#it must 1. be in a different world or time period. 2. be goofy silly. Nothing ever has BOTH. It's always overly serious boring drama action

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Crazy Ex-Girlfriend: The 24 Best Songs, Ranked From Great to Spectacular

Even without the songs, Crazy Ex-Girlfriend would still be one of the best comedies on TV: a sharply insightful, wickedly subversive, riotously funny rom-com that is fully aware it’s a rom-com. But the show’s original songs — all 150-some of them! — have elevated it into something wholly unique and unmatched anywhere on TV.

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With Crazy Ex taking its final bow with Friday’s series finale (The CW, 8/7c) — no, we’re not anywhere close to being ready to say goodbye yet — we’re honoring four seasons of musical comedy genius by ranking the very best Crazy Ex songs from the entire series. To be clear, there are many, many worthy songs that it pained us to leave off this list. (Sincere apologies to the likes of “Maybe This Dream,” “F—kton of Cats” and, um, “Period Sex.”) But these are the absolute cream of the crop, the essential songs in the Crazy Ex-Girlfriend canon. And what’s great is, even if you’ve never seen the show, you can enjoy these songs as one-off musical comedy sketches. They’re that good!

So grab a Rebetzel’s Pretzel and join us as we waltz, tap and Soul Train our way down West Covina’s memory lane and look back on the very best Crazy Ex-Girlfriend songs from all four seasons. Hey, if we keep singing, the show can’t really end, right?

24. “No One Else Is Singing My Song” (Season 4, Episode 1)

Rebecca started out the final season in prison, and sang this mournful ballad about how alone she felt — not knowing that Nathaniel and Josh were feeling the exact same way. (And singing about it, too.) It’s one of the least overtly comical songs in the Crazy Ex songbook, but it packs a huge emotional punch, especially when the whole cast touches hands in a 12-way split-screen. (Even the creepy grocery guy.)

23. “I Could if I Wanted To” (Season 1, Episode 16)

Whoop-dee-frickin’-doo. Back when Greg was still an alcohol-soaked sourpuss — and looked a lot different than he does now — he delivered this Weezer-y anthem for cynical jerks everywhere, boasting about all the great stuff he could do in life if he actually gave two s—ts about anything. Like it, don’t like it, whatever… not like he cares.

22. “Santa Ana Winds” (Season 2, Episode 11)

This insanely catchy doo-wop ditty is a perfect example of Crazy Ex-Girlfriend finding laughs in a highly specific subject: the gusty Santa Ana winds that plague southern California each year. Here, a Frankie Valli-style vocalist — bravo, Eric Michael Roy — sings of the fierce winds of change blowing through Rebecca’s life, which bring with them “whimsy and forest fires.” Good luck getting this one out of your head.

21. “I’m the Villain in My Own Story” (Season 1, Episode 14)

Here, Rebecca goes the Disney route for a tune where she realizes maybe she’s not the beautiful princess in her love triangle with Josh and Valencia… maybe she’s the cackling witch. The music on this one would slide right into the soundtrack of any Disney cartoon, it has fantastically self-aware lyrics that touch on one of the series’ major themes… and Rachel Bloom’s evil witch voice is just impeccable.

20. “First Penis I Saw” (Season 3, Episode 7)

Donna Lynne Champlin has given us more than a few memorable tunes as Rebecca’s trusty pal Paula, but none can top this upbeat, ABBA-esque tribute to her first real boyfriend… and, well, his distinctive genitalia. (You never forget your first, right?) Bonus points for Paula and her bandmates singing into cucumbers and eggplants in the “Suggestive Vegetables” aisle.

19. “A Boy Band Made Up of Four Joshes” (Season 1, Episode 3)

Along with playing lovable dummy Josh Chan, Vincent Rodriguez III is one hell of a dancer, and he gets to show off all kinds of moves in this charming boy-band number, where he — well, four of him, really — reassure a smitten Rebecca that she can let all of her childhood traumas go. (They are licensed mental health professionals, after all.) It’s sneaky emotional, too; that moment where Rebecca hugs her younger self and dances with her gets us every time.

18. “We Tapped That Ass” (Season 2, Episode 4)

Josh and Greg team up for this snappy tap-dance number where they exchange notes about their, uh, intimate encounters with Rebecca. The lyrics are jam-packed with naughty wordplay (“On the ottoman, you took a lot of men…”) and double-entendres that we’re surprised made it past the CW censors. They even finish on her chest… of drawers, you sickos.

17. “Where’s the Bathroom?” (Season 1, Episode 8)

God bless Tovah Feldshuh. As Rebecca’s supremely judgy mom Naomi, the Broadway veteran unleashes a whirlwind of passive-aggression while visiting her daughter in this rapid-fire tune, demanding to know where the bathroom is while still dishing out backhanded compliments. (“You’re looking healthy/And by healthy, I mean chunky…”) She even judges Rebecca’s bathroom once she gets there! Anyone with a Jewish mother — or any mother, really — can relate.

16. “I Go to the Zoo” (Season 3, Episode 3)

We can’t stop giggling every time we think about this supremely goofy Drake-inspired slow jam about… Nathaniel’s love of going to the zoo? (Hey, it makes him feel better, alright?) The silky smooth beats are a strangely fitting accompaniment for Nathaniel’s ode to his beloved zoo animals. (“My favorite’s probably the cheetahs/But I ain’t f—king with no zebras.”) Just another hyper-specific, hyper-hysterical Crazy Ex tune that we’ll probably hum every time we go to the zoo from now on.

15. “The Sexy Getting Ready Song” (Season 1, Episode 1)

Right away, in the very first episode, Rachel Bloom let us know what to expect from Crazy Ex with this sultry, silly chronicle of all the plucking and scrubbing women do to get ready for a date. (The back-up singers are there to help Rebecca get into her shapewear, at least.) We couldn’t agree more with the rapper Nipsey Hussle (RIP), who has a cameo midway through: This is some “nasty-ass patriarchal bulls—t.”

14. “Let’s Have Intercourse” (Season 2, Episode 11)

Scott Michael Foster joined the Crazy Ex cast late as cocky corporate guy Nathaniel, but he made a great first impression with this Ed Sheeran-esque ballad in which he gets very specific about what he’d like to do with Rebecca. It’s not terribly romantic — he just wants to “see what [her] nipples look like,” really — but the admittedly gross lyrics make for a hilarious contrast with the lilting, sensitive-dude guitar. And the ballroom dancing’s not bad, either!

13. “Settle For Me” (Season 1, Episode 4)

A song for guys and gals everywhere hopelessly stuck in the friend zone, Greg tries to convince Rebecca to forget Josh and give him a shot with an elegant, old-school number complete with tuxedos and gowns. (“Like two percent milk or seitan beef, I almost taste the same!”) As with a lot of Crazy Ex songs, the buoyant music and snappy dancing help to mask the crushing sadness of the lyrics. So twirly!

12. “We’ll Never Have Problems Again” (Season 2, Episode 10)

Who’s ready to disco? This relentlessly peppy dance track is a hilarious examination of the comforting lies young lovers tell themselves about their future — “No more ups and downs/It’s just ups and ups and ups!” — and it also happens to be ridiculously catchy. Besides, any song that gives Heather an excuse to “Soul Train on outta here” is a keeper in our book.

11. “Friendtopia” (Season 2, Episode 6)

Most musical comedies would be happy with a note-perfect Spice Girls parody, but Crazy Ex had to take it several steps further: Rebecca’s cheerfully sinister girl-power jam is actually a full-on military manifesto, with her, Heather and Valencia plotting to take over the world. (“All agriculture will be diverted/Into making us rosé!”) You’ll never hear the term “squad goals” the same way again… and you better like watching Hocus Pocus.

10. “Remember That We Suffered” (Season 2, Episode 10)

In true Jewish mom fashion, this jaunty dirge is eager to remind listeners that the Jewish people have had a rough go of it for, oh, a few centuries now — so don’t enjoy yourself too much! It’s the perfect distillation of morbid Jewish humor, Tovah Feldshuh continues to be this show’s secret weapon — and bonus points for including the legendary Patti LuPone and her even more legendary voice.

9. “A Diagnosis” (Season 3, Episode 6)

One of the least comical Crazy Ex songs, but one of the most emotionally resonant, this triumphant showstopper sees Rebecca celebrating the fact that she’s been diagnosed with borderline personality disorder after years of struggling with her mental health. We’ve been struggling right along with her, so it’s cathartic to see her so full of hope here, and Rachel Bloom’s vocals positively soar. A beautiful tribute to a major turning point in Rebecca’s life.

8. “Love Kernels” (Season 2, Episode 1)

We all know Rebecca could live for days off a single compliment from her beloved Josh Chan, and she puts that poignant desperation into song here with a Lemonade-esque torch song. It’s probably Crazy Ex‘s most sweepingly ambitious music video, with plenty of costume changes — our favorite is a tie between “sexy fashion cactus” and “hamster slurping from a water bottle” — but of course, it openly acknowledges how wildly expensive it must be, too. (Hi, Broom Darryl.)

7. “It Was a S–t Show” (Season 2, Episode 4)

Greg’s farewell lament to Rebecca sheds light on a frustratingly familiar romantic situation: They liked each other a lot, but they knew full well they were just terrible together. (“Chernobyl, next to us, looks like a campfire/Hurricane Katrina was just bad weather…”) Like many great Crazy Ex songs, it’s hilarious and heart-wrenching, all at the same time — and man, Santino Fontana can sing, right?

6. “You Stupid Bitch” (Season 1, Episode 11)

Crazy Ex has had four different theme songs, one for each season (we’re partial to Season 2’s “I’m Just a Girl in Love,” for the record), but this ballad is truly Rebecca Bunch’s theme song. Deeply scathing and cleverly meta all at once, Rebecca harshly chides herself for all of her many mistakes… and not for the first time. (Her audience knows every word!) It’s a stunning depiction of the self-hating voice inside all of us, and probably Rachel Bloom’s best vocal performance of the series to boot.

5. “JAP Battle” (Season 1, Episode 13)

Yes, Rachel Bloom can rap, too: This hilarious hip-hop showdown between Rebecca and her sworn frenemy Audra Levine — a pair of Jewish-American princesses, you see — is a treasure trove of cutting insults (in Yiddish, of course) and references to tony New York hometowns. Guest star Rachel Grate proves herself a very worthy opponent as Audra, and the mean-mug faces that Darryl, Paula and Josh make as Rebecca’s backup crew are just priceless.

4. “Don’t Be a Lawyer” (Season 4, Episode 3)

Burl Moseley’s Jim has been a background player for most of Crazy Ex‘s run, but he hit it out of the park with this spotlight number: a sizzling ’90s R&B throwback jam about the perils of pursuing the legal profession. The vintage fashions and dance moves are perfectly on point, and the lyrics are quite persuasive, actually: “The job is inherently crappy/That’s why you’ve never met a lawyer who’s happy!”

3. “The Math of Love Triangles” (Season 2, Episode 3)

This is probably the pinnacle of the classic Crazy Ex formula: Start with a spot-on recreation of a classic song genre — the ditzy-girl tune, a la Marilyn Monroe in Gentlemen Prefer Blondes — and add a brilliantly meta twist to it. Here, a dolled-up Rebecca wants to understand the elements of her love triangle with Josh and Greg, but keeps getting adorably confused by all the “man math,” and Rachel Bloom’s over-the-top breathy vocals make it all even funnier. Whee, a swing!

2. “Let’s Generalize About Men” (Season 3, Episode 1)

The genius of this Pointer Sisters-inspired toe-tapper is that it’s both a “yas, queen” girl-power anthem and a parody of those anthems, pointing out the flaws in painting all 3.6 billion men on this planet with the same broad brush. (“Let’s take one bad thing about one man/And apply it to all of them!”) It’s catchy enough that you could fool us into thinking it actually made the pop charts in the mid-’80s, and the twist ending, when Paula remembers that her sons are also men, is maybe the most brutally funny punchline of the whole series.

1. “West Covina” (Season 1, Episode 1)

Could Crazy Ex-Girlfriend‘s very best song also be its very first song? Yes, we believe it could. Rebecca’s dizzingly romantic ode to her new hometown — and the guy who just happens to live there — manages to set the tone for the entire series: delightfully clever (the visual gags at the start still make us giggle) and heartbreakingly earnest all at the same time. There’s a giddy, go-for-broke magic to it, and it all builds to a massive dance number featuring dozens of extras and one giant pretzel, as if to say, “You’ve never seen anything quite like this on TV before.” And they were right: We hadn’t… and we never will again.

Did your favorite Crazy Ex song not make our list? Sing it out in the comments below.

Source: https://tvline.com/2019/04/01/crazy-ex-girlfriend-best-songs-list-music-videos-watch/

[ciathyzareposts]

Star Control II: Summary and Rating

For the box art, the developers seem to be paying homage to L. Ron Hubbard.

           Star Control II: The Ur-Quan Masters

United States

Toys for Bob (developer); Accolade (publisher)

Released in 1992 for DOS, 1994 for the 3DO console; later fan ports to other platforms

Date Started: 23 March 2019

Date Finished: 14 May 2019

Total Hours: 47 Difficulty: Moderate (3/5) Final Rating: (to come later) Ranking at time of posting: (to come later)

       Summary:

Star Control II takes the ship-by-ship action combat of the original Star Control and places it solidly within an adventure game of epic proportions. In a galaxy of more than 500 stars and 3,000 planets, a captain must build alliances, find artifacts, mine minerals, and coerce information from alien races so that he can ultimately throw off the yoke of the Ur-Quan Hierarchy and free Earth and its allies from slavery. Gameplay comes with a lot of lore and plot-twists, but every so often it reveals its origins and requires the player to defeat enemy ships with selects from his own armada, each with their own strengths, weaknesses, and special abilities. Although the sense of an open world and a nonlinear plot both end up being somewhat illusory, the game is still fun and memorable.

****

         In the comments for my winning entry, several readers have offered descriptions and text that occurs when you try some of the game’s alternate strategies, such as surrendering to the Ur-Quan, provoking the Orz, or selling your own crewmembers to the Druuge. Most of them are either dead-ends or offer such harsh consequences that you’d best not do them in the first place.

One thing I was curious to check out is what happens if you wait out the game’s time limit. The Melnorme originally told me that the Earth would be destroyed in January or February of 2159, but my actions in the game managed to delay the apocalypse by almost two years. As I sat in hyperspace and watched, nothing much happened until November 2159, when the Supox and Utwig returned to their original systems, much diminished. 

           No one remains but the Ur-Quan.

          Around the end of 2159, the Kor-Ah won the civil war and started to circle the galaxy, destroying each sentient race in turn. Some of their ships reached Earth in April, but they weren’t here to destroy Earth just yet. I fought a few dreadnoughts and the horde moved on. The Arilou, Umgah, and Zoq-Fot-Pik were all gone by June 2160, the Supox and Utwig a month later. By October 2160, the Ur-Quan fleet had reached the “southern” end of the galaxy and destroyed the Yehat. Finally, in November, I received a broadcast from the Ur-Quan notifying me of Earth’s destruction, and the game was over. My ship was parked right next to Earth at the time, and I was hoping I’d see a bunch of dreadnoughts approaching it, but alas, it wasn’t quite that detailed.

              The “bad” ending, unless you’re a big Ur-Quan fan.

           If I hadn’t cheated a bit during the game by reloading when an expedition proved a waste of time, I probably would have run into issues with the time limit. Watching the slow destruction of every race, along with the intelligence that they possessed, would have been mildly horrifying. But apparently you can still win the game at any time during this process, with nothing altered in the endgame sequence.

I confess that the last bit bothers me a little because it’s indicative of the approach taken by the game as a whole. When I started playing Star Control II, it gave the impression of an open-world game with multiple narrative possibilities. But it turns out you have to follow a few paths in a relatively specific order, and most of the choices turn out to be illusory. Oh, it certainly does better than the typical RPG of the period, I hasten to add. It was just a bit disappointing to find that open exploration isn’t really rewarded. If you’re lucky enough to stumble upon a key location amidst all the planets in the vast galaxy, you probably won’t be able to do anything because you haven’t bought an important piece of information from the Melnorme first.

I have similarly mixed feelings about the game’s approach to the alien races and racial characterizations. On the one hand, I enjoyed the variety. When you’re making a game (as opposed to shooting a film or television show), you have the freedom to make some interesting races without worrying about the CGI budget. I appreciated that there were no “bumpy forehead” aliens except perhaps for the Syreen.

            I could have done with less of this.

          I also don’t fault the game for broad characterizations. It’s a longstanding trope of science fiction and fantasy to paint races with a broad brush: the wise elves, the logical Vulcans, the proud Klingons, the evil orcs, and so forth. You rarely have time to explore the detailed characteristics of an entire culture. It’s perfectly acceptable that Star Control II decided to highlight one major attribute of each race, such as cowardice, depression, loneliness, and greed. When it did go into more detail, such as in the case of the Ur-Quan and the Syreen, the detail was generally good, and it was rewarding to unlock those stories. I also appreciated the consistency of characterization. The Spathi locking themselves under their own slave shield amused me to no end because it was perfectly in keeping with the Spathi personality–and, in hindsight, 100% foreseeable. 

But I also felt there were too many moments of outright goofiness and parody among the racial interactions. The Orz, the Pkunk, the VUX, the Umgah, and the Utwig mostly just exhausted my patience. I couldn’t help but think how the same races with similar characteristics might be handled with less silliness. We don’t have to look very far to find an example. Starflight and Starflight II had some of the same broad racial characterizations, but rarely crossed the line into outright slapstick. I felt the stories and plot twists of those games were much better, too.

Nonetheless, I understand why Star Control II is regarded as the better game: it’s all about the combat. I wasn’t any good at it, but I can see why people like it. Until I played it, I wouldn’t have thought that a single choice–what ship to pilot–could have so many tactical implications. There are 14 ships that can join the New Alliance and 13 potential enemy ships, resulting in 182 potential battle combinations, and each has completely different tactical considerations. (With the Super Melee application, you can fight any of the ships against any of the others, for 625 possible combinations.) Slowly mastering the strengths of your ships and learning the weaknesses of the enemy ships is a huge and rewarding part of gameplay. Later in the game, when you have to fight multiple ships in a row, there are strategic implications for what ships you send into combat first and which you reserve for later in the battle.

             The typical outcome of my combats.

           Still, the nature of combat, plus the lack of “character development,” really makes this a non-RPG, which means it might not do so well on the GIMLET as an RPG. I played it as an exception. I don’t want to hear any future comments along the lines of, “Well, you played Star Control II, so to be consistent, you should also play This Game.” The point of exceptions is that I don’t have to be consistent with them.

As to the GIMLET:

1. Game World. Star Control II manages to check most of the boxes in this category. It has a rich, detailed backstory, an open world, a clear place for the character and his quest, and an evolving game state that responds to the player’s actions. (I particularly like how the starmap continually updates to show the dispositions of the various races.) The plot and its twists are original and interesting. The only fault I can find is that there isn’t much to see or do in the open universe. I wish the creators had seeded more planets with optional encounters and finds, perhaps replacing the system but which you purchase all your technology upgrades from the Melnorme. Score: 8.

2. Character Creation and Development. Alas, there is none of either except for the ability to name your own captain. Even if you regard the ship as a “character,” it doesn’t get innately better so much as it gains better equipment. Score: 0.

3. NPC Interaction. Another strong point. I’ve given my thoughts about the NPC personalities, but I should add that even goofy personalities are better than we get from the typical RPG of the period, which is no personality (or even NPCs) at all. I wish there had been more honest variety in dialogue options instead of one that’s obvious, two that are stupid, and one that’s evil. The Starflight games did a better job giving the player real “options” when talking to different alien races even though they came in the form of “stances” rather than specific dialogue choices. 

I should also note that most NPCs aren’t individuals but rather representatives of their races who somehow know the previous conversations the player has had with other representatives. But the game otherwise hits most of the criteria for a high score hear, including a plot that advances based on NPC interaction. Score: 7.

             My thoughts exactly.

              4. Encounters and Foes. The game has an original slate of foes (ships) that require you to learn their individual strengths and weaknesses. There are otherwise no real “encounters” in the game that aren’t also NPC dialogues. Score: 6.

5. Magic and Combat. I can’t give a high score here because my scale is about RPG-style combat and the various tactics and strategies that draw from attributes, skills, and the player’s intelligence rather than his dexterity. Still, as I discussed above, the choice of ship and the way you plot long combats create some important tactical and strategic decisions. I just wish combat has always been about ship versus ship. The planets, which show up suddenly as you switch screens, were unwelcome guests. Score: 3.

           The asteroids, on the other hand, I didn’t mind so much.

         6. Equipment. All of the “equipment” in the game is ship-related rather than character-related, and it all applies to the flagship, which a good player arguably does not rely on. I wish there had been opportunities to upgrade the other ships in the fleet. It would have been tough to offer meaningful options with so many of them, but even just generic attack or defense improvements would have been nice. Beyond that, it’s fun to figure out how to best make use of the limited modular space on the flagship, particularly as new options come along regularly. Score: 3.

7. Economy. There are really two economies in the game: the “resource unit” economy that lets you build a fleet and equip your flagship, and the Melnorme “information” economy that depends on bio data and Rainbow World identifications. I found both rewarding enough for about two-thirds of the game. Score: 7.

8. Quests. The game has one main quest with a few options (though, as I mentioned before, a lot of the options are illusory) and side-quests. There’s only one ending. Score: 4.

9. Graphics, Sound, and Inputs. I don’t have many complaints in this category. The graphics are perfectly fine for the scope and nature of the game; the sound effects are fun and evocative throughout; and it’s hard to complain about the interface of a game that supports both joystick and keyboard inputs and lets you customize the keyboard. I had problems in combat despite these advantages, but I don’t think I can blame the game.

I do have one major issue, or several related issues, that fits into this category. The dialogue is delivered one line at a time in a huge font. You can hit the SPACE bar after each bit of dialogue to see a transcription in a smaller font that you can barely read. Either way, if you don’t make your own transcriptions or screen shots (which must have been tough for an era player), the dialogue is lost once you leave the screen. In most cases, you can’t prompt the NPC to speak the same lines again, and there’s no databank in which to retrieve it as there was in Star Control II. Thankfully, I took copious screenshots, but they’re a cumbersome way to review previous dialogue and I think the game should have offered a better system. Score: 6.

             This text is better than nothing, but it’s still not very easy to read.

          10. Gameplay. I give half-credit for non-linearity. The game is more linear than it seems when you start, but you still have a lot of choices about the order of your activities. I also give half-credit for replayability. As I mentioned earlier, many of the “options” seem illusory, and a replaying player might find himself swiftly on familiar paths, but there is at least some variety for a replay. The hourly total is just about right for this content, and while I had difficulty in combat, I still managed to win with an acceptable number of reloads, so I can’t fault the difficulty. Score: 7.

That gives us a final score of 51, surprisingly close to the 53 I gave both Starflight and Starflight II, which had actual characters and character development. But reviewing those games, I’m reminded how awful combat was, and how many issues I had with the interface. I’m thus comfortable with the rating. 

              The ad makes it seem like the game’s enemies are the Umgah.

          There are plenty of players, however, who would consider a 51 an insult. Star Control II still continues to make “best games ever” lists compiled by various publications. In a March 1993 preview in Computer Gaming World, Stanley Trevena liked the game enough to put it on his “top ten list of all time.” “It is not often,” he says, “that such a perfect balance is struck between role-playing, adventure, and action/arcade.” In the November 1993 issue, they gave it “Game of the Year” in the adventure category (or, at least, it tied with Eric the Unready). Dragon gave it 5 out of 5 stars. It’s rare to find an English review out of the 90s, though for some reason European reviews tended to put it lower, in the 70s.

The 3DO version from 1994 has some significant differences from the DOS version. It has an animated, narrated introduction and cut scenes plus voiced dialogue for the conversations. (My understanding is that the open-source Ur-Quan Masters would use some of this voiced dialogue but re-record others.) Some readers encouraged me to play this version specifically because of the voices. I’m not sure I would have liked it better. There’s really just too much dialogue overall. Some of the voices are good: I appreciate the Vaderesque bass of the Ur-Quan, the lispy enthusiasm of the Pik, and the weird Scottish accent the creators gave to the Yehat. For some reason, they decided the Shofixti was a bad English translator of a 1970s Japanese kung-fu movie; the Orz, Spathi, and Utwig are just annoying; and the Umgah is the stuff of nightmares. The Talking Pet is the worst, with some ridiculous southern “Joe Sixpack” accent. I was also disappointed by the Syreen, who sounds like Doris Day rather than . . . well, honestly, I’m not sure what would have done justice to the Syreen. How do you blend a fierce Amazonian and a seductive vixen in a single voice?

Star Control II left a satisfying number of mysteries, such as the fate of the Precursors and why they seemed (to the Slylandro) to be nervously searching for something. We never learned about the Rainbow Worlds or why they (apparently) form an arrow pointing to the “northeast” of the galaxy. We never learned what the Orz did to the Androsynth, what the Orz really are, and how they relate to the Arilou. I was disappointed that we never found out why the Ur-Quan destroyed historical structures of humanity, including some places we weren’t even aware of. I was disappointed to find that most of these questions are unanswered in Star Control 3 (1996), although we do apparently learn that the Precursors genetically modified themselves so they would have the intelligence of cows, thus protecting themselves from a race that periodically harvests the energies of sentient races. I think the creators missed an opportunity by not making the Precursors actual cows. There could have been a Gary Larson tie-in and everything.

           The creepy cover to the game’s sequel.

          The direction of Star Control 3 reveals some of the background drama between developer Toys for Bob (authors Paul Reiche III and Fred Ford) and publisher Accolade. According to Reiche and Ford, Accolade gave the developer such a limited budget that they had to essentially work for free for half a year to create a quality game. Accolade would not increase the budget for the sequel, so the original creators refused to develop it, and the job went to Legend Entertainment instead.

In 2002, authors Paul Reiche III and Fred Ford made the source code available for free, and some fans used it to create The Ur-Quan Masters for Windows, with multiple releases starting in 2005. It has since been ported to multiple additional platforms. The effort also led to the creation of the Ultronomicon, a Star Control II wiki.

The Star Control trademark passed to Infogrames when it purchased Accolade in 1999; Infogrames soon rebranded itself as Atari. When Atari filed for bankruptcy in 2013, its assets were sold. Stardock Corporation managed to acquire the Star Control license and produce Star Control: Origins (2018). Set 26 years before the original Star Control, the game would seem to retcon when Earth first encountered alien life. During development, Stardock claimed to be in contact with Reiche and Ford, and were developing the game along their vision, although they couldn’t technically participate because of their Activation contract. If this relationship was ever friendly and cooperative, it soon became otherwise when Reiche and Ford announced they would be creating Star Control: Ghosts of the Precursors and Stardock started selling the first three Star Control games on Steam. Both parties counter-sued each other for copyright and intellectual property violations, and Steam removed the Star Control titles (including Origins, at least temporarily) after receiving DCMA takedown notices from Reiche and Ford. As far as I can tell, the litigation is still ongoing.

            Combat in Origins has improved graphics but seems to adhere to original principles.

        Toys for Bob still lives as a subsidiary of Activision, and Reiche and Ford still continue to direct the development of its games. I don’t think we’ll see them again, however, as none of their titles are RPGs. (For more on Reiche and Ford, see Jimmy Maher’s excellent coverage of Star Control II from this past December. My favorite part is when Reiche gets fired from TSR for questioning the purchase of a Porsche as an executive’s company car.)

I am often dismissive of calls for remakes, usually considering them to be the products of dull, dilettante gamers who can’t handle any graphics more than 5 years old. But I would like to see, if not a remake, a modern game that has the basic approach of Star Control II (and, for that matter, Starflight)–perhaps even one that realizes it better by offering truly alternate plot paths. We have plenty of games (although, in my opinion, not enough) that allow us to explore open worlds; have any so far allowed us to explore an open universe? Perhaps that’s what we’ll get from Bethesda’s forthcoming Starfield.

source http://reposts.ciathyza.com/star-control-ii-summary-and-rating/