are actually improving in the world. His viewpoint is there are less people hungry across the globe than ever before, and less people with disease. Millar describes Utopian as a “Truth, Justice, and the American Way” kind of hero, to borrow a phrase associated with Superman, and believes capitalism works. As his hero name suggests, Utopian thinks a better world is within reach, even if it takes generations, and encourages even the heroes to be patient and trust people to do the right thing because they are innately good.

“He says, if you look at the difference somebody like Bill Gates has made in Africa—just one guy—if you look at capitalism taken to the Nth degree, then it pulls everybody up, and poverty in places like India, is massively better just compared to a generation ago.”

Besides, as Utopian says to his impatient brother Walter/Brainwave, in Jupiter’s Legacy #1, being a caped hero doesn’t make them economists and, “Just because you can fly doesn’t mean you know how to balance a budget.” Plus, the notion of using psychic powers or brute force to simply make the world “better” is out of the question. Or is it?

The mainstream awareness of superheroes baked in from more than 80 years of stories, and the shorthand that especially comes with 13 years of the Marvel Cinematic Universe commercial juggernaut, has provided Millar with a set of archetypes to lean into. It was true of the hero proxies in the Jupiter’s Legacy books, and he says it’s true of the show. In fact, he says audiences are so sophisticated with regards to these types of characters they’ll be able to immediately slip into his universe, and that “a lot of the hard work has been done for us.” He adds that audience literacy with superhero tropes also provided him something to push against.

“The Marvel characters lock these guys up in prison at the end of these movies,” Millar says. “Everything’s tied up neatly with a bow, the rich are still the rich, the poor are still starving, and the superheroes aren’t really doing anything for the common man in any very global sense. These guys have just had enough of that.”

Millar’s comics technically kick off in 1932, when Sheldon first brings his friends on a journey to The Island, but his story goes back to 1929 when the stock market crashed, and the Great Depression began. This is likewise when the Netflix series will begin, and Millar says it’s because of the historic parallels between then and 2021.

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“We’ve been in a similar situation as we are now: there’s impending financial collapse coming out of a global pandemic,” he says. “The idea is that history continues and repeats itself, and people make the same mistakes over and over again, and the superheroes are saying, ‘Let’s actually fix everything.’”

Continuing the theme of parallels, when discussing the inception of Jupiter’s Legacy with Millar, The Godfather Part II comes up more than once because of the film’s dual storylines following Vito Corleone and son Michael, separated by decades. However, while the comics contain some flashbacks, the plot doesn’t unfold across different time periods simultaneously. But the Netflix series will shift between eras, with half of the show during the season taking place in 1929, for which Millar credits Steven S. DeKnight, who developed the series.

“The way Steven structured it was really brilliant, because I saw these taking place over two [different] years,” Millar says. “[But] The Godfather Part II track shows you the father and the son at the same age and juxtaposes their two lives.”

As a result, he says the series is a visual mash-up of genres that’s both classical and futuristic.

“It just feels like a beautiful period movie, then when it gets cosmic, and it gets to the superhero stuff, it’s a double wow… it’s like seeing Once Upon a Time in America suddenly directed by Stanley Kubrick doing 2001.”

This is a notable advantage to bringing the story to television, as opposed to making Jupiter’s Legacy three two-hour films as he originally planned with producer Lorenzo di Bonaventura in 2015. Millar says that to tell the Jupiter’s Legacy story properly on screen would require 40 hours, and with a series, what would have been a one-minute flashback in a movie can now be revealed in two hours of its own. 

It was another director who has since made a name adapting ambitious comic book properties that extolled to Millar the benefits of television: James Gunn. When Gunn (Guardians of the Galaxy, The Suicide Squad) had a chat with Millar about the project, Gunn said it could never be done as a movie. “The smartest guy in the world is James Gunn,” Millar says.

An exciting challenge of adapting his work for television is that the series will expand on the backstories and concepts of the books. For example when Sheldon Sampson and his friends head to The Island in the first issue, it takes up six pages. Within the series, half of the first season is that journey, and what happens when they arrive.

“Six issues of a graphic novel are roughly about an hour and 10 minutes of a movie; for something like an eight-part drama on TV, you really have to flesh it out,” he says. “It just goes a little deeper than what I had maybe two panels do.”

He emphasizes, however, that these flourishes won’t contradict the comics. Though he sold Millarworld to Netflix, he remains president so he can maintain control of his creations.

Overall the series has made the writer realize the value of television, and while a second season has not yet been confirmed, he’s already thinking about a third and fourth, and how it will dovetail with the upcoming Requiem. The story that began in 1929 continued through 2021, and collected in four volumes, will soon continue far into the future in the concluding two volumes.

“We saw the parents, then we have the present, and then we see their children in the next storyline,” he says. “That storyline goes way off into the future where we discover everything about humanity, superheroes, all these things. It’s a big, grand, high-concept, sci-fi thing beyond that.”

Listening to the jovial Millar discuss the scope of his Jupiter universe, which is imbued with optimism, one might not think this is the same person known for employing graphic violence in his works.

He thinks his films especially are violent yet hopeful, and fun. Kingsman is a rags-to-riches story, and “you feel great at the end of Kick-Ass, even though you’ve seen 200 people knifed in the face.” But he doesn’t consider his writing to fit under the dark-and-gritty label, and he’s not interested in angst, which he finds dull. With Jupiter’s Legacy, the comic and the show, he views the tone as complex but not “overtly dark.”

Additionally, Millar says he thinks society needs hopeful characters such as Captain America, Superman, and yes, The Utopian in 2021—as opposed to an ongoing genre trend of heroes drowning in pathos.

“The Superman-type characters are just now something from a pop culture, societal point of view, we need more than ever,” he says. “The last thing you want is seeing the world as dark, as something that makes you feel bad. Never forget Superman was created just before World War II in the midst of the economic depression by two Jewish kids who were just scraping a living together… I just think it’s so important when things are tough to have a character like that that makes you feel good.”

Even though Utopian suffers for his idealism in the comic, Millar says his ideas are passed on. This is The Utopian’s legacy. 

“Ultimately, he wins if you think about it,” ponders Millar.

After a successful career spent creating characters and re-shaping superheroes with 80 years of history, the new pantheon of Jupiter’s Legacy may become one of the defining and lasting features of Mark Millar’s own legacy. 

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Jupiter’s Legacy premieres on Netflix on May 7. Read more about the series in our special edition magazine!

The post Jupiter’s Legacy: Mark Millar on the Genesis of His Superhero Story appeared first on Den of Geek.

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[brianna-lei]

Butterfly Soup Asks #16

This time including the squad as DnD characters, Liz facts, Noelle getting her yaoi education, and more

I’ve only played Dungeons & Dragons once (1) in my life so I’m no expert! I’d consider my thoughts suggestions (like with my takes on the charaters’ MBTI types, which I’m not an expert of either): 

Noelle as a Wizard sounds right, since she definitely can’t do anything reliant on physical strength. She would be an asshole and attempt things like building a Clone Army

AKARSHA THE BARD. Rogue sounds too cool for her

Diya: I actually want to say she’s a Ranger because the Wiki on 5th edition says “The Beast Master archetype forges a connection between civilization and beasts, allowing the character to interact with animals in certain ways including gaining an animal companion to control.“ Fighter and Knight also sound plausible though! 

Min: Barbarian with high Strength and no Intelligence and Wisdom

I don’t want to say too much because I want to save things for the sequel, but here’s some stuff:

She actually played against Diya in youth leagues before she transitioned. That’s why she recognizes Diya+specifically approached her to sign the baseball club form while Diya doesn’t recognize her. At the first club meeting Liz tells her “I was at one of your games when you were little” -- This is purposefully ambiguous/misleading (sounds like Liz was just watching) because she passes and doesn’t want to out herself to a bunch of club members she doesn’t know well

After transitioning she quit baseball and switched to softball. It was weird being the one trans girl on a team of cis dudes, and additionally when she was younger she sort of felt like she had to prove she was a girl; she naturally has feminine taste, but she’d overperform it by 25%. It wasn’t until she got close to Chryssa and found out she also liked baseball that she reclaimed her interest in it

She has a nice resting face so strangers tend to ask her for directions 

Sunburns easily

Yesss check the FAQ guys! Fangames are fine as long as you explicitly say it’s a fangame!! 

I’m almost mad I didn’t think of this myself. I’m one of those people who overuses “spoopy” 

All art in the game (including the title screen) can be downloaded here!

NO!!! 

Noelle. The day the others find out will be the End of her

Akarsha was reading some yaoi so it came up in conversation, and since Noelle had never heard of it Akarsha gleefully educated her (to Noelle’s horror). Noelle was extremely scandalized that Akarsha kept sending her inappropriate images, and Akarsha was like “i’m doing this out of the kindness of my heart! it’s for ur education!! me: Master Teacher. call me sensei”  

Following this Akarsha changed her chat name to YAOI SEME as seen at the beginning of the game 

Diya and Noelle: Never tried it

Min: Has tried it 

Akarsha: She constantly makes weed jokes but actually only does it rarely 

Yes, I’m planning on exploring this more in the sequel! 

Diya; Dee-ya. Rhymes with “See ya”

Min-seo: Korean way, but most characters like Diya pronounce it like Min-so, with the “Min” rhyming with “win” (not like “mean”). The “so” is one syllable (not like “see oh”)  

Akarsha: uh-KAR-sha

Noelle: No L 

I was planning on making the sprites blink! I’m still a bit sad I didn’t end up doing it

It’s supposed to be fall 2008 when they’re in high school, but I took a LOT of artistic liberties when it came to the references. For example, Akarsha makes a Durarara reference even though the anime didn’t come out until 2010, and there’s a lot of modern memes that ended up in there too...I couldn’t hold back...

The IGF trailer video is especially modern-day meme-wise -- since it broke the 4th wall, it was like, all bets are off. Don’t think too hard about it!

I wanted to put a lot of 90s and early 00s hits in the game for the nostalgia factor, like Complicated, Rock Your Body, Dilemma, etc. I think it would’ve made the experience even more surreal for players who are around my age!

I don’t own the rights to all the music so I can’t distribute it around for people to download! Here’s where you can find everything:

Thought Projection by Ketsa

Holding Your Breath by Ketsa

Thoughts of You by Ketsa

2011-13 by Ketsa

Miyauchi Yuri/110515 (miltata remix) by Miltata

Night Tourist by Miltata

Sound413_Images(short) by Miltata

Sound429_Floating Cloud (draft) by Miltata

Side by Side by Miltata

Blooming by Miltata

Romaras by Miltata

Little Circle by Miltata

Daydream by Miltata

Calling Project 2 by .que

Flame of Love by YOSHI

Valar Morghulis by Bloodgod

Overflowing by Tatsuya Kato

My Heart Will Go On - Recorder By Candlelight by Matt Mulholland

At one point Diya finds out what it means on her own. After she finds out, she uses it for the actual meaning :) (added this to the FAQ now) 

I can totally relate to all of them, but I’d say Diya! (added this to the FAQ now) 

that sounds a bit alarming

(I added this to the FAQ page now, thanks for reminding me)  I’m fine with people shipping whatever!! The only thing I can think of that’d make me uncomfortable is incest and shipping Diya and Min with male characters – other than that, go nuts

Oh noo im sorry, that must’ve been stressful! For those who don’t know, I chatted about my game for a few minutes last week with MEGA (a USC club I used to be in!). I’ve adapted them here with what I assume what the questions were: 

1. Is that your cat on your Skype icon? 

yeah it is!! it's burrito 

(people think it’s a cute name) 

LOL glad you guys approve

2. Was the game made in Renpy? What do you think of Renpy vs. Twine? 

yep! it's made in renpy! I actually started out in twine -- twine is impossible if your game is like longer than an hour and is image heavy. the engine started lagging so bad it would take 30 secs to do anything

2. Would you eat a tiny 2 inch man for $100 million?

LOL it's hard..it's a lot of money. I don't think I would

(but you could use that money to save many more lives! utilitarianism) 

it's a real dude tho! i'd feel awful for him haha it's hard when you have to physically do it LOL

3. How long did it take for you to make Butterfly Soup? 

FOREVER. I thought of it in my junior year over winter break

4. Was it for school (like an assignment)? 

nah! just on my own

(people saying that’s impressive) 

yeah!! self motivation

5. What’s your favorite part of the game? 

hmmmmM I like the "date" with min in the dream. it's so fun, with the dog park

6. Which character do you relate to the most? 

diya!! social anxiety queen, so relatable

(people comment on how she runs around when anxious) 

i really did that before my sat once, ran 2 miles at the school's track

7. Are you from the San Francisco Bay Area

yeah i'm from the bay! east bay

8. Which year did you first come up with Butterfly Soup? 

winter 2014 i think

(people trying to calculate which year was my junior year) 

i graduated a year early so junior year was also senior year

9. Are you making a sequel? 

yes!! once ihave more time. i have a lot of ideas for stuff that goes after

10. Was this a prequel to Pom Gets Wi-Fi? Or maybe spiritual successor?

this is a prequel. i dunno about spiritual successor tho, they're a bit differnt

11. Any tips on how to balance schoolwork and working on personal projects? 

hmm...i honestly sucked at this and could only work on it on breaks lol...if you can try to work it into your school projects, like some bit of it...

other than that i cant think of anything LOL it's hard

12. How did you organize yourself making such a long game? Any tips? 

it was SUPER hard to organize, i was really lost until i split it into 4 sections with each character. so if you're planning on making a game this big definitely think about forcing yourself into sections like that

the art was the most confusing to do bc of how many assets there were. i was going to say "have consistent naming conventions" but that's literally impossible LOL it'll always become inconsistent no matter how hard u try

13. What part of the game took the longest (writing? art?) 

writing, actually, despite how much i complain about art assets. it's really hard making sure the structure and themes come across correctly. like pacing is so hard. art is like #2 biggest time sink

14. How early in did you write the Akarsha/Min skateboard scene?

that came pretty late haha i put it in at last second

15. Are the characters based on real people? 

they're all inspired by combinations of ppl i know! i wouldn't say based on them, tho. for example min is like a combination of 3 friends i have, strategically arranged to play her part in the story

character design is design so u still gotta be deliberate about it

16. Who’s the other cat on the computer? (they’re referring to the cat on my desktop wallpaper) 

that one's maru! he's a famous japaense cat. he's super photogenic

(people speculating that he’s the “tube one”) 

the tube one? probably. he's famous for going into stuff

17. What was your favorite aspect of working on the game? 

definitely getting to put specific Asian-American experiences into it

i was like HAHOH i can do this and no one can stop me! it was really fun getting to do this without any creative direction from like, a studio or anything. so i could just go bonkers. i hate pitching stuff so

18. Any writing advice? 

definitely have other people beta your writing as soon as possible! they always catch stuff you missed. also this is like a cheat, make your characters really extreme. like find one aspect of yourself, and turn it up to 11 and make it into a character. that way they'll be relatable and memorable at the same time. i think most people don't make their characters extreme enough so they're all kinda samey

19. (I can’t remember what they asked me here, sorry! They were asking if a specific meme was in the game)

LMAO nah it's not. i did briefly think about it though, i will admit

20. Would you eat a Gusher the size of your hand? 

that would be pretty cool. i don't think i could eat it all at once tho...i would try to save it. like half

You’re welcome, I’m really happy to hear it helped the game feel relatable!!  

Thank you! I hope you have a good day too!!

haha I feel like my game is almost propaganda bc so many people wish they had girlfriends after playing it! the agenda...Thank you for waiting for the sequel, it makes me super happy to hear people are looking forward to it! 

You’re welcome!! I’ll do my best!!! 

You’re welcome!!!! :>

You’re welcome!!! 

same I’m really happy so many people find them relatable! you’re welcome!! 

You’re welcome!! my kids can never get enough love im very happy 

I’m glad you liked it! Thanks for the support! TT_TT

[evaceratops-art]

A long time ago, in a galaxy far, far away...

Happy 40th anniversary to this beautiful, beautiful saga.

In honor of the occasion, I want to write about how I got into Star Wars, because I’ve shared bits and pieces of that story but never written it all out.

I’ve only been a serious fan for about a year and a half, but… looking back, it’s always been a part of my life in one form or another. My earliest Star Wars memory is of being so excited that I was finally tall enough to go on the Star Tours ride at Disneyland. My siblings and I had never seen any of the movies, but we loved that ride so much - we even listened to the soundtrack on car rides just so we could pretend we were there, hurtling through hyperspace and navigating asteroid fields and narrowly escaping the clutches of Darth Vader.

A few years later my interest in Star Wars had a little bit of a setback: around the time Revenge of the Sith came out, I was out shopping with my parents and the aforementioned movie was playing on a display TV, which is how I ended up accidentally watching the Mustafar duel as an extremely squeamish 7-year-old. That duel was brutal enough to scare me away from the live-action movies for quite a while, so my little brother got to them long before my sister and I did. But he got a lot of guidebooks to go along with them, and I would read anything, so I absorbed everything I could from them - I definitely picked them up more often than he did. (Admittedly, I didn’t absorb all of it correctly; for the longest time I thought holograms and Force Ghosts were the same thing and that Han Solo died when he was frozen in carbonite, I never quite made the connection between Anakin Skywalker and Darth Vader despite the famous “I am your father” line, and the timeline was mostly a mystery to me, especially when it came to the Original Trilogy)

So, by the time my mom took me and my siblings to see Star Wars: The Clone Wars (which was animated and therefore safe from the horrors of the Mustafar duel) in theaters in 2008, I knew enough about Star Wars to be slightly offended by Ahsoka giving Anakin Skywalker backtalk, and even a little bit shocked that Anakin Skywalker even had a padawan, because hey, that wasn’t in the guidebooks. And I loved that movie. For a while I was interested enough in The Clone Wars to buy the Monopoly game - which I still have - and to watch at least one episode of Season 1 - I don’t remember how much, because the only thing I remembered from it before I rewatched it was that scene in Hostage Crisis where Bail Organa almost walks in on Anakin and Padme making out and Anakin has to hide under a desk.

Fast forward to 2015. Star Wars was getting a lot of attention again due to the hype for The Force Awakens, and sometime over the summer I started thinking, "you know, maybe I should give the Star Wars movies a chance - they’re such a huge part of pop culture, and it might be nice to understand the references.” By December, I still hadn’t acted on that idea (although I think my brother and I rewatched the TCW movie at some point), but I’d heard good things about the new movie, and one night I suggested that we go see it.

Watching The Force Awakens felt like coming home.

Rey’s theme music in particular, I think, is what really hooked me, but the whole movie gave me such an overwhelming feeling of wonder, and I left the theater thinking, “why didn’t I ever watch the Star Wars movies?” I fell in love instantly, and we went to see it two more times while it was in theaters.

From then on, I couldn’t get enough. None of the live-action movies were on Netflix, but The Clone Wars was, and I dove right in, excited to see where the series had gone. It only took me 3 or 4 weeks to watch all 6 seasons, and I immediately went back and watched it all again after I finished - my grades might’ve actually slipped a bit because I was spending too much time watching TCW instead of doing homework. My sister and I watched the original trilogy and the prequels together - I cried at the end of Return of the Jedi, she cried at the end of Revenge of the Sith. I initially dismissed Rebels - which was a huge mistake - but when I found out Captain Rex was in it I figured I’d give it a shot, and I was attached to the new characters within seconds. Rogue One was a religious experience and an absolute masterpiece, and I was on the edge of my seat for the entire duration of the movie with the widest, brightest smile plastered on my face. And I still wanted more, so I went to the novels, and the comics, and before I knew it I’d absorbed the entirety of the Star Wars canon.

And to this day I haven’t found even one piece of it that I didn’t love. Because, apparently, just the fact that something is Star Wars is good enough for me. I love Star Wars, all of Star Wars, so much that it’s overwhelming, and even though I’ve only been a serious fan for a year and a half, I can’t imagine a life without Star Wars anymore. It already means so much to me. Maybe it always has, and I just didn’t realize it until now.

To George Lucas and everyone else who’s ever been involved in Star Wars, to everyone who's helped bring so many amazing adventures to life, no matter what the medium: thank you so much for everything you’ve done, everything you’ve given us. And thank you to all the fans who love Star Wars just as much as I do, and who provide a community for us to share our love.

May the Force be with us all.

- Eva

[bonerhitler]

Three bad games that are good

You know what's always interesting? Bad, but creative games. I don't just mean the disappointing big-name affairs like your bioware blah-fests or no man's whatevers. I mean games that set out to do something unique or new but whether it's because they're done by small-time studios, unpopular names or just never got the attention and budget they deserved they didn't come out quite how they deserved to. So, that being said I'm going to talk about three titles from three different consoles that were objectively bad games in varying ways, but in other ways were completely awesome and I feel the world desperately needs more games like them.

1. Drakengard. Better known as the prequel to Nier (which was the prequel to Nier: Automata, because lets face it the first Nier wasn't even that popular at the time of its release), Drakengard is a deeply, deeply flawed game featuring dull, repetetive “Dynasty Warriors” style gameplay, muddy graphics prominently displaying a pallete of reds, browns and greys and a soundtrack resembling a symphony stuck in a tornado. Sounds like a real treat, doesn't it? That's not even the worst of it. You see, the game had a special malevolent spite for completionists. Anyone who wanted all of the endings had to be prepared to not only play through the game like four-odd times, they had to do all kinds of arbitrary and esoteric things to unlock a variety of weapons as getting all of them was required. Some of them had requirements as obtuse as standing still in a specific room for over a minute, and then guessing where the item spawned in the map. So what could possibly be redeeming about this game?

Well, it was interesting. Without getting too much into my love for Yoko Taro and his games, especially since it's a pre-Nier game, it's main character is set up as an exploration of what kind of horrific monster a person would have to be to fit the role of your typical ~warriors type game protagonist. Rolling into a battlefield, slaughtering hundreds and taking off to the next one. So you play as Caim, a psychopath who cares about nothing, not the world nor the war at hand, beyond his personal goal of saving his sister and doesn't especially care who or what gets destroyed along the way. You pick up a motley crew of party members along this trip including an even more unstable woman who eats children, a blind pedophile who acts as the group's moral compass and an immortal child who's only there because he has a minor beef with the main antagonist over who their parents loved more. The characters aren't functional people, there's no ~destiny~ guiding the main character to save the world or anything. It's just a story about one bloody minded jerk who goes from point A to point B doing the only thing he knows to do; kill.

The game is graphic and the plot goes completely off the rails halfway through and every ending beyond the first one just gets more and more unhinged. Someone playing the game for their first time could be told, in complete detail, exactly what the final ending of the game is and without any prior knowledge of the game and its developer, probably wouldn't believe the would-be spoiler fiend. It's an unpredictable ride and I tentatively recommend it to anyone who can look past the utter trainwreck the actual game is to see the juicy morsel of weirdness it is inside.

2. Deadly Premonition. All internet memes and flavor of the month youtube popularity aside, I love Deadly Premonition. I love it right down to it's wanna-be Twin Peaks soul. You can see the game's budget while you play, but the game is just oozing with charm and a certain detailed heart to it that makes it really feel like it was a labor of love as if the developer, SWERY, really wanted to make the game and tell the story even if the game its self had to be cobbled together. The gameplay is dated, featuring classic survival-horror style tank controls and floaty third-person over the shoulder aiming it feels like a poorer version of Resident Evil 4 except with actual melee weapons instead of just the combat knife. Visually the game is extremely dated. It came out on the 360 and looks like it could have been an early Xbox or even mid-PS2 game. Textures are often just straight up photos of things applied to models, or otherwise just generic tessellations applied to landscape you're not supposed to look at, while the animations are incredibly limited and the same few are used for almost every situation through the entire game for every character. I could keep going on, but I think I've nailed it. The game looks, and feels, like it's several generations out of date and hasn't aged well. It felt out of date when it was first released.

However the sound track is amazing, at least if you're not off-put by the limited number of tracks, the voice acting is pretty decent  and the writing is great. The plot, however, is where the game really shines. It's a fairly predictable murder mystery wrapped in survival horror trappings. You play as Agent Francis York Morgan, an FBI agent who can apparently see Shadows, weird ghost/zombie-like creatures, and sets out to investigate the murder of a young girl in a small town out in the woods called Greenvale. The game tries very hard to be Twin Peaks. Early beta screenshots and videos of the game were almost literally Twin Peaks. It's probably the best deliberately twin-peaksy game I've ever played because it feels like SWERY got it, and ultimately rather than just doing the Twin Peaks thing, he put his own spin on the whole thing.

I could go on more, I want to. But it's very hard to talk about this game's plot without spoiling it, and that is arguably it's strongest and weakest point. You can't really replay it. Once you know the story and solve the mystery, there's nothing really driving it. There's no particular reason to replay it. But it -is- a very nice self contained tale and for that, I love it.

As a final note I'd like to say avoid the ports. The 360 version is the “best” version available, the least buggy and most complete. The PS3 port introduced a ton of strange new bugs and removed a lot of neat visual features and the PC version is borderline unplayable with the number of crashes and other issues.

3. Illbleed. Here's a game a lot of people might not have heard about before. Or maybe you have, I don't know what's popular on the internet anymore. Illbleed was a survival horror game on the dreamcast. Or at least it wore the costume of a survival horror game, in reality it was a complete and loving mockery of everything Survival Horror typically stood for at the time. The game whole heartedly embraced all of the weirdness about horror games of the decade and rolled around in it like a dog just gleefully rolling in its own feces. The game took place in a giant haunted house themed amusement park and your characters wore goggles that let them mark traps at the cost of energy. If you spotted a trap, nothing happened and you gained energy back. If you failed to mark one, you'd get a goofy jump scare and your character would incur a health penalty. If any of your stats got too high or too low you would die. If you ran out of energy and were unable to mark traps, you would get hit too much and die. Illbleed was a mockery of horror games that expected you not to panic and rush through an area, but to slowly and methodically crawl through an area and predict where obstacles would be. You were expected to avoid the surprising and quote-unquote scary elements by diffusing them and even the characters were largely in on the joke in knowing it was all a fake trip through an amusement park.

The biggest downside to this game, is also it's biggest upside. It's hilarious, it doesn't take it -or its genre- seriously. It was, however, advertised as a serious horror game and it's all too easy to see why people didn't like it. Frankly, I would love to see Illbleed make a return as a port on Steam.

[twh-news]

Skull Island' Review: King Kong Kicks Butt In This Gorgeous Pulp Adventure | Forbes

Kong: Skull Island opens in North America on March 10, 2017 courtesy of (among others) Legendary and distributor Warner Bros./Time Warner Inc. The film, budgeted at around $185 million, is both the start of a would-be franchise and something of a backdoor pilot for what the Dream Factory hopes will be a cinematic universe involving the likes of King Kong, Godzilla and other famous beasties. We’re getting Godzilla: King of the Monsters (a sequel to the 2014 Godzilla) in 2019 and Kong vs. Godzilla in 2020. So as you can see, there is more at stake than a single movie.

That’s the inherent risk of this whole expanded universe game. Under normal circumstances, Kong would merely be responsible for making enough money and audience approval to justify its expenses further installments. But since it’s the backbone of an expanded universe, a responsibility that Godzilla did not share, it has the extra burden of justifying and creating excitement for what comes next. Once again, Mr. Kong, we ask too much of you.

The good news is that, should this film do well and get decent reviews, it will go that much further in dispelling the conventional wisdom that Warner Bros. is a house of horrors due to the ups and downs of DC Comics movies. Fantastic Beasts and Where to Find Them earned $811 million worldwide and mostly positive reviews while The LEGO Batman Movie scored raves and solid box office. If the Skull Island is a well-received hit and King Arthur: Legend of the Sword avoids utter embarrassment, there is frankly only so much grief we can give the studio no matter how good or bad Wonder Woman and Justice League turn out to be.

The Review:

Kong: Skull Island is high-quality pulp fiction. The picture is a briskly paced and character-driven adventure that just happens to be a big-budget monster mash and part of a would-be cinematic universe. The film has a game cast amid stunning visuals and gorgeous cinematic sights. It may not be the eighth wonder of the world, but this King Kong revamp is often quite beautiful.

While the film is technically a prequel to the Gareth Edwards’ Godzilla, it stands entirely on its own in terms of content and visual style. The 2014 monster mash was a grim and foreboding affair, shrouded in darkness and mystery while offering the barest hint of humanity amid its jaw-dropping visuals. Skull Island goes almost the opposite route, plunging us immediately into the world of its quirky human characters and wasting little time giving us what we came to see and delivering most of its thrills in broad daylight.

Regarding cinematic foreplay, this is less Jaws and more The Host. While both styles have their merits, Dan Gilroy, Max Borenstein and John Gatins’ witty screenplay keeps us entertained and intrigued during the exposition and earns our investment in those who will soon fight for their lives. While I wouldn’t argue that this is a course correction, as Godzilla (which I didn't care for beyond the visuals) certainly had its merits and its fans, it is encouraging that the second film in this continuity can be so different regarding tone, focus and style. This is a possible signal that Legendary and Warner Bros.’ monster universe might well be filmmaker-driven.

While Godzilla was called “the first post-human blockbuster,” Kong: Skull Island is as much about watching the likes of John Goodman, Tom Hiddleston, Brie Larson and Samuel L. Jackson chew scenery as it is about King Kong and the various monsters of Skull Island. But fear not sports fans, you get a whole heaping of monster mash action throughout the 118 minutes. If you’ve managed to go this far without knowing too much, especially if you’ve avoided the most recent trailer (note: do not watch the final spoiler-filled trailer), I’ll try to be as vague as I can.

Set in 1973 as the Vietnam War winds to a close, the film follows a group of motley outsiders, including a discredited scientists (Goodman), a professional soldier (Hiddleston), a cynical war photographer (Larson), a geologist (Corey Hawkins), a biologist (Jing Tian) and the head of the chopper unit tasked with flying these folks into uncharted peril (Jackson). Goodman and friends are heading to Skull Island to conduct a land survey. Things almost immediately go to hell.

Shot by Larry Fong, the guy who almost had me giving Batman v Superman a positive review, this is an utterly beautiful motion picture. The naturalistic visuals, imbued with a particular hot orange vividness, gives the film an absolute authenticity of time and place and at least the appearance of realism even when we are clearly watching special effects. I saw this in glorious 2D, but I imagine it’s worth the IMAX 3D upgrade as the broad daylight action will probably survive any 3D glasses-related dimness.

And the title creature is a marvel, standing 100 feet tall and exuding animalistic menace no matter which side he’s fighting on at any given moment. His major introductory beat is a superb action sequence, even if it’s structured more for action-adventure thrills than horror or intensity. The film manages to humanize its main monster without being overly patronizing. This Kong is a protector of Skull Island. But if you get into his turf, he will bat you out of the sky without thinking twice.

Even after the monstrous stakes are established, there is still a relative focus on the humans attempting to survive and make it to a planned pick-up spot. Along the way, they stumble onto World War II soldier who has been living on the island for 30 years. Said MIA (John C. Reilly) provides comic relief, a surprising poignancy and plenty of exposition. Reilly quickly becomes Skull Island’s MVP.

Most of the survivors are focused on not dying, while Jackson allows his grief over first act casualties to turn him into a Captain Ahab figure. It’s an expected turn, but one which allows the survivors to have a conflict more potent than merely running away from scary monsters. The rest of his soldiers are slice-of-life characters, drawn just vividly enough so that you’ll briefly mourn when one of them cashes out.

Hiddleston is in full brooding rogue mode, even if he gets one moment of almost comical heroism. Goodman is superb, as always, although Booker and Tian fall back a bit once Reilly’s starts scene-stealing. Larson is fine, even if she is somewhat hobbled by being the only major female character. There are refreshingly few “beauty and the beast” interactions between the great ape and the empathetic photojournalist, which is a good thing since we're getting an actual Beauty and the Beast a week after this movie, but she doesn’t get much else to play in the film’s latter half.

The picture loses some of its character focus in the second act as certain characters split off from other characters, which leaves some of the more interesting folks out of sight and out of mind for a while. But the finale comes together in an exciting and satisfying fashion, delivering a climax that pays off the film’s Apocalypse Now and Moby Dick themes while providing the required monster mash action. And while there is less of a sense of awe to be found than Peter Jackson’s more overtly romantic take on this story, there are any number of gorgeous moments of vivid cinematic beauty and iconic imagery.

Kong: Skull Island is an action spectacular that offers large-scale monster mayhem, moments of cinematic poetry (like the grand moments of Kong standing tall amid the sun-drenched carnage) and memorable character work by a cast of overqualified thespians giving it their all. Skull Island is the very definition of a complete package. While the movie exists due to its IP and hopes for a larger cinematic universe, it justifies itself as high-quality popcorn entertainment and works as a piece of pop art unto itself.

While I admit will admit that the overall effect is less wondrous than the Naomi Watts/Adrien Brody/Jack Black fantasy, that’s also because movies like King Kong are a lot more commonplace than they were in 2005. Whether you prefer Peter Jackson’s epic romantic adventure or Jordan Vogt-Roberts’ lean and mean war story, they exist side by side along with the 1976 remake as artistically valid interpretations of the 1933 classic. Kong: Skull Island is a confident, pulpy, character-focused, big-scale adventure story that just happens to be a backdoor pilot for an expanded universe. That’s how it’s supposed to work.

P.S. Yes, there is a post-credits sequence, but it is terrible. It feels like it was shot during a lunch break and is not required viewing to understand Godzilla: King of the Monsters or the untitled Kong versus Godzilla movies. If you have to leave when the film ends, don’t feel too badly about it.

[rpgmgames]

May’s Featured Game: Cadeau

DEVELOPER(S): HALFWORLDstudios ENGINE: RPG Maker VX Ace GENRE: Horror, Fantasy, Puzzle WARNINGS: Blood, Mild Gore, Suicide Mentions, Death SUMMARY: Cadeau is an RPG Horror game about a lonely, yet stubborn, young woman named Charlotte-- who finds herself in a world unknown to man, wearing clothes that do not belong to her. Wonderful and tragic events are to follow suit, as all of her greatest wishes come true. However, as these things often go, her happiness does not come without consequence...

Play the beta here!

Our Interview With The Dev Team Below The Cut!

Introduce yourself! Macdev: Greetings and salutations. I'm Mac, writer, artist, and programmer for Cadeau, as well as the founder of Halfworld. I've loved Rpg games since I was about 10, and have been creating them since! Bruno: My name is Bruno and I'm the music composer. I got into game music approx 2 years ago and I've currently made music for a couple of games and other projects, and Cadeau was the first one of them. Aidan: I'm Aidan/kanteramcneil on Tumblr! I'm one of the voice actors, and I'm super excited to be able to follow Cadeau's progress! I've been in the RpgMaker community for a few years now and I adore being able to watch all the devs progress and grow Rindre: Hi I'm Rin! Currently, I'm on an indefinite hiatus, but Big Mac managed to catch me, chain me up to a chair, and make me say stuff about myself against my will. So... I make games, I guess. - Note from macdev: Erm, not true? These accusations are SLANDER and I will not stand for it. WariA: Hello! I’m WaraiA, one of the voice actors of Cadeau — A pleasure to meet you! I will be voicing the oh so mysterious ‘Your Admirer’, so please look forward to listening to my antics ☆〜（ゝ。∂） I am a Japanese/Chinese Australian born citizen, with a tendency to speak in an American accent. Any pronouns are fine for me My most notable role so far has been Harpae from Pocket Mirror, so some of you may be familiar with my voice already! Nothing much has changed — I enjoy cosplaying, role playing, drawing every once in a blue moon, Final Fantasy XIV, and most importantly, catboys (Nael, I’m coming for you, boy) As ‘Your Admirer’ is a rather elusive character, I cannot disclose much. But I do suggest always keeping one eye open throughout your journey

What is your project about? What inspired you to create your game initially? *Macdev: Cadeau is a game about a troubled young woman named Charlotte Émile-- who is a "tomboyish" and bold individual who has been unfortunately presented loneliness by a series of disastrous events. After giving up on companionship, she miraculously receives an affectionate letter from a mysterious person aliased as her "Admirer". This "Admirer" character beckons poor Charlotte to visit them at a mysterious well in the woods, and to come armed with nothing but a strange golden coin. From there, madness ensues. Our protagonist must learn of her past and the events that lead to her misfortune, all while becoming entangled in a family drama rooted in witchcraft, raging years before her unexpected arrival. It is a story about self-love, friendship, acceptance, magic, and all that corny-ness. Sounds fun, right? My initial inspiration was The Witches House. The game was originally meant to be simple, and maybe an hour or 45 minutes long. A simple story, and a straightforward 2-ending path.... How have we managed to get here from that?

How long did you work on your project? *Macdev: Two years, I believe! Its anniversary is April 8th. In the beginning, it was very off and on-- because I was having a difficult time with school and-- as I mention-- organization. So not a whole lot of progress was made then. I'm proud to say I've been chugging quite a bit faster than my previous pace!

Did any other games or media influence aspects of your project? *Macdev: My inspiration would probably lie in Harry Potter/Fantastic Beasts, and Alice returns to madness. As for RPG games? The Witch's House, Havenfell, and Pocket Mirror. As well as many other beautiful artists and creators in the video game community. Overall, my biggest inspiration for this game has got to be the stop-motion movie: Coraline. I even reference the movie once or twice in Cadeau. The tone of Coraline, and the whimsical yet eerie people and creatures within it give me inspiration for this game. It was very much a favorite of mine when I was younger, and that still applies today!

Have you come across any challenges during development? How have you overcome or worked around them? *Macdev: The biggest problem I've run into has been a lack of structure. In the beginning, I hadn't even written out the story halfway. I was just pulling ideas from thin air, going back and forth, and deleting entire concepts-- only to bring them back and re-arrange them as I went. Characters weren't fully dished out; the game didn't even have an ending. This state of creating is fine, but not when you have other people expecting things from you. Thankfully, things are sailing much MUCH smoother than before.

Did any aspects of your project change over time? How does your current project differ from your initial concept? *Macdev: It's absolutely taken a turn from what it was originally! As I say, it was meant to be an extremely short game in the beginning, and now obviously that’s not the case. The goal for Cadeau now is: around 2-3 hours long in playtime, and full of many diverse character types! As well as a storyline that extends far more than face value. Which is in high contrast to the basic, short, immemorable experience that it was going to be.

What was your team like at the beginning? How did people join the team? If you don’t have a team, do you wish you had one or do you prefer working alone? *Macdev: I do have a wonderful, beautiful, talented team working with me on Cadeau. - A composer! (Bruno Buglisi), - As well as voice actors! (WariA as Allete, Aiden/kanteramcneil as The Botanist, and Rindre (who I have definitely not kidnapped...) as The Maiden) I met everyone in the team through volunteer posts-- and I had never done that before-- but it worked very surprisingly well! We worked very quickly together, and we had a very mutual understanding of what each other wanted. It feels good to know I have such talented people helping this game come to fruition. I owe a whole lot to them for helping the game become what it is now.

What was the best part of developing the game? Macdev: Being able to make the world in your head interactable, for sure. Since I was 8, maybe even younger, I have loved writing stories and making art. Webcomics were my main thing as a kid, so story-telling is something I’ve always loved. So, the fact that I can turn my ideas into something someone can experience and interact with is a wonderful feeling. There's nothing more fulfilling, honestly!

Do you find yourself playing other RPG Maker games to see what you can do with the engine, or do you prefer to do your own thing? *Macdev: Very often, actually! I try not to ride too close to the material I see in other games, but I do gain lots of inspiration from my fellow creators! One thing I am laser-focused on, though, is making Cadeau quite unique content-wise. I want it to have very interesting, uncommon puzzles and mechanics that you may not expect from this type of game-- or one of this engine. So far, I think I've achieved this-- so look out for that!

Which character in your game do you relate to the most and why? (Alternatively: Who is your favorite character and why?) *Macdev: My favorite character has got to be The Botanist. At the beginning of the game he has no dialogue, yet still presents such a strong personality. They are kind, thoughtful, and absolutely adorable. Look at that foofy hair! I'm a sucker for it. Their character arc is something I'm excited for. It's been a blast writing it so far-- and I won’t spoil anything-- but you guys will love him. I'm sure of it. Now if we're talking character design, Naël has got to be my favorite. He recently received a “tune-up,” as I would like to call it, and I think everything works together very cohesively in his design now. It's probably one of my favorites out of all of them, at this point.

Looking back now, is there anything that regret/wish you had done differently? *Macdev: Thankfully, things worked out perfectly-- and the universe blessed me with a wonderful team in the end-- but it was very stressful once I realized I had asked for help way too early. I essentially made a single map, and a little character sheet-- then asked for a whole team to help me out. As I said, it luckily worked out in the end. Now we have so many amazing people helping us-- but we also lost a few in the madness-- and that's a mistake on my part, 100%. If you don't know what you want, it's hard to ask for help. It will lead to confusion, lots of back and forth, frustration, etc... Just wait until your way further in development. Trust me. I know it’s easy to jump the gun and shoot for the stars, but sometimes it won’t work out as well as it has for the Cadeau team!

Do you plan to explore the game’s universe and characters further in subsequent projects, or leave it as-is? *Macdev: I won't say as of now! The idea of a sequel/prequel has floated around, but if it does come to fruition, it won't be until way after the release of Cadeau. We'll just have to see. (This isn’t to say I’m not hopeful!)

With your current project, what do you look most forward to upon/after release? *Macdev: I have so many amazing project ideas lined up for after the release of Cadeau. I won’t spill too much, so they'll be more of a surprise-- but they range from classic, adventure-themed true RPG's-- to 3D teenage-thrillers. I'm honestly stoked, there's so much in store for Halfworld.

Is there something you’re afraid of concerning the development or the release of your game? *Macdev: I think my biggest fear is letting people down. Also, I worry about losing interest or having people form the idea that the game is never going to be completed. It’s just going to take some time, is all, and that’s okay!

Do you have any advice for upcoming devs? *Macdev: I already mentioned above not to jump the gun and ask for help too early, so some more advice I'll give: is to keep all your material, all your ideas, and all your concepts in one concise place. I would say do it digitally from the get-go, but if you would prefer to write it down physically that's fine! Just make sure it's only one or 2 notebooks, and not 13. The information for Cadeau is spread throughout my hideous mound of notebooks, as I get up during ungodly hours of the night to scrawl a sudden idea down. So, I'm currently in the process of moving them to one digital spot-- and while it's generally easy-- I would have been able to avoid it if I had just put everything in one spot in the beginning. Oh, and back up your progress regularly! I have separate backups of Cadeau from months in 2 different years, and in 4 different places. So, I take backups very seriously—and so should you!

Question from last month's featured dev @atlasatrium: What's your favorite RPG Maker game and why? *Aidan: I love End roll, Ib, OFF, Prom Dreams, From Next Door, and Aria's Story! Bruno: Mm, definitely Long Gone Days (though it’s not being made on rpgmaker now) Midnight Train, Heartbeat and Glitched! WariA: I don't really have any :0 the devs I've worked with so far have all been really sweet (´꒳`);; Macdev: This is a tough question! I have a lot of favorites. Probably Stray Cat Crossing overall, but I also love Home and Starboy. Starboy brings a lot of memories, and Stray Cat Crossing was what inspired me to start making games! Oh, and Home is just very cute.

We mods would like to thank HALFWORLDstudios for agreeing to our interview! We believe that featuring the developer and their creative process is just as important as featuring the final product. Hopefully this Q&A segment has been an entertaining and insightful experience for everyone involved!

Remember to check out Cadeau if you haven’t already! See you next month! 

- Mods Gold & Platinum