#its new for me...ive always worked more off a story/character background when making things really | Explore Tumblr posts and blogs

meruz · 4 years ago

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once again i am answering asks in a big compilation post. included is... gotham, patrick stump, tips about drawing backgrounds, tips about drawing in general, links to my faq, and infinity train

like.... the tv series? No... I’ve drawn dc comics fanart before, though. But it’s been years since I’ve been really into it. I like jumped ship like 10 years ago when the New 52 happened LOL.

AFJHDSLKGH I’m sorry I (probably) won’t do it again??

Actually full disclosure I have a truly cringe amount of p stump drawings/photo studies in my sketchbook right now LOL. He’s just fun to draw... hats, glasses, guitar, a good shape... but I don’t think I’ll rly post those until I can hide them in another big sketchbook pdf.. probably Jan 2022. Stay tuned........ (ominous)

(ominous preview)

These are all sort of related to backgrounds/painting so I grouped them together even though they’re pretty much entirely separate questions.... ANYWAYS

a) How is it working as a BG artist? Is it hard? What show are you drawing for?

I think you’re the first person to ever ask me about my job! Being a background artist is great. It’s definitely labor intensive but I think that could describe pretty much any art job (If something were rote or easy to automate, you wouldn’t hire an artist to do it) and I hesitate to say whether its harder or easier than any other role in the animation pipeline. Plus, so much of what truly makes a job difficult varies from one production to the next, schedule, working environment, co-workers etc. But I will say that I think while BGs are generally a lot of work on the upfront, I think they’re subject to less scrutiny/revisions than something like character/props/effects design and you don’t have to pitch them to a room like boards. So I guess it’s good if you don’t like to talk to people? LOL

A lot of my previous projects + the show I’ve worked on the longest aren’t public yet so I can’t talk about em (but I assure you if/when the news does break I won’t shut up about it). But I’m currently working on Archer Season 12 LOL. I’m like 90% sure I’m allowed to say that.

b) ~~~THANK YOU!! ~~~

c) What exactly do you like to draw most [in a background]?

@kaitomiury Lots of stuff! I really like to draw clutter! Because it’s a great opportunity for environmental storytelling and also you can be kind of messy with it because the sheer mass will supersede any details LOL.

I like to draw clouds... I like to draw grass but not trees lol,,, I like to draw anything that sells perspective really easily like tiled floors and ceilings, shelves, lamp posts on a street etc.

d) Do you have any tips on how to paint (observational)?

god there’s so much to say. painting is really a whole ass discipline like someone can paint their whole life and still discover new things about it. I guess if you’re really just starting out my best advice is that habit is more important than product. especially with traditional plein air painting, I find that the procedure of going outside and setting up your paints is almost harder than the actual painting. There’s a lot of artists who say “I want to do plein air sometime!!” and then never actually get around to doing it. A lot of people just end up working from google streetview or photos on their computer.

But going outside to paint is a really good challenge because it forces you to make and commit to lighting and composition decisions really quickly. And to work through your mistakes instead of against them via undo button.

My last tip is to check out James Gurney’s youtube channel because hes probably the best and most consistent resource on observational painting out there rn. There’s lots other artists doing the same thing (off the top of my head I know a lot of the Warrior Painters group has people regularly posting plein air stuff and lightbox expo had a Jesse Schmidt lecture abt it last year) but Gurney’s probably the most prolific poster and one of the best at explaining the more technical stuff - his books are great too.

e) Do you have tips for drawing cleanly on heavypaint?

@marigoldfool UMM LOL I LIKE ONLY USE THE FILL TOOL so maybe use the fill tool? Fill and rectangle are good for edge control as opposed to the rest of the heavy paint tools which can get sort of muddles. And also I use a stylus so maybe if you’re using your finger, find a stylus that works with your device instead. That’s all I’ve got, frankly I don’t think my drawings are particularly clean lol.

f) Tips on improving backgrounds/scenes making them more dynamic practicing etc?

Ive given some tips about backgrounds/scenes before so I’m not gonna re-tread those but here’s another thing that might be helpful...

I think a good way to approach backgrounds is to think of the specific story or even mood you want to convey with the background first. Thinking “I just need to put something behind this character” is going to lead you to drawing like... a green screen tourist photo backdrop. But if you think “I need this bg to make the characters feel small” or “I need this bg to make the world feel colorful” then it gives you requirements and cues to work off of.

If I know a character needs to feel overwhelmed and small, then I know I need to create environment elements that will cage them in and corner them. If a character needs to feel triumphant/on top of the world then I know I need to let the environment open up around them. etc. If I know my focal point/ where I want to draw attention, I can build the background around that.

Also, backgrounds like figure compositions will have focal points of their own and you can draw attention to it/ the relationship the characters have with the bg element via scale or directionality or color, any number of cues. I think of it almost as a second/third character in a scene.

Not every composition is gonna have something so obvious like this but it helps me to think about these because then the characters feel connected and integrated with the environment.

Some more general art questions

a) Do you have any process/tips to start drawing character/bodies/heads?

I tried to kind of draw something to answer this but honestly this is difficult for me to answer because I don’t think I’m that great at drawing characters LOL. Ok, I think I have two tips.

1) flip your canvas often. A lot about what makes human bodies look correct and believable is symmetry and balance. Even if someone has asymmetrical features, the body will often pull and push in a way to counterbalance it. we often have inherent biases to one side or another like dominant hands dominant eyes etc. you know how right-handed artists will often favor drawing characters facing 45 degrees facing (the artist’s) left? that’s part of it. so viewing your drawing flipped even just to evaluate it helps compensate for that bias and makes you more aware of balance.

2) draw the whole figure often. I feel like a lot of beginner artists (myself included for a long time) defer to just drawing headshots or busts because it’s easier, you dont have to think about posing limbs etc. But drawing a full body allows you to better gauge proportion, perspective, body language, everything that makes a character look believable and grounded.

Like if you (me) have that issue where you draw the head too big and then have to resize it to fit the proportions of the rest of the body, it’s probably because you (I) drew the head first and are treating the body as an afterthought/attachment. Sketching out the whole figure first or even just quick drawing guides for it will help you think of it more holistically. I learned this figure drawing in charcoal at art school LOL.

oh. third mini tip - try to draw people from life often! its the best study. if you can get into a figure drawing/nude drawing class EVEN BETTER and if you have a local college/art space/museum that hosts those for free TREASURE IT AND TAKE ADVANTAGE OF IT, that’s a huge boon that a lot of artists (me again) wish they had. though if youre not so lucky and youre sitting in a park trying to creeper draw people and they keep moving.. don’t let that stop you! that’s good practice because it’s forcing you to work fast to get the important stuff down LOL. its a challenge!

b) I’ve been pretty out of energy and have had no inspiration to draw but I have the desire to. Any advice?

Dude, take a walk or something.... Or a nap? Low energy is going to effect everything else so you gotta hit that problem at its source.

If you’re looking for inspiration though, I’d recommend stuff like watching a movie, reading a book, playing video games etc. Fill up your idea bank with content and then give yourself time/space to gestate it into new concepts. Sometimes looking at other art works but sometimes it can work against you because it’s too close.

Also something that helps me is remembering that art doesn’t always have to be groundbreaking... like it’s okay to make something shitty and stupid that you don’t post online and only show to your friend. That’s all part of the process imo. If you want to hit a home run you gotta warm up first, right? Sports.

I should probably compile everytime i give tips on stuff like this but that’s getting dangerously close to being a social media artist who makes stupid boiled down art tutorials for clout which is the last thing i want to be... the thing I want to stress is that art is a whole visual language and there are widely agreed upon rules and customs but they exist in large part to be broken. Like there's an infinite number of ways to reach an infinite number of solutions and that’s actually what makes it really cool and personal for both the artist and the viewer. So when you make work you like or you find someone else’s work you like, take a step back and ask yourself what about it speaks for you, what about it works for you, what makes it effective, how to recreate that effect and how to break that effect completely, etc. And have a good time with it or else what’s the point.

for the first 2, I direct you to my FAQ

For the last one, I don’t actually believe I’ve ever addressed artwork as insp for stories/rp but I’ll say here and now yeah go ahead! As long as you’re not making profit or taking credit for my work then I’m normally ok with it. Especially anything thats private and purely recreational, that’s generally 100% green light go. I only ask that if you post it anywhere public that you please credit me.

(and I reserve the right to ask you to take it down if I see it and don’t approve of it’s use but I think that case is pretty rare.)

a) @lemuelzero101 Thank you!!! I haven’t played Life is Strange but actually that series’ vis dev artist Edouard Caplain is one of my bigger art inspirations lately so that’s a really high compliment lol. And yeah I hope we get 5-8 too...!

b) Thank you for sticking around! I’ve been thinking about Digimon and Infinity Train in tandem lately, actually. They’re a little similar? Enter a dangerous alternate world and have wacky adventures with monsters/inanimate objects that have weird powers... there’s like weird engineers and mechanisms behind the scenes... also frontier literally starts with them getting on a train. Anyways if anyone else followed me for digimon... maybe you’d like Infinity Train? LOL

c) @king-wens-king I’M GLAD MY ART JUST HAS PINOY VIBES LOL I hope you are having a good day too :^)

a, b, c, d) yessss my Watch Infinity Train agenda is working....

e) aw thank you!! i think you should watch infinity train :)

#ask #trying this new thing where i tag people in the body of the post instead

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ask-october-fox · 3 years ago

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Meta question: how much do you prepare for this blog? Every year is an absolute treat, pun intended, but I find it impressively hard to tackle it all in one month like how you do it. Do you ever work on comic pages etc throughout the year?

Oh ho?~ A very meta question indeed! So you wish to know the secrets of this blog? Well keep reading to find out!

Ive actually been meaning to get to this question for a while now but literally hadnt had the time nor the right reaction image. But as to answer your question in full- Short answer: Yes! Long answer: Yes, but not well xD Long long answer: Generally speaking, as soon as this month is over, im already starting to plan out the next year, trying to get an idea of what I might do or where the story might go. I had actually planned on doing another 'big' story this year but of course life got in the way and I couldnt do it. Not to mention there were some other factors that also made that difficult, as there are certain events that need to happen in a certain order for those things to continue. And those parts have to come from another POV but thats a spoiler so I cant say much else about it. Tho if im able to get an idea and story planned out, I take the month of September to start working on that. For those that dont know, I do commissions as a source of income throughout the rest of the year, so that cuts into a lot of my time to make this a full time thing. I try to get all my work done by September and I take that time to strictly work on October content if I can help it. This is where the story or merch are mostly created- tho the merch is much more last minute as I dont always know what it is I want to draw |D; I have a lot of ideas honestly but not always the skills to pull that off. This year I had actually done a lot of the merch way before September- tho uh... I realized that after finishing all of this year's first "print" it would have been far too suggestive even in a SFW setting, so I had to quickly come up with another idea, which I did thankfully! But it was very much cutting it down to the wire! The first "print" and all its versions will be available on my Patreon. Some stories do just happen, like last year's, since thats when the pandemic hit along with many other things. An idea came to me so I was able to work with that, which then kind of accidentally gave me an idea of how to lead into more of the actual story. There are really two main factors that keep me from always having a story: 1) Time and 2)Backgrounds as I just REALLY DONT LIKE DOING THEM. I can draw the characters but if I have to do a new background I just cry inside xD; So yeah, im sure you didnt need to read all of that but I got excited to share some 'behind the scenes' stuff so there I went on rambling!

#quick reply #anonymous #the mod talks

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birbleafs · 4 years ago

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[fic] A Much Ado About (PSI)oulmates

Series: Saiki Kusuo no Ψ-nan || The Disastrous Life of Saiki K. Rating: T Genre: Humour, Breaking The Fourth Wall Character(s): Saiki Kusuo, Aiura Mikoto, Satou Hiroshi, Akechi Touma, Toritsuka Reita Warnings: None, save for canon-typical shenanigans Summary: Aiura decides to combine her divination abilities with Kusuo’s powers for a super special comedic segment on Affinity Levels. Fic can also be read on AO3 _______

Excerpt taken from clairvoyant Dame Mata-Mata’s advert for Amazing Psychic Services:

99.9% accurate affinity readings and guaranteed life-long happiness! Discover your twin flame with as little 10,000 yen per hour! Some would say it’s foolish to risk your future and wallet on such clandestine offerings, but we assure you, we are no worse than the underhanded brand marketing on children’s television series! Call 1800-TWINFLAMES -1234567 to book a reading today!!

***

Anyone who would believe such clandestine and shady offerings isn’t just a fool but a complete buffoon, Kusuo scoffs impassively at the flyer before him. This is definitely worse than the underhanded brand marketing on children’s TV shows.

“They’re a total noob at it, fer sure!” Aiura says, leaning in too close and posing next to Kusuo as she takes a wefie with her phone. “Like sure, the concept of twin flames and soulmates ain’t new, but to claim everyone has half a soul yearning to get jiggy with its other missing half for life-long bliss is like, a gross oversimplification.” I don’t really care to be honest, Kusuo deadpans. He stares sullenly at how Aiura’s arm is still wrapped around his; she offers him a cheeky grin and a peace sign, snapping yet another wefie before she finally slides away to the opposite seat. “Soulmates just have more natural affinity for each other,” Aiura says, batting her eyelashes at him coyly. “But just like with everything, it doesn’t mean you don’t need to put in any effort to make it work! Hey, speaking of which—the author has a super special birthday tradition where she writes and/or posts up a new story, so this fanfic can totally be about Affinity Meters, right?!” Don’t know what you’re going on about and still don’t actually care, Kusuo retorts, shoving a spoonful of coffee jelly into his mouth as he resolutely tries to enjoy his Sunday afternoon. But Aiura persists, easily breaking the fourth wall to elaborate further: “Just like how Kusuo can use the Affection Meter to quantify a person’s love for another, today we’ll combine Kusuo’s telepathy and my own divination abilities to measure soulmate compatibility via Affinity Levels! So, without further ado, let’s go, let’s goooo!” Aiura, no, Kusuo groans in quiet despair. “Miko-chan, YES!” Aiura whoops, fist-pumping the prologue away as the scene fades out. _______

Satou Hiroshi

Conventional. Moderate. Regular. Behold the quintessential stock background character, the pinnacle of normality—Satou Hiroshi. Standing at a height of 169.9 centimeters and weighing at precisely 61.0 kilograms—the exact national average of a healthy sixteen-year-old Japanese male—he is the gold standard, the epitome of normal. It’s a shame then that few recognize Satou-kun’s remarkable ordinariness, Kusuo muses, watching said background character ambling down the sidewalk with an approving smile. Nevertheless, perhaps that may be to my benefit. Surely our Affinity Levels must be pretty high; after all, we’re both normal and regular high-school teens who do not stand out much— “I don’t think using your powers to make yourself inconspicuous counts though,” Aiura says as she glances over Kusuo’s shoulder, puzzled at his fixation on someone so… well, boring. Kusuo isn’t even listening. We both have regular aspirations and hobbies, seeking only to live peaceful days! “Funnily, I now remember peeking at Normal-kun’s fortune for Hii-chan. And get this, his biggest dream is being on stage as a rock star! Like seriously, how typical can he get?” —So, taking into consideration all of the above, Kusuo presses on, undeterred by Aiura’s commentary, surely we would hit it off as friends with optimal affinity levels! “Uhm, Kusuo?” Aiura nudges him with her elbow, pointing at the meter hovering beside them. “Not to be a wet blanket and all, but the Affinity Meter started running again as you were waxing lyrical earlier, so now it’s showing that Normal-kun and your Affinity Levels are like, really just two stars at best.” She leans forward, squinting at the screen. “Simply because he thinks you’re okay but still a bit of a weirdo. Dayum, the nerve of this twerp!” Kusuo stares wordlessly at her for a beat, slack-jawed. A-Ahyuu…?

Affinity Level: ☆☆ _______

ii.

Akechi Touma

“It pains me to have to do this,” Aiura lets out a dramatic sigh. “But since Childhood Friends is a pretty popular trope in animanga, and therefore in fanfiction, I guess there’s no avoiding it.” Kusuo scowls, not liking where this is heading at all. It can totally be avoided. We can just avoid talking about it altogether. “Is that you, Kusuo-kun?” Akechi says as he suddenly appears at Kusuo’s side, curiosity in his eyes. “Oh, I see Aiura-san is here as well. I couldn’t help but notice how you two were standing and talking together so I thought I should come say hello, even though I was rather hesitant at first. I didn’t want to abruptly barge into your conversation, you see, as that would have been awfully rude, and I certainly don’t wish for you to think of me as rude, Kusuo-kun.” Yet here you are barging in anyway, blathering on incessantly like a runaway freight train, Kusuo remarks drily. “Well, I couldn’t help but overhear the mention of Affinity Levels,” Akeichi beams as he continues, unfazed by the jibe. “And I can’t say my curiosity isn’t the least bit piqued, even if I have little to no real interest or belief in the notion of soulmates. In fact, the existence of an actual soul remains debatable in scientific circles—” Exasperated, Aiura tries to interject. “Since you ain’t all that interested, mind if you just zip those lips for like five minutes? My hair’s gone all frizzy from the heat of your endless jabbering!” “However, these debates on the existence of the soul had also been instrumental to the understanding of the anatomy and physiology of the human body—” “Oh my God, please just stop yapping for ONE sec—!!” Aiura shrieks, tugging at her curls in frustration. She accidentally kicks the Affinity Meter to start running, and the lights blink and flash in a rapid blur before the meter gradually slows down to display four bright stars upon its screen. There’s a beat; the trio leans forward, staring at the meter in awkward silence. Kusuo’s brows are furrowed at the unexpected results; he shrugs it off as a fluke. Clearly there’s some technical issue with Affinity Meter (never mind that the meter works, in part, based on Aiura’s divination abilities, which have, to date, always been accurate). There’s just no way Akechi could ever beat Satou-kun on that scale, he’s too much of an abnormal— But Aiura is already moving forward, reaching out to grasp Akechi’s hand in a firm handshake. “Aiura-san? Is there something…?” She acknowledges Akechi’s curious gaze with a curt nod. “All right, I can’t deny it any longer. Not with that impressive detective aura of yours and with results like that on both Kusuo and my own Affinity Meter.” Oi, oi. Don’t start spouting weird nonsense now, Miss Abnormal! “All right, Akeinu! I hereby deem you a worthy rival in the fight to stand as Kusuo’s trusted sidekick!” “Oho! You’ve even given me a cutesy nickname as acknowledgment! I must say I’m quite flattered, Aiura-san.” How about I side-kick both of you out of my life right now? Kusuo sighs, mildly perturbed by this unexpected turn of events.

Affinity Level: ☆☆☆☆ _______

iii.

Toritsuka Reita

…… …… …… What, did you seriously think Toritsuka was getting a proper scene? He’s already way too pathetic. NEXT— “W-wait, did you just cut my scene?!” Toritsuka shrieks from the void like a headless chicken. “Don’t just write me off, Saiki-saaan!!” —Saiki exits stage left, pursuing normalcy. “And don’t just narrate yourself out!!”

Affinity Level: N.A. _______

iv. Aiura Mikoto

“At first glance, you might think we make for an odd couple,” Aiura says with a coquettish smile. “And how it seems absolutely cray that we could get along. Or like, that we don’t mesh just ‘cause our personalities clash way too much or somethin’.” She chuckles at the notion, running perfectly manicured nails through her luscious locks. “I mean, it’s obvs only those inexperienced with the inner workings of the heart would think that. Because opposites attract, y’know? It’s the push-pull dynamism between us that spices things up! Like two tango dancers stirring up a flame on the dance floor—it keeps things refreshing and exciting, but still comforting and familiar in the end, like sharing a nice, warm bath at the end of the day, or cuddling up together at the sofa, feeding each other spoons of dessert…” Aiura pauses, blushing when she catches sight of the Affinity Meter fluttering gently by her shoulder, at the line of stars glowing from the screen, a beacon of reassurance of their status as soulmates. She turns towards Kusuo, suddenly self-conscious as she tucks a stray lock of hair behind her ear. “Say, Kusuo… How about we head to that nice dessert buffet together and—” Only to realize she had been practically talking to thin air all this time. “H-Huh?! Aww, gimme a break! Where did you run off to this time, Kusuooo?!”

Affinity Level: ☆☆☆☆☆ _______ v.

Coffee Jelly

Good grief—finally some peace and quiet. Kusuo sighs as he leans back into the leather seat of his booth, in a nondescript cafe far away from his usual annoyances. He dips a spoon into his dessert bowl, lifting a dark sliver of coffee jelly to his mouth, and smiles in absolute contentment. There’s a soft whirr, and then a ping from somewhere below. He flicks a furtive gaze at the Affinity Meter hovering at the empty space beside him, curious despite himself. The endless line of glowing stars are probably a bit much, but he smiles anyway at the screen. Huh. I guess it works after all.

Affinity Level: ☆☆☆☆☆☆☆☆☆☆

—End— _______ Notes:

It’s tradition for myself to spend my birthday writing and/or sharing a new fic (happy birthday to me!! lol). I also had this sitting in my draft for way too long and decided to kick myself to finish it. Apologies for any typoes/errors.

Comments and critique are always welcomed for my fics—I'd like to hear what you think, if you've enjoyed this! Thanks for reading :)

#saiki kusuo no psi nan #the disastrous life of saiki k.#saiki kusuo #aiura mikoto #fanfic #psychickers #too lazy to tag all the characters here #but it's basically the pk psychickers + mr. normal-kun lol

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mrfutureboy · 3 years ago

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I would like to know when you started drawing and where your passion for fanart started 😊

Oh FUCK dude i did not see this i’m so fucking sorry this is so late 😭 damn you, tumblr, for not fucking notifying me!! Anyway buckle up this is gonna be much longer than you asked for <3

Honestly ive kinda been drawing all my life! I hope that doesnt sound dumb cuz obviously almost everyone drew pictures when they were kids, but i know that it’s been a consistent hobby for me since i was little. By the time i was in 3rd grade I was hoarding notebooks to draw in. Cuz that’s something fun about me: i had a real huge habit of drawing in things that werent sketchbooks. Through middle school and beyond I did buy/receive sketchbooks, but I started out with various kinds of notebooks. One I had from like 2nd grade was like a hardcover, stationary-type notebook that I drew cats in lol, and I have 2 velvet lisa frank notebooks from 3rd grade. In high school and college I had a really bad habit of drawing in the margins on my notes and on handouts the teacher/professor would give. Those classes where the prof just prints out all the notes beforehand and gives them to you to follow along? Oh man, I spent so many classes barely listening while I drew on them! I also used to draw on my physics homework and tests and sometimes I even got extra credit for them (thank you jeff :D). I actually have a folder of various drawings I’ve kept from that 8yr time period and a lot of them are on classwork 😂

Obviously, I’ve been doing a lot of digital art lately, which I’m sure is what u were more curious about rather than the shit about drawing on my homework. I got a surface pro as a graduation gift in 2016 bc prior to that i had a wacom tablet and a janky ass laptop, so the gift was kinda a 2-in-1: i can do schoolwork AND art easily! i like digital art a lot and honestly im still learning new things abt it every time i draw. I use Leonardo currently (i’ll skip that story) but I started out doing digital art on sketchfu WITHOUT the wacom tablet in maaaaybe 2012??? 2011??? does anyone on this site remember sketchfu? Honestly couldnt even tell u how i found that site hahah the internet was just full of wonders back in the day. RIP sketchfu. Once i got the tablet tho some time later i used sketchfu still (i think) but also gimp and krita i believe.

Oh i suppose I should mention that i took art all four years of highschool and also minored in it in college! So it’s something i did academically as well as for fun. I keep thinking about going to art school for realsies but idk. I’m already $$$ in debt from my first degree i dont feel like adding to that 😅😓

Ok now for the second part of your question: I’ve also pretty much always done fan art! Ive never really been one for OC’s, EXCEPT for the self-insert superhero double life “comics” i wrote about a poodle named Sassy when i was in third grade. And then the knock off “comics” i wrote at a later time which honestly it was weird that i did a knock off of my own thing rather than just adding them to the original or making it a spin off with at least one of the og characters. Cuz it wasnt a spin off!! But anyway there wasnt really much to any of these characters; i just needed vessels to get my weird ideas out.

So anyway yeah most of what ive ever drawn has been fan art or self portraits, because its just easier for me to take characters that already exist and bend them to my will (artistically). Well excluding art assignments in school i guess because i would usually have to draw something specific and therefore not something self indulgent. But yeah ive drawn for lots of fandoms like the earliest i remember is warrior cats. Then theres things like pokemon and warriors and random other books i read thru middle school (i used to read a LOT but now im practically illiterate); spn, sherlock, and marvel through high school; and then marvel and bttf thru the end of hs and beyond. Idk i also have always loved looking at other peoples fan art and so im like “shit i wanna do that too!”. Tho i will say marvel was my biggest fandom and the one i had the longest interest in, so that was probably where the passion REALLY came from cuz I was drawing marvel stuff for such a long time (tho not posting shdjsk u have to trust me), but ive been doing fan art forever :)

(Of course, a lot of the fan art i was making prior to recently was drawn in lined notebooks or on homework sheets or what have you, and I wasn’t posting really any of it, but i was still making it and a good chunk of it still exists. Oh i should also mention most of it was with pencils or ballpoint pens like i wasnt doing anything too fancy. There was some digital art in the highschool-college time frame but it also really wasnt…much. Honestly i barely posted any of it here but I know some of it’s on deviantart)

I cant pinpoint the exact time I started getting more “serious” about my art in general, but i know the first pandemic lockdown gave me more free time and i was less stressed about schoolwork so i just kinda had a good outlet. (Tho i will say that prior, I had been in a life drawing club for a short while, and i had also been working on a personal sketchbook project that had me pretty ~inspired~ to do art. Also i watched twin peaks around this time and it inspired a lot of Feelings and i was making funky collages and other art pieced that were sometimes related to that. Some of those are on deviantart)

Honestly I think the Big thing with my digital art was coincidentally getting back into BTTF the summer of the 35th anniversary bc the fandom here was THRIVING and i was like “oh shit wait i want to contribute!” But as i kept drawing i kept wanting to improve and that leads us to right now where im constantly trying new things (whether subtle or obvious) and challenging myself to do full body drawings with different poses, and doing screencap redraws and what have you for various reasons (backgrounds, proportions, pose, etc)

So yeah :) Basically I’ve been doing fan art forever (I didnt even get into all the mediums ive tried but that’s another conversation bc this is already so long and convoluted) and it’s kinda coincidental that ive suddenly really gotten back into it and have improved dramatically in such a short time. Thank you so much @rovermcfly for the ask and again im really sorry you had to wait so long for a response! Stupid tumblr

#rovermcfly #signed sealed delivered #THANK U SM I HOPE U ENJOY KY RAMBLING :)#id love to ramble more if theres anything else u’d like to hear about my art journey :) bc i know this is all over the place lmfao #i will say some periods of life were a bit more inspired than others and thats bc i like will not draw if im too stressed #bc likely if im too stressed im too tired. see: a few weeks ago when that job was draining my life force

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the-busy-ghost · 4 years ago

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If you don't mind answering, what are some things that you really, really wish you'd see more of in depictions of medieval Scotland/Early Modern Scotland?

I absolutely don’t mind answering, thank you for asking!

I’m told there are some better quality novels than there are tv shows and films, so there are some aspects that have been done in good novels (though I’m not so familiar with them). There are so many things though that could be done on screen:

- Chiefly I spend a lot of my time wishing that there was more attention paid to the actual geographical make-up of Scotland and its regional variety, e.t.c beyond just splitting everything into Highland/Lowland, or just portraying everyone as being part of a Clan in the Highland sense, or just sticking everyone in Edinburgh as if that was the only place where anything happened. Orkney was very different to Galloway, and the Borders were very different to the Western Isles, and Ross was different to Aberdeenshire.

Now if this was true for the sixteenth century, it is even MORE true for the eleventh, twelfth, and thirteenth centuries. Between the early Middle Ages and the end of the thirteenth century, Scotland was settled by a lot of different cultures- so in the twelfth century for example, much of the country (the traditional heartland of ‘Scotia’ north of the Forth) may have spoken Gaelic but Lothian had been settled by speakers of Old English some centuries ago and their language became Scots in time, and spread north of the Forth into Fife, Angus, Aberdeenshire and elsewhere so that by the sixteenth century it was much more widely spoken and the language of government. The south-west, especially the area around the Clyde and Glasgow was a British kingdom for a long time, speaking a language not dissimilar to Old Welsh- this kingdom had (sort of) disappeared by the mid-twelfth century but the language took a while to completely disappear. Up in Orkney, Shetland, and Caithness, rather like in Iceland and the Faroes, Norse settlers had taken over and Norse culture has still left traces there today. From the fourteenth century, Scots began to take over in the Northern Isles but there was still a very clear Norse background in the sixteenth century. Meanwhile in the Western Isles, the Norse newcomers did not manage to erase Gaelic so completely as they did in the Northern Isles, but they did leave their mark on the Hebrides, to the extent that the inhabitants in the Western Isles in the in the twelfth century were descendants of both cultures- they are sometimes called Gall-Ghàidheil in Gaelic, meaning ‘foreigner Gael’. Then over the course of the twelfth century more new immigrants moved in. The ranks of the nobility were swelled by Norman, Breton, and other French settlers- unlike England, there was no ‘Norman Conquest’, and the process was more gradual, but although the French language never had the same power in Scotland as it did in thirteenth century England, these settlers left their mark on the feudal system and other aspects of Scottish society, and in turn they too were affected by the cultures they encountered in Scotland. Other smaller pockets of immigration existed- immigrants from Flanders and the Netherlands, for example, were instrumental to developing Scottish towns and improving agriculture. In the east coast burghs of Fife and Lothian you can still see some architectural elements that may have been the result of trade with the Dutch- crow-stepped gables and red pantiles for example.

Although most of these cultures have altered and changed by the sixteenth century, the fact remains that the cultural backdrop to fourteenth or fifteenth century Scotland was a real mix- Gaelic, English, French, Norse, Flemish, British- and, perhaps, whatever it was that the elusive Picts left behind beyond their wonderful stone monuments. I have perhaps oversimplified things here but the point is that mediaeval and early modern Scotland was not a cultural monolith- something which both Scottish and foreign film-makers would do well to remember.

There are also changes to these regions across the years- Orkney going from being a Norwegian/Danish territory to becoming part of the Scottish kingdom, or the borders which had some of the best farmland and richest abbeys in the country in the thirteenth century becoming a very militarised and rather lawless zone after the Wars of Independence. I think it would be really interesting to see that portrayed on screen.

- Ok so that was the fundamental thing, apologies for the rant. But to go with that, more understanding of the landscape and architecture. In all fairness most tv shows and films involving Scotland, no matter how bad they are, at least have some lovely panning shots of the Highlands but there’s more to the country than Glencoe- you could really work with views like the sun on the sea from the Carrick coast or the beautiful if ruinous religious architecture- like the abbeys of Melrose or Arbroath or somewhere like Elgin Cathedral or Rosslyn Chapel or Inchmahome Priory.

- Costuming! Again this fits into the regional thing a bit, but it’s also more general. It’s a quibble I have with almost any medieval media but especially when it comes to Scotland people get really lazy with the costuming and just slap some shortbread tin stuff together rather than putting any thought into it.

- More traditional music! A surprising number of ballads and songs that are still popular among folk singers today are thought to have their roots in early modern if not mediaeval Scotland. And again the musical heritage of Scotland is varied depending on the culture it comes from.

- More properly developed female characters. Even though half the historical films made about Scotland are about Mary Queen of Scots, there are almost no good depictions of historical Scotswomen- and that’s NOT because there aren’t any interesting women in Scottish history before the modern period! There are lots of fascinating women’s stories from mediaeval and early modern Scotland, and although we are often frustrated by a lack of sources, we know they were there. More importantly, even if every woman was not a Certified Bad-Ass, as a whole women in Scottish history are not invisible and we can often see them in the records, whether operating in domestic, business, religious, or political contexts. Oddly, in their quest to show how Uniquely Misogynistic and Evil the Scottish nobility were to Mary Queen of Scots or Margaret Tudor or whoever, film-makers often end up ignoring women’s stories and therefore perpetuating the sexist view of history they claim to hate. (Though, yes mediaeval and early modern Scotland WAS misogynistic- but show me a country that wasn’t. Also it was misogynistic in a slightly different way to some other countries). I could list off dozens of interesting Scotswomen who lived before 1603- even though we sometimes can’t tell that much about their inner lives from the surviving sources, it’s obvious they were of some importance. And again it fits back into the cultural variety thing, because that was not limited to Lowland, Scots-speaking noblewomen.

- More art and literature and architecture and education and music and EVERYTHING. Scotland lost a LOT during the Reformation and due to Anglo-Scottish warfare (that’s what happens when the main centre of your kingdom is near to a border). But we know that, though it was sometimes an out of the way place, Scotland could be just as heavily tied into European cultural trends as any other northern country. And there are some beautiful surviving cultural artefacts that hint at a more vibrant past- both produced in Scotland (in the Gaelic and Scots-speaking environments) and imported from abroad.

- Equally on that note, more focus on its connections to countries other than England. Scotland had three universities by 1500, and yet many Scottish students still went to study abroad, especially in France, but also in England, the Low Countries, Italy, and elsewhere. An Italian humanist taught at the Abbey of Kinloss away up in Moray in the sixteenth century, and Scottish thinkers were in touch with other great minds of the day. Scots also fought abroad (see mercenaries in Sweden, or James IV’s support given to his uncle the king of Denmark, or the Garde Écossaise), and traded heavily across the North Sea (there were multiple Scots merchant colonies on the continent, not least at Veere). Scotland’s relations with Norway, Denmark, the Low Countries, the Papacy, Ireland (both as part of the kingdom of England and with individual Irish families), and other countries could be almost as important as its relationships with France and England. The eternal triangle of Scotland, England, and France, was not actually always the story- there were occasions when England and France played very little role in Scotland’s foreign affairs, let alone its domestic history.

- In particular an acknowledgement of the high quality of Scots poetry in the late fifteenth and early sixteenth centuries wouldn’t go amiss.

- This is one which applies to all mediaeval media- but a more varied and interesting depiction of mediaeval religion would be good. In Scotland, this was also linked to the way people saw their own history- any sixteenth century Scot would have known some of the native saints, and anyone half-educated might have heard the names of David I and St Margaret and Columba, and known where the great abbeys in the kingdom came from.

- Actually a basic knowledge of Scottish history and legends beyond a few famous names. For example family was important in noble society- just because the stereotypical The Clans Are Gathering model is massively inaccurate, doesn’t mean that noble families in Scotland didn’t care about ancestry and kinship. But it would be great if tv shows and movies could actually think about how to portray that- and it really shows how little some of these scriptwriters know about their characters when they’re supposedly obsessed with the honour of the clan but the only piece of their country’s history they know is the name William Wallace. If you’re portraying the Douglases- even the earls of Angus who weren’t directly descended from him- the legacy of Sir James Douglas would have been a source of some pride. For actual ‘clans’, you could be dealing with some of the clans in the west of Scotland who, like some families in Ireland, claimed descent from Niall of the Nine Hostages. Some family histories got warped along the way- the Stewarts, for example, seem to have forgotten that they were descended from a Breton named Flaald by the fifteenth century and instead latched onto a story involving a character named Fleance (the one who later appears in Macbeth). As for legends- you could have a lot of fun with the different kinds of fairy belief that existed in Scotland, from the Borders (where it inspired ballads like Tam Lin) to the Highlands, or you could bring up legendary figures that are shared with other countries like King Arthur or Fionn Mac Cumhaill or Robin Hood or Hector of Troy. Sometimes the legends even cross over into real life- Thomas the Rhymer, hero of ballads and fairytales, seems to have been based on a real person who lived in the reign of Alexander III; while stories about William Wallace and Robert Bruce often became folk tales in the tradition of other greenwood outlaws like Robin Hood.

I think it’s pretty evident that my main issues with depictions of mediaeval and early modern Scotland on tv and film are largely because it’s so utterly unlike anything I see in the historical record. I’d love to list specific details and characters I’d like to see portrayed on screen, but before we even get to that point, the whole Generic Portrait of Scotland needs to change, because it doesn’t currently feel very realistic or interesting. All I really want is for the same level of research to be done with regard to Scotland as is done for England or France or any other country- England is often portrayed inaccurately, but there’s still at least 200% more effort put in than for Scotland.

On that note though, James I’s career (or at least the early fifteenth century as a whole) has been ripe for a television adaptation for years. Also I’m personally fascinated by ordinary rural life, patterns of agriculture and landholding, e.t.c. so even just an ordinary story set in an early sixteenth century fermtoun would be cool. But I don’t really think these stories would make any sense to people if Scotland was just portrayed the way it usually is - a generic country with no culture beyond a few scraps of tartan and alcohol and Anglophobia.

Thank you for the opportunity to rant, and apologies for the screed! I couldn’t express my enthusiasm very concisely I’m afraid. I genuinely don’t mind if there’s some inaccuracies to portrayals of Scotland, but now all portrayals are exactly the same and almost wholly inaccurate so it gets frustrating.

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penzyroamin · 4 years ago

Note

Food and sharing food continues to be a recurring motif in “tied together”. What was your thought process around that? How do you see that connecting to some of the central themes and concepts in the story as a whole? (And, if you would like to go into this, how do you see food and sharing food playing out in the messy au where David will also be cooking but in a completely different context/power dynamic?)

HAHAHAHA! I CAN FINALLY TALK ABT THIS WITHOUT SEEMING LIKE F SCOTT FITZGERALD BEGGING PEOPLE TO KNOW WHAT THE GREAT GATSBY WAS!!!!!

okay. im calm now.

so for a couple years now i have deeply and secretly loved the concept of food as a symbol for community. i didnt use it in fic for a long time for a variety of reasons. one, it just never really felt right. two, my love of this symbol is very much connected to my southern-ness, and while im sure many people have just as strong, if not stronger connections between food and community, i didnt really know if people reading my stuff would Get It or connect w it.

i finally decided to use it for tied together for two reasons. first, this is my most definitively southern fic. ive written other fics with Humid Small Town Energy but this is my first that i really let myself go “fuck it. crawfish boils. hurricanes. middle aged women with crushes on jim cantore.” as such, it felt like if i was going to go for this symbol at any point, it needed to be with this fic. the second is that due to Pandemic and also living across the country from the majority of the family i grew up with, i have been kind of starved of community experiences as of late. i wrote tied together entirely during a period when i havent spent time with anyone besides my immediate family, so i was really thinking about community and the nature of it and how fucking badly i wanna have a massive meal with people and hence... this symbol

with the background of my decision to include it covered, let’s get into how it appears in tied together!!

in chapter one, the majority of food’s appearances are... impersonal, if that makes sense? its all premade, whether its drive-through stuff, tv dinners, etc etc, and he doesnt know the person who made it. its also worth pointing out that around the time jack and his mom stop sharing meals is the point they become disconnected from each other. essentially, that’s the disconnect from community throughout jack’s early life

davey comes around and it. is pretty obvious from the start that, through this symbol, he is the Literal Embodiment Of Connection To The People Around Him. food was a really key way for me to show just how connected he is to his community-- he’s constantly cooking for other people, working for battalion, helping people get good food, contributing recipes to little cookbooks. the end chapter also nods to this in the scene w his family where esther mentions he made her teach him to cook for a group, and the conversation afterwards where he mentions that he wouldn’t be comfortable with people paying him to make them food or making food for strangers. cooking for other people is essentially davey’s way of nurturing the community around him and becoming closer with people, so to make food in an impersonal way goes against everything he knows about food and sharing it. the interactions he has through food represent the larger relationships and interactions he has within his community. juxtaposed to jack, he’s built this little world around him filled with people that he loves and cares for, even if that does lay a heavy burden on him at points. if i ever write something delving deeper into davey in this au, i’ll elaborate further-- but, essentially, davey’s role as The Provider of food for the people around him was a real stand-in for the way that he feels both within his family and his larger community.

think of it this way-- in all the scenes we see with davey cooking at a large event-- i.e., the crawfish boil-- he’s always pushed off to the side by that. there’s usually someone talking to him or checking in on the food, but he’s not able to be engaged in the larger hubbub and discussion of the party because he’s busy. it’s in providing food for people and sharing that with him that he gets fulfillment out of the experience. in his family, we see that davey is a little bit isolated. he was growing up at the exact time when mayer’s alcoholism was getting worse and hitting its peak, and he left before mayer ever really managed to get very far into recovery. his time in their house, essentially, was a lot of heavy lifting and few moments of solidarity and joy. he loves his family, of course, it’s just a very labor-intensive process. and then, of course, he has a similar experience to what a lot of southern marginalized people feel-- this intense need to care for and better your community when your community very frequently doesn’t care for you. davey has absolutely zero capacity for apathy in this au, and it definitely shines through with this whole dynamic. he works SO HARD to care for people, even if he isnt always able to fully enjoy being around them and being loved by them

and then, of course, you have the way davey and jack interact through this motif-- davey teaches jack how to cook, gives him a cookbook, invites him over for meals, etc etc. sharing that with him essentially represents welcoming jack into his community as a whole, and giving him a place there. jack mentions davey “clearing a spot at the table” for him, and that’s both literal and figurative.

additionally, while davey uses food as a way to bring jack into his community, jack also makes davey a little less isolated. in a lot of the scenes in chapter 5, theyre cooking together, in a very domestic, symbiotic sort of way. i wanted this to demonstrate how jack relieves some of the burden davey puts on himself and exists sort of Within davey’s bubble rather than just reaping the benefits

i also wanted to illustrate with this how jack repairing his relationship w food keys into this. obviously we have the disconnect that he has early on where his unfamiliarity w what he eats and who makes it represents a larger disconnect between him and the people around him, but jack does also absolutely use food as a coping mechanism and a crutch. not to get, again, TOTALLY gatsby here, but he’s chasing that sense of community and belonging and understanding in the wrong places. it’s once he begins to actually make food for himself and understand the process of it and be able to carry something through to completion that he’s able to actually Enjoy food, yknow? i wanted that to mirror the way throughout the earlier parts of his life that he tried to kind of slap up temporary relationships and make do with that.

side note about jack and food: jack has undiagnosed adhd (and some vague comorbidities rip) in this au, and his experiences with it i preeeetttty heavily lifted from my life and my special brand of fucked in the head. (for those of you who don’t know, carb and sugar cravings are a symptom of adhd, hence why food is often a coping mechanism for us fhskdhs). cooking and baking are processes that have REALLY helped me get a handle on myself-- it gives me an outlet for movement and stimulation, and its something that i can carry through till the end and get an actual end product that i can recognize and benefit from. plus, real time consequences if i let something do whatever for ten more minutes! so thats another element i added to the way that jack builds healthier coping mechanisms over time-- he moves away from food as a crutch and instead develops a new form of CREATING that gives him an outlet and a feeling of productivity

those are some Vague thoughts. i will probably elaborate in the future!

now, for the messy au, rather than food symbolizing community, i chose to have it represent vulnerability.

a quick review: jack married rich, and davey is jack’s new wife’s cook. on his wife, dorothy’s part, i wanted this to shine through in this squeaky clean, pristine image that a lot of rich people try to craft. she never cooks for herself, never pays much attention to davey, never draws attention to him. in essence, she is creating as few weak spots as possible-- she refuses to be vulnerable to the people and the society around her.

with davey, however, his and his family’s livelihood depends on him cooking for this woman, and later for her and her husband. he’s forced into this position of extreme vulnerability and weakness by his financial situation, and cant really regain his sense of privacy or self because of that. its also a point in this story that he has very little time or wherewithal to cook for his FAMILY. so, his job forces him into a vulnerable situation with complete strangers who hold an upper hand over him but denies him the opportunity to be vulnerable with his own family, only reinforcing this idea that he is the protector and the provider and as such cannot have weak spots and cannot, under any circumstances, break

it also really highlights the difference between jack’s relationship with his wife vs with davey and smalls-- all the scenes of he and dorothy eating together are in grand, fancy rooms, with a certain amount of pomp and circumstance and dignity attached. with davey and smalls, though, he’s usually in the kitchen, having conversation, enjoying their company, helping them with menial things. that’s an environment that he’s used to and comfortable with, the kind of relationships and interactions he grew up with, while the stuffiness of his life and interactions with dorothy are entirely less vulnerable and close

that’s just a brief overview, but its something to look for when i finally finish the fic! it definitely started as a very soapy sort of thing, but my damn instincts pushed me to delve deeper into the characters and their relationships and the fucked-up-ness of it all. so, here we are

i really hope this helped!!!! this is not organized AT ALL so please tell me if there’s anything else you wanted to know or any details you noticed

#holy FUCK is this long..#about writing #tied together #asks #thank u so much for giving me an excuse to positively SCREAM abt this

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mamthew · 5 years ago

Text

A Final Fantasy Ranking

Over the course of the quarantine, and because I had such a good time with the Final Fantasy VII Remake, I've ended up blazing through a ton of Final Fantasy games. Since April, I've played IV, V, VI, VII, VIII, IX, X, XII, and XIII. 6, 7, 9, and 10 I'd beaten before. 4, 12, and 13 I'd played to some capacity before. 5 and 8 were completely new experiences. I had no interest in going further back than IV, since it was the first one to really put any effort into character work, and I didn't play either MMO because MMOs don't really appeal to me (I'm planning to try XIV whenever this new update drops that makes the story mode more accessible, but it keeps getting pushed back so oh well). I also didn't replay XV because I've played XV three times and watched other people play it in its entirety twice, so I have a much better handle on it than any other game in the series.

Anyway, I didn't really have any plans for what I'd do with this, besides get a better understanding of the series as a whole, but I was kinda inspired to do my own Final Fantasy ranking. I'll probably be a bit more detailed than I should be because I tend to overanalyze my media and end up having too much to say. I’m actually not placing VII Remake in this ranking half because I regard it as a spinoff and half because it’s not yet a complete story, even though Part 1 is unquestionably a complete game. If I were to put it somewhere, it would probably be close to the top, possibly even in second place. Also worth noting that this is gonna have SPOILERS for every game I discuss here. I really just wanna use this as a place to nail down some of my thoughts on these games, so they’re pretty stream of consciousness and I didn’t bother avoiding any details from the plots.

10: Final Fantasy VIII.

I don’t think there’s another game in the series with a more obvious corporate hand in it than VIII. It’s kinda the Fant4stic of FF games; there are the bones of a substantive game in there somewhere, but every aspect of the game is such a bald attempt at checking off a 1999 list of “things gamers want” that the whole affair feels hollow and sickening. A major trend I’ve noticed throughout this series is the extent to which FFVII’s success pushed the architects of almost every subsequent game to try to recapture whatever it was that worked about VII, and VIII got the worst of it. It’s got the sullen guy with a special sword. It’s got the sci-fi. It’s got the terrorists with hearts of gold fighting against an oppressive state. It’s got the train scenes. It’s got the case(s) of amnesia that hides the true premise of the story. It’s got the ability to give any character any loadout.

Besides that, they kinda crammed in just a bunch of stuff popular with kids at the time. Jurassic Park? It’s in there. Beauty and the Beast? Here’s the ballroom scene. Hunchback of Notre Dame? Here’s that carnival. Alien? Now you’re alone on a spaceship running away from a horror monster. Saving Private Ryan? The party shares brains with war veterans and dreams of their experiences at war I guess. Half of anime? It’s all about a high school for mercenaries and the party is trying to get back in time for the school festival. Fandom culture? Zines are a collectible item, and each one you find adds an update to Selphie's Geocities page. It also has astronauts, and transformers, and a haunted castle, and a prison break, and Rome, and Alpine Wakanda, and war crimes, and lion cubs that have attained enlightenment, and there’s almost no connective tissue from one idea to the next.

Also the junction system is convoluted and terrible, using magic makes your stats worse, all enemies level up every time you do, and I couldn’t tell you which character excelled in what stats. The characters were all very flat, and the first time I felt like I was seeing the characters interact in ways that helped me to understand them was in the cutscene that plays during the end credits.

Also the female lead’s role in the story changes entirely with no warning every five hours or so. She’s a terrorist, oh no she’s aristocracy in the country she’s terroristing against, oh no she’s jealous of the others because they grew up together and she didn’t, oh no she’s Sandra Bullock in Gravity, oh no she’s the villain and it’s too dangerous to let her out, oh no it’s actually fine and they were bad for locking her up.

It’s an absolute disaster of a game. However, the music and background art is absolutely beautiful. Maybe they never gave me a good enough reason to be in an evil time traveling haunted castle, but damn is it a gorgeous rendering of an evil time traveling haunted castle.

9: Final Fantasy XII.

I’ve known for years that FFXII had issues in development. The writers came up with a story for it, and execs got scared because there were no young characters and they’d convinced themselves that young protagonists are what makes games sell. So two more characters - Vaan and Penelo - were added, one was framed as the protagonist of the story, and the entire story was rewritten so it could feasibly be from his perspective.

While the two characters they added are egregiously tangential to the plot, XII honestly has no protagonist. The writers originally wanted Basch to be the protagonist, but his entire arc is really just following Ashe around and being sad about his evil twin. Ashe is probably the most important to the story, but doesn’t have much presence for a good chunk of the story, and makes her most character-defining choice offscreen before having it stolen from her by a side character. Balthier has the largest presence in the story, and is most closely related to most of the events of the story, but has pretty much no role in the ending.

Honestly, if I were writing FFXII and told it needed a young protagonist, I would have aged up and expanded the role of Larsa, the brother of the main villain, who shows up as a temporary party member from time to time. The entire game is about family ties, and a journey spotlighting Larsa could have involved his learning about Ashe, Basch, Balthier and Fran’s family situations and using their experiences to grapple with his own. Damn, now I’m sitting here thinking about how good that could have been.

As it is, the game feels disjointed and aimless, and the ending is so bad it’s farcical. When I reached the ending, I watched Basch and Ashe forgive Basch’s evil twin for his villainy rampage, harking back to the moment earlier in the game when Ashe turned down the chance to gain powers that would have allowed her to avenge her country because she realized that those powers could also drive her to hurt innocents in the crossfire. In this moment, I realized how Vaan fit in as the protagonist of the game. “Oh, he’s going to realize that violence begets violence, and that he must break the cycle by forgiving Vayne for the death of his brother. He’s going to let go of that hatred he’s been trying to push onto someone for so long, and it’ll finally allow him to heal.” I realized that even though the road to this point was rocky, the writers had managed to craft a satisfying ending from the seemingly disparate pieces of this uneven plot.

And then Vaan picked up a sword and screamed AAAAAAAAAAA and charged Vayne down and stabbed him, and Vayne turned into a shrapnel robot dragon and exploded all the star wars ships and I threw my controller aside and laughed uncontrollably while my characters beat him up and completed the game on their own without any further input from me.

Oh yeah, the battle system is also incredibly boring. Instead of battling, the player writes up an AI script for each character, then lets them act based on those scripts. I would straight up put the controller down and watch youtube videos whenever a group of enemies showed up. I was pretty excited about the job system, but then there didn’t really feel like much of a difference between jobs, and my characters all behaved pretty much the same as each other.

The hands-off battle system, unfocused story, lethargic voice acting, and tuneless music all left me pretty uninvested in the whole affair. The art style and locations are beautiful, though, and it did make me want to eventually check out some of the Tactics games, which take place in the same universe but are supposed to have excellent stories and gameplay.

8: Final Fantasy XIII.

I’m not sure I’ve ever had two such opposing opinions of a game’s story vs. its gameplay. This game is the only one that plays with a bunch of story elements from FFIX, which did a lot to endear it to me. It’s sort of a game in which the protagonists are Kuja, the villain of IX. Like Kuja, they are created as tools by an uncaring god for the purpose of fighting against one world on behalf of another world, and are subsequently forced to grapple with the horrors of having an artificially shortened lifespan.

The story actually has a lot of Leftist themes, too. The gods of that universe spread ideology among the populace, and the people unquestioningly believe these false stories, as the gods have provided for them for as long as there has been written history. Much of the character arcs center on the characters being forcibly removed from their places within those ideological frameworks and having to unlearn what they’d always believed to be objectively true about the world.

So the story actually is pretty good, but it’s held back by some really clumsy storytelling; it constantly uses undefined jargon, has almost no side characters with which it might flesh out the world, actively fights against players trying to glean information from environmental details, and maintains (at least for me) a weird disconnect between the characters in the gameplay and the characters in the cutscenes. I think this partly stems from Square’s original failed plan for FFXIII to be the first game in a much larger series of games sharing themes and major story details. Despite these issues, however, the characters are all likeable and (mostly) believable, and their interactions are grounded in real emotional weight even while their universe feels intangible.

This all got dragged down by the gameplay, which is total dogshit. It’s got the worst battle system I think I’ve seen in an RPG. The game only stops being doggedly, unflinchingly linear about thirty hours in, the whole game took me about fifty hours, and I spent the last fifteen hours beating my head against each individual battle, waiting until the system hiccuped long enough to accidentally slide me a win. That meant I had about a five hour window of euphoric play, convinced that I actually loved this game, thrilled with every new experience it gave me, and excited to see what would happen next. I guess those five hours are what pushed this game over XII in my ranking.

7: Final Fantasy V.

Until FFXV, this game was the last of the “Warriors of Light” games, in which the game follows a party of four set characters for its entirety. To this day, it’s the last of the “Warriors of Light” games to let the player customize which character holds which roles through the job system.

FFV’s job system is the reason to play the game. Its story is mediocre, and its characters are all fairly flat, but there’s something viscerally satisfying about building party members up in jobs that might enhance the role they ultimately will fill. For my mage character, I maxed out Black Mage, Blue Mage, Mystic Knight, Summoner, and Geomancer. Then at the end, I switched her to a Freelancer with Black Magic and Summoning, and she kept all the passive skills for those jobs and also the highest stats across those jobs.

It was super fun and kind of a shift of focus for me, since I tend to place story above anything else in games. Despite the story not being special, though, the game’s writing is actually a ton of fun. It’s definitely got the most comic relief in the series, and I came away loving Gilgamesh as much as everyone else does.

And while it’s nothing special graphically, it does have some really cool enemy designs, and the final boss design is one of the most memorable ones they’ve ever done. Which is impressive because I keep having to look up Exdeath’s name because the character himself is super forgettable.

6: Final Fantasy IV.

This wasn’t the first game in the series to feature actual characters with names and depth, but I have no interest in playing FFII, so it might as well be. I actually played the DS Remake for this game, so it definitely had some quality of life improvements, like full 3d characters and maps, voice acting, an updated script, the ability to actually see the ATB gauge, and the ability to switch to other characters whose turns are ready without using a turn.

Apparently one thing the remake didn’t do was rebalance the difficulty for more modern sensibilities. Instead, this remake is...harder? It requires more grinding than the original? Why??

Either way, though, the story is actually solid! The game opens on its protagonist, Cecil, committing a war crime on the orders of his king, who raised him as a child. The first ten hours of so of the game follows Cecil as he tries to understand why he was ordered to kill so many innocents, turns his back on his country, and works to redeem himself.

This arc is reinforced by the game mechanics, too, which is super clever. His redemption is marked by a change in job from a Dark Knight to a Paladin, which also resets his level. For a time, his life is considerably harder because he’s finding his footing as a new person, which is marked by battles which had been easy becoming much harder for the player for a time.

This game places storytelling over gameplay more than I think any other game in the series. Each character is locked into a job, which I much prefer in my RPGs to games where characters function pretty much interchangeably. I dunno if it’s because I cut my RPG teeth on Tales, but it really bugs me when I can give Tifa the exact same loadout as Barret. I want the lives of the characters to bleed into their functions as gameplay devices.

However, the developers clearly had a ton of different jobs they wanted to add to their game, but hadn’t figured out how to allow for the player to switch in and out party members in standby. To fix this, they increased the in-battle party to five characters rather than or four (or the later constantly frustrating three), rotated the roster a ton, and had a ton of characters who straight up leave permanently. One character dies and never comes back. Two characters die and only are revived after it’s too late to rejoin the party. Four characters end up too injured to continue traveling.

This let the developers make a ton of jobs, but it doesn’t let the player exploit these jobs to their fullest. Characters’ stats reflect their role in the story, as well. One character is quickly aging out of adventuring, so his magic stats increase on levels, but his attack and defense stats actually decrease, signifying his failing body. Another character has already achieved some form of enlightenment, so he gains no stats when he levels up at all. The purpose of IV is the story, over any other aspect of the game, which makes it even more mindboggling that the remake would have increased the difficulty.

Besides that, the biggest issue I had with this game was the overbearing constant drama of it. While there were a few more lighthearted parts, they were mostly relegated to NPC dialogue and sidequests. The characters in this game don’t become friends so much as they become companions who bonded over shared tragedies, and this makes for quite a few scenes of every character separately wallowing in their own immeasurable sadness. I played FFV directly after this game and the light story and jokey dialogue was a much-needed palette cleanser.

5: Final Fantasy VI.

Before the unexpected success of FFVII irreparably changed the franchise, Square constantly mixed up the story formula for the series. IV, V and VI all handled their stories really differently from each other, and what I remember of III also felt fairly different from the games that came after.

Every game from VII on had a very clear protagonist (except XII, whose botched protagonist was still clearly marketed as the protagonist). The concept of the Dissidia crossover series is built on the idea that every FF has a protagonist at the center of its story. FFVI’s Dissidia character is Terra, but Terra is not the protagonist of FFVI.

Apparently while developing FFVI, the directors decided they didn’t want the game to have a clear protagonist, so they asked the staff to staff to submit concepts for characters, and they’d use as many as they could. This game has fourteen characters, each with their own fun gameplay gimmick in battles. Three of the characters are secret, and one can permanently die halfway through if the player takes the wrong actions. Of these fourteen characters, the main story heavily revolves around 3-6 of them, while five more have substantial character arcs.

There’s kind of a schism in the fandom over whether this game or VII is the best one in the series, and I can see why; this game is absolutely fascinating. No other game in the series has done what this game did, which means it’s one of the two FF games I really want to see remade after they complete this VII remake.

The first half is very linear. It breaks the beginning party into three pieces, then sends each character to a different continent, where they meet more characters and build their own parties before everyone reunites. Once the story has taken the player everywhere in the world, the apocalypse hits. The villain’s evil plan succeeds and tears the entire world apart.

The second half of the game picks up a year later with one character finally getting a raft and escaping the island on which she’s been marooned. In this half, the player navigates the world, which has all the same locations, but in completely different parts of the map. The driving factor for much of the second half is to learn from incidental dialogue where each party member has gone in this new world, to track them down, and to try to fix some of the bad that’s been done to the world before finally stopping the villain who destroyed it.

It’s unique and clever and occasionally legitimately tugs at the heartstrings some, which is impressive for a poorly translated SNES game. The final dungeon is a masterpiece all on its own. It requires the player to make three parties of up to four characters, then send them in and switch between them as new roads open. This way, the game manages to feel like an ensemble piece up to the very end.

4: Final Fantasy VII.

As I previously mentioned, there’s kind of a schism in the fandom over whether FFVI or FFVII is the best game in the series. Neither is the best game in the series. FFVII is better than FFVI. Oops.

When I was first drafting up this list, it was before I’d reached my replays of VI or VII, and I tentatively placed them next to each other, with the strong assumption that I’d end up placing VI a bit higher than VII, since it has so many strongly differentiated characters with solid story arcs, beautiful artwork, great music, etc. etc. Then I reached FFVII and not even four hours in, I realized it would have to be higher on my list than VI.

VI has a better battle system, its characters are much more differentiated by their gameplay, its character sprites have aged much better than VII’s character models, and it has four party members in battles instead of three. But I couldn’t overlook VII’s gorgeous artwork, sharp character work, and character-driven story. In the end, I had to give it the edge.

VII is a strange beast. It simultaneously really holds up and has aged horribly. The story is excellent and I love the characters, but the actual line-to-line writing is pretty bad, making the whole experience of the game a bit like swimming upstream; you’re getting somewhere good, but the age of the game is still pushing you back the best it can. Similarly, the background artwork is fantastic and gives the game locations a sense of place incomparable to anything that had come before it, but the character models are so low-poly that the two are constantly at odds with each other.

Still, the game is more a good game than it is an old one. I think it’s managed to duck the absurd level of hype around it by actually being very different from what the most popular images of it make it out to be, if that makes sense. The super futuristic techno-dystopia city only makes up a very small portion of the larger game, and most newcomers to the game won’t have seen Junon, or Corel, or Cosmo Canyon. Heck, I didn’t know Cait Sith or Red XIII were characters before I played the game for the first time. One of the many reasons I’m excited for the rest of this remake is to see newcomers to the story learning just how much variety there is to the world, events, and characters of this game.

FFVII also began (and pulled off really well) a number of storytelling trends that continued in subsequent games in the series. Obviously, almost every game since this one has a clear protagonist with a cool sword for cosplayers to recreate, and an androgynous villain whose story is closely linked to the protagonist (or one villain who is linked to the protagonist and a second one whose purpose is to look like Sephiroth), but it’s started broader, more quality shifts, too.

FFVII is the first game in the series to try to give all its characters arcs based on a similar theme, for example, a trend that has helped give it and future games a sense of thematic unity, especially in IX, X, and XV. Heck, that trend was why I almost came around on XII before they nuked it. It was also the first game in the series to have a real ending, rather than closing out with essentially a curtain call featuring all the party members, like they did in IV through VI (and I assume earlier).

Another common feature of FF games that it didn’t start with VII but certainly was canonized with it was the mid-game plot twist tying the protagonist to both the villain and the larger story. FFIV had this as well, of course, but I feel like the orphanage twist in VIII, the Zanarkand dream twist in X, and the time skip twist in XV were all meant to recall VII’s twist of Cloud’s…very complex existence (IX’s two worlds twist actually is a clear homage to IV, but it’d be hard to argue that Zidane’s connection to Kuja - and the character of Kuja generally - weren’t more influenced by VII).

2: Final Fantasy X and Final Fantasy XV.

Sorry, this one is a two-fer. I’m not gonna spend too much time on why I placed these two together in the #2 spot (I wrote a long thing on it here, if you’re interested). In summary, the games kinda mirror each other, in story and design. Each game can be seen in the negative space of what the other game leaves out, and at the end, the characters react to similar situations in completely opposite ways. For this reason, and that they’re of comparable quality, I think they’re best viewed as companion pieces.

FFX was the first mainline Final Fantasy game I ever completed, six years late. It was the first FF game with voice acting and many fully modeled locations. It also kinda marks the beginning of the series’ constant changes to the battle system.

That’s not to say the previous games’ battle systems didn’t also differ from each other, but they all had the same setup, with levels and an ATB gauge. This was the first game since III not to have any real-time element to its battle system, nor numbered levels gained through experience points. Since X, no two FF battle systems have been remotely comparable, which is cool and innovative and keeps things fresh, but also means I’ve been starved for just a regular ATB FF game for too long.

In many ways, FFX feels like a bridge between the PS1 games and the later games. It feels much more streamlined than VII, VIII, or IX, in terms of both storytelling and design. The game is very linear, pushing the player from one area to the next and not allowing much backtracking until the very end. It also loses the aging look of the PS1 games’ menus and UI, finally updating the classic font and the blue menus with white borders to fully modernized and sleek graphics.

However, movement still feels very similar to movement in VIII and IX, the music definitely evokes the PS1 games more than the later games, and most locations are portrayed with beautifully painted backgrounds, rather than modeled in (which I actually prefer, and I was glad to see that VII Remake has gone back to that in some places).

Voice acting in this game is phenomenal for 2001, and honestly on par with many contemporary games. I can’t think of a voice actor for the main cast who didn’t do a great job. Tidus’s narration, especially, is emotional and evocative in all the right ways. Grounding the plot in a very personal story about Tidus’s difficulty coming to terms with and proving himself to his abusive father keeps the story relatable and real.

Something interesting about my experience with X is that because it was my first Final Fantasy game, I thought for a very long time that the series was about organized religion, and the ways it is used to justify evil acts. This might be the only game of the ones I’ve played that is about organized religion, or even prominently features a religious doctrine, which really sets it apart from the rest of the series.

The game’s thematic unity is on point, even if there is a scene where they state the central themes a bit too plainly. Every character, and even the entire universe of the story, is held back by the past, and every subplot and the main plot revolves around finding ways to move forward and leave the past behind.

I love FFXV. It feels like a return to form after XII and XIII. It’s also probably the furthest any game in the series has strayed from the original formula. Battles are entirely real-time, and the game is a straightforward action game. There is very little time spent with menus, and even the leveling system has been stripped down to a few skill trees. It’s immediately obvious that the game was originally created to be a spinoff, not a main title.

FFXV is also probably too much a product of the current era of microtransactions and payment plans. The full story is spread out across *deep breath* a feature film, an anime series, an anime OVA, a standalone demo, two console games, four DLC story chapters, a multiplayer side game, a VR fishing game, four phone games (though really three phone games because A New Empire straight up isn't in that universe and also is terrible), an expansion including several entirely new dungeons, and finally a novel set to release sometime this year. That’s a whole lot of story. I’ve not played the phone games or the VR fishing game, or read the novel yet, but I’ve experienced all the rest.

But I also played FFXV when it first released, before any patches, before I knew there was a film, just the game all on its own. So you can believe me when I say that without any supplementary material, the game is still great.

It goes back to the FFI, II, III, V “Warriors of Light” system, where the party has four characters who do not change at all throughout the game. While this bugged me at first, I soon came to appreciate having a story where almost all character interactions involved these four characters. It meant I came to understand them well enough to feel like they were my friends, too. Most characterization in this game is understated, presented through small shared moments, dialogue, and body language as they travel the world together. Much like X, the overarching story might be expansive and far-reaching, but the real show is in the personal journeys the friends have.

Much of the first half of the game is spent exploring an open world, driving along the road and getting out of the car for pit stops or to explore the forests nearby. This is one of the very few games where I don’t mind just exploring an area without the promise of an upgrade or a new scene, just to see what’s around the corner, or to hear whatever banter the characters might engage in next.

The entire world of this game is gorgeous, and the orchestrated music is some of the best they’ve ever done. The main plot is beautiful, too. It’s bittersweet and emotional, with a charismatic villain and a twist that blew me away the first time I reached it.

The supplementary material is also mostly really quality. I’d recommend the Royal Edition over the original edition for sure, and to watch Kingsglaive as well. The anime series is quick and fairly fun, and Comrades expands on the universe in some great ways, but neither has as much bearing on the overall plot as the DLC chapters and Kingsglaive. I’m so in love with the DLC chapters, actually, that two years ago I wrote a piece just on how much Episode Ignis affected me (here if you care).

This is definitely getting long, so I guess I’ll move on after saying I’m upset that they patched Chapter 13 to make it easier, and I’m angry at everyone who complained that Chapter 13 was too hard. It was a brilliant piece of storytelling through game mechanics, and it’s mostly been stripped of all that, now.

1: Final Fantasy IX.

It’s IX. It was always IX. I actually did come into this with an open mind, wondering if one of the new games I’d experience (IV, V, VIII, XII, XIII) might end up hitting me harder than Final Fantasy IX, but as I replayed my favorite game in the series I quickly realized that wouldn’t be happening.

There are only a handful of games that make me cry. IX is one of two without voice acting. There are several songs from IX that make me tear up just when I hear them.

The story of the black mages gaining sentience, learning that they can die, and trying to force themselves back into being puppets just to lose that knowledge really moves me. The same goes for the story of Dagger no longer recognizing her mother, setting out to find a place to belong, learning that her birth family is long dead, then watching her mother return to her old self a moment before losing her forever. And Zidane’s story, where he has nowhere to call home, finally discovers the circumstances of his birth, and realizes that had he stayed in his birthplace, he would have become a much worse person than he ultimately did.

More than any other, though, Vivi’s story will always stick with me. He was found as a soulless husk by Quan, a creature with the intention of fattening him up and eating him, but each of them awoke something in the other, and Quan ended up raising Vivi as his grandson. When Quan passed, a rudderless Vivi went to the city to find a new home, and eventually learned he was created as a weapon. Other weapons had also gained sentience, but none had the worldliness that Vivi had gained from his loving relationship with Quan. When Vivi discovers that most weapons like him die after only a few months, he grapples with the possibility that he may die at any time, and eventually decides that he can only take control of what life he has by living each moment to the fullest. He ends up becoming an example for the other weapons to follow.

FFIX is a game about belonging: both yearning to have somewhere to belong and learning that the place where you think you belong is actually toxic and harmful to you. Even the menu theme is a tune called “A Place to Call Home.”

IX ran counter to the trends of the series in a number of ways. It was a return to high fantasy after the more sci-fi VII and VIII, and was also much more lighthearted than those games, while still being heartfelt and occasionally bittersweet. Gameplay-wise, it locked each of its characters into a single job, gave them designs based on their jobs, brought back four-character parties, and introduced a skill system in which characters learn skills from equipment. It also had a much softer, less realistic art style, and mostly avoided the attempts to recapture VII that have plagued most other subsequent titles (besides Kuja’s design, I guess).

The story is also structured so well. It regularly shifts perspective for the first thirty hours, allowing the player to spend ample time with each of the party members, and shaking up character combinations for fun new interactions. It introduced a system similar to the skits from Tales games, showing the player often humorous vignettes of what’s happening to other characters at the time. Once the characters have all come together in one party, the game has earned the sense that all of them (except for the criminally underexplored Amarant) have become a family.

The supporting cast are a blast as well. Zidane’s thief troupe (who double as a theater troupe) are likeable and fun. Kuja’s villain arc allows him to be sympathetic without losing his edge. The black mages are tragic without being overdone.

The development team for this game put so much more work into this game than they had to. The background artwork was all made in such high-definition resolutions that the act of downscaling them to fit in the game removed details. Uematsu traveled to Europe to make sure he’d get the feel of the soundtrack right, and has said it’s his favorite score he’s ever done. Sakaguchi, the creator of Final Fantasy, says IX is his favorite game in the series.

FFIX is one of the two games I would like them to remake after they finish the VII Remake, but I’m terrified they’ll mess it up in some way. Honestly, the game’s only flaws (which I do desperately want them to fix) are a lack of voice acting, the underdeveloped party member Amarant (and to a lesser extent Freya), the dissonance of Beatrix never getting punished in any way for her hand in a genocide, and the fact that very few of the sidequests are story-related because so many of the smaller story details that would normally be relegated to sidequests are covered in the main plot.

Despite the danger, though, I think revisiting IX is absolutely essential moving forward. It represents so much of what made older games like IV and VI great, and its story is much more grounded in real emotion than many current Square stories tend to be. Remaking VII will be good for getting VII out of Square’s system. Remaking IX would be good for putting IX back into Square’s system.

Here’s a IX song as a reward for getting this far. I’m gonna go listen to it and tear up again.

#final fantasy #final fantasy iv #final fantasy v #final fantasy vi #final fantasy vii #final fantasy vii remake #final fantasy viii #final fantasy ix #final fantasy x #final fantasy xii #final fantasy xiii #final fantasy xv

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laughingpinecone · 4 years ago

Text

Yuletide letter

I am laughingpineapple on AO3

Hello dear author! I hope you’ll have fun with our match. Feel free to draw from general or fandom-specific likes, past letters, and/or follow your heart.

Likes: worldbuilding, slice of life (especially if the event the fic focuses on is made up but canon-specific), missing moments, 5+1 and similar formats, bonding and emotional support/intimacy, physical intimacy, lingering touches, loyalty, casefic, surrealism, magical realism, established relationships, future fic (when in doubt, tell me what’s happening to them five, ten, twenty years in the future!), hurt/comfort, throwing characters into non-canon environments, banter, functional relationships between dysfunctional individuals, unexplained mysteries, bittersweet moods, journal/epistolary fic, dreams and memories and identities, tropey plots that are already close enough to characters/canon, outsider POV, UST, resolved UST, exploring the ~deep lore, leaning on the uniqueness of the canon setting/mood, found families, characters reuniting after a long and/or harrowing time, friends-to-lovers, road trips, maps, mutual pining, cuddling, wintry moods, the feeling of flannel and other fabrics, ridiculous concepts played entirely straight, sensory details, places being haunted, people being haunted, the mystery of the woods, small hopes in bleak worlds, electricity, places that don’t quite add up, mismatched memories, caves and deep places, distant city lights at night, emphasis on non-human traits of non-human characters (gen-wise, but also a hearty yes xeno for applicable ships), emphasis on inhuman traits of characters who were human once and have sort of shed it all behind

Cool with: any tense, any pov, any rating, plotty, not plotty, IF, unrequested characters popping up.

DNW: non-canonical rape, non-canonical children, focus on children, unrequested ships (background established canon couples are okay, mentions of parents are okay!), canon retellings, consent issues, actual covid (fantasy plagues are okay)

Les Cités Obscures: any

This is a very general “please, anything in the style of canon, just maybe with less thoughtless sexism” request. I want to lose myself in these cities again, and in the strange lands that connect them. I’d be happy to follow any of the known characters and/or OCs, or eschew characters altogether and write about the cities themselves. What caught your imagination in Brüsel, Xhystos, Taxandria, Alaxis...? The history of some cool building that was only marginally featured in one of the stories? Or an OC city! If you’ve got a favourite European city that doesn’t already have its obscure counterpart, please tell me all about it! Go big, go wild! What strange and classically surrealist happenings take place within its walls? Or even... outside Europe... Nerding out about architecture is of course very welcome. I would also love to read a story based on any Schuiten illustration, contextualizing it as if it were part of this ‘verse. Here’s a bunch of them, for example!

Ghost Trick: Cabanela

You know.. him. Dazzlingly OTT, untiring, rock-solid self-esteem, loyal to a fault, following a rhythm of his own, flawless intuition until it fails and it all burns down… him. I just want to see more of him doing stuff! The way he’s chill and open toward new people (like Sissel and Missile in ch15) makes him perfect to throw at most other characters and see how they react to the sparkles… I’d love some focus on how ridiculous his aesthetic is, half Saturday Night Fever half hardboiled detective half bubbly preteen (for a total of 150%) and yet he makes it work. Or how ruthless he can be, possibly for the sake of the people he cares for. The quote “The intimacy of big parties”. Him and Alma in the new timeline bonding over knowing (once Jowd has spilled the beans) but not remembering that terrible timeline. Some tropey scenario on the job. Snark-offs with Pigeon Man, by which I mean PM snarks and it bounces off him like water off a spotless white goose’s back.

Ship-wise it’s only Cabanela/Jowd whenever it’s not infidelity, Cabanela/Alma in what-ifs also if it’s not infidelity and Cabanela/Alma/Jowd for me (and Lynne/Memry and Yomiel/fianSissel on the side). There are a bunch of shippy prompts in all my past letters - I would however reiterate here that Jowd. is. the worst tease. always. Like, just saying, but assume he’s pining big time and Jowd and Alma figure it out - they’d make a national sport out of excruciatingly protracted teasing.

Conversely, Cabanela/Lynne and Cabanela/Yomiel are NOTPs especially from Cabanela’s side. So while I appreciate the thick tension of a good Yomiel VS Cabanela confrontation like everyone and their cat, and also really appreciate a roughed-up Cabanela, and I do love Yomiel in his own right… I don’t want Cabanela being into it. Adrenaline junkie he may be but this hurts and his coat’s a mess and there’s no perfect winning scenario so he hates every second of it. (JOWD being super into Cabanela being roughed up is another matter altogether and he should probably mind his own business. ...incompatible kinks, truly tragic. they’ll have to find some other common ground. they’re smart, resourceful, playful fellows, I’m sure they’ll manage)

Kentucky Route Zero: Donald kentuckyroutezero

I love everyone in the cast, all acts and interludes, and I am extremely into all the themes this incredible work of art ended up exploring. Agreeing with the overall doom and gloom up to Act IV, I was blown away by Act V’s strong affirmation of the importance of the arts and of the bonds we make and of carving up spaces for ourselves in capitalism’s wake. Donald was, indeed, not a part of any of that. Even the final interlude updates us on Lula and mentions Joseph, but the big guy is nowhere to be seen. So, you know, there’s fanfiction! He’s so static, defeated. I am fascinated by the chain of metaphysical spaces that goes surface -> Zero -> Echo -> Dogwood and even within that framework, the hall of the mountain king is like a hopeless dead end. Dude’s terminally stuck. So - once again, in the spirit of transformative works, how could he get... you know... unstuck? Did Lula’s momentous appearance in Act III shake him? Having a functioning Xanadu again, perhaps? How could he interrogate that oracle, what recursive wonders would it show him? If he decides to leave, what does it feel to be on the surface again after so long, or on the river perhaps? Maybe he is forced to leave by the flood, if not this one, the next... Having him meet any other character would be amazing. Past or future time spent with Weaver... seeing Conway again, changed... programmer guy chatting up musician androids... did he know Carrington from his college days or was Carrington only a friend of Lula’s?

As for Lula herself and Joseph too: “Flipping through the pages, Conway is able to gather that it’s a story about three characters: Joseph, Donald, and Lula. It’s something like a tragic love triangle, but much more complex. Some kind of tangled, painfully concave love polygon.” 😔 I ship them as a full triad, if you can nudge them in that direction, good. But I’m very open to non-romantic resolutions as well, going past their messy feelings to find each other as friends after so many years maybe. Or... a start. idk.

I’d be interested in fic that leans on the game’s adjacent genres: wanna go full-on American Gothic? Dip into surrealism? Take a leaf from Twin Peaks with tulpa / split narratives to explore the characters’ issues? I’m also open to AUs, real or through Xanadu. This also feels like a good place to stress that I really, really like caves.

And now for something completely different: FAQ: The “Snake Fight” Portion of Your Thesis Defense is in the tagset this year. I’d say that the crossover with the snake portion of Here and there along the Echo writes itself, but it would not be correct, as in fact I would like you to write it for me. Feel free to not feature Donald if you focus on this crossover instead!

Uru would be a fun crossover too, for Donald specifically. He’s very DRC-shaped in how he tilts at doomed projects which just so happen to be deep underground.

Pyre: Volfred Sandalwood

This is a Volfred solo, Volfred&literally anyone or Volfred/Tariq, /Oralech or /Tariq/Oralech request. I adore everyone in that Blackwagon+Dalbert+Celeste, so if you want to add a Nightwing or two to any prompt, please do! I also love all the Scribes and find Erisa a compelling tragic figure, while out of the other triumvirates, I’m “love to hate them” for Manley, Brighton, Udmildhe and Deluge and would not like to see them featured in sympathetic roles. fwiw I also enjoy Jodi/Celeste and Bertrude/Pamitha a lot!

I feel deeply for all of Pyre’s main themes - literacy, degrees of freedom, the fragile time that is the end of a historical cycle, nobodies rising up to the occasion, building a better society, and of course found family, “distance cannot separate our spirits” and all that jazz, and Volfred is squarely rooted at the center of all of them. I really really love everything he stands for, even if he’s overbearingly smug in standing for it. Just please tell me things about my fave. His relationship to the Scribes (as a historian, a some kind of vision, via *ae or once he’s a star himself)? A ‘forced vacay’ Downside ending where he looks at the Union from afar and keeps living in this strange transformational place? Life in a cramped Blackwagon that was meant for like 5 people tops and is currently eight Nightwings, a herald and an orb? Since he picked him for the job to begin with, does he respect and cherish Hedwyn as he dang well should? What does it feel like to try and Read a herald? Was he ever in danger, in the Commonwealth or in the Downside? What daring act of resistance did he and Bertrude pull off at some point in their past? It’d be cool if one of his old pamphlets came up at some point. Does he puff up as prime minister because he’s nervous, and who can see past his hyper-professionalism and lend a hand? Please roast him big time about the votes he assigns to the various Nightwings in his planner? What’s his attitude toward the flame’s purification (what with being a tree but mostly like, as a general concept. He did nothing wrong!) (well he definitely said some things wrong and sometimes oftentimes the ego jumps out, but his intentions did nothing wrong)? When did his calculating approach fail him? Something with Pamitha along the lines of that edit that goes “Can we talk, one ten to another?“/"I am an eleven, my girl, but continue”? Dude could easily be voted sexiest voice in the Downside - how much is he aware of it? Does he sing? I love how he bears his ‘reader’ brand proudly. And speaking of scars, I have to wonder, looking at Manley for comparison, if the shape of his head, with that massive crack, isn’t also due to injuries.

As a refrain from my general likes: emphatically yes xeno to both shippy interactions at all ratings and to gen explorations of what a Sap is like… I’d love to read all your headcanons.

Ship-wise, I enjoy him with Tariq as this kind of esoteric connection of minds, guarded words full of secret meanings, long contemplative walks together (is any external pov watching...?), Volfred’s Reader powers brushing against Tariq’s mind and getting weak in the knees at the starlit expanse he finds there, so unlike mortal thoughts. Tariq finds his individuality learning from him; Volfred presumably gets a transcendent glimpse of the Scribes. And I enjoy him with Oralech as pretty much the opposite of that, Oralech is so very mortal compared to him, such a precious, fleeting, burning life especially after his fall. Oralech’s idealism is very dear to me, it was their plan, their shared revolutionary spirit, I find it deeply moving. And I am very interested in seeing them rebuild their connection now that Oralech is back, changed, and in some ways he can learn to let go of his misconceptions and slowly open himself to Volfred’s love again, but in other ways that’s who he is now, with this deep-set anger, and what does it even feel to realize that you’re the symbol of the end of an era (the end of the Rites, the fading of the Scribes). I’m interested in both topside and downside endings for all of them, as long as they end up on the same side, the revolution was peaceful and they don’t angst too much about the side they ended in. Tariq can ‘find his way home’ in the near post-canon somehow or even be summoned again, as a different aspect of the same ‘moonlit vision’ that once inspired Soliam Murr.

Strandbeest: any

https://www.strandbeest.com/

I would just like words to go with these, please and thank you so very much. Worldbuild to your heart’s content! Specifically: I’m fascinated by the premise that the strandbeest are living creatures that evolve and adapt to their ecosystem. A world where life is just wind stomachs and sandy joints, and the tide that can catch you unaware. I would like a story that feels distinctly inorganic. The wonder that is the existence of these creatures. Their unique struggles. Weird and experimental if you like. With a mechanical focus, maybe?

I nominated four critters as a selection of the different cool things they can do - Percipiere Excelsus is huge and has the hammer mechanism, Suspendisse’s tail senses the hardness of the sand, Uminami is my fave caterpillar and the caterpillars overall feel like a new paradigm after a mass extinction event, Ader straight-up flies... but they’re all wonderful. If you want to focus on different strandbeest, please do!

Twin Peaks: Lucy Moran

Case fic but they don’t find out jack shit, someone disappears, David Bowie was there, it’s complicated. Fragmented, shifted, mirrored identities. New Lodge spaces. The risks of staring into the void for too long. Gentle illusions. Transcendence. The moon. Static buzzing. Any title from the s3 ethereal whooshing compilation used as a prompt, actually. Whatever goes on on Blue Pine mountain or the even more mysterious things that go on on White Tail mountain where exactly zero canon locations are found. Twin Peaks is all about the mystery to me, the awe of mystery and unknowability and the human drive to look beyond and the risks of getting a peek, and about shared consciousness and trauma taking physical form in an uncaring world. Go wild with the ethereal whooshing! But I also love the human warmth at the heart of it all, and sometimes it’s enough to anchor these characters and let them have a nice day. A fic entirely focused on some instance of coziness against the cold chaotic background of canon would be great too.

For Lucy specifically, a big draw for me is how canon (...s2 need not apply) empathizes with her way of processing the world. Not just Peaks, but On the Air’s protag who is basically a Lucy expy also gets the narrative completely on her side and that’s great. And I love how in s3, her focus on the small things around her is always echoed by bigger, climactic events beyond her horizon (bunnies / Jack Rabbit’s palace, chair order / Garland’s chair, her first scene talking about the two sheriffs / doubles everywhere...). It feels to me like some kind of off-kilter mindfulness and I love it. She’s also got a loving husband and an amazing son, which, in this economy and also this canon? Damn. The one functional family, imagine that. I am not interested in focus on family dynamics, but singularly, either Lucy/Andy or Lucy&Wally are great - in particular, I’m interested in how strange they are and yet they make it work. With the ruthless critique of traditional family structure that’s all over canon, maybe they make it work specifically because they’re not doing any of that. A bit like the Addams family... but... not goth...? Anyway. I’d love to see Lucy interact with and maybe strike a friendship with any character she’s never shared a scene with in canon! In the tagset, there’s Diane for some secretaries bonding, Audrey because??? why not?, Albert because it’d be an epic enemies to friends slowburn, some version of Laura in the future, if we’re feeling really daring maybe even some version of Coop in the future, still fragmented... or anyone you want! Outside the tagset I’d be curious about Hawk, Margaret and maybe Doris in particular, I think, and Phil, and Nadine and the Invitation to Love fandom in general (Frost says it still airs - did it get as weird as TP s3 did?), but if you have an idea with someone else, absolutely go for it!

Canon-specific DNWs: any singular Dreamer being the ‘source’ of canon, BOB (let alone Judy) being forever defeated in the finale, Judy being an active malevolent presence in the characters’ lives, clear explanations for canonical ambiguities, ‘Odessaverse’ being the reality layer, the Fireman’s House by the Sea being the White Lodge, whatever Twin Perfect’s on about, Cooper/Audrey, Cooper/Laura

#letter

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dbzebra · 5 years ago

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☕️ OH YKNOW WHAT AT THAT NOTE? Talk about that dbs broly movie cuz yknow. That’s a hot topic of the ages that folk feel particularly really strongly about

ooooh ive been waiting for this one. We watched this together on discord so you know my general feelings but Im happy i got this ask lol.

putting this under read more cause it gets long

The new movie that everyone seems to love and adore.... that I dont. It was a pretty middle of the ground, meh overrated af movie. Not bad, just nothing special. I enjoyed watching it sure, but not something I have an inkling to return to anytime soon if ever. It was just ‘there’ for me.

First, I’ll say the good stuff. The visuals looked really pretty. Nobody was THAT out of character of the existing cast (save for the ending), which i feel weird to have to even mention it as a positive, but nothing really stood out to me as a defining moment for the little cast we had besides Goku’s “youre not a bad guy, i can tell” or w/e. SUPER SAIYAN 1 IS STILL GOAT. It looked soooo good in this movie i wish we couldve kept it the whole time instead of Blue. But i will say, Blue looked much better in this movie than the series. The darker-blue with the lighter blue eyes was a nice change from instead of the ugly bluish-green the series did. Also the aura looked better. Backgrounds like the ice area and even Planet Vegeta were amazing. Action was great too. little Bulla was cute. The OST i liked (the chanting really grew on me) and Blizzard is a banger i love that song. Oh and the aritisic license they took for the fusion scene with the reds and blues spiraling together was great

Anyway thats all the positives I have lmaoo

This film includes Minus and I already went in depth on why I hate Minus with a passion and why it’s the worst thing to come out of modern Dragon so yeah moving on. But the fact that they devoted screentime to Gokus backstory which ultimately served no purpose to the story of the film and couldve been used more valuably elsewhere.

I said the action was good, and it was, but it almost too good. At times it was so fast to tell that was going on and really lessened the impact for me. Like when they went into the other dimension or whatever, Gogeta went blue and Broly went LSSJ (idc if the name is different name, itll always be legendary SSJ to me lmao) so ast it was a blink and you miss it moment. like what? those moments shouldve been given even a little bit of focus.

Next the cast. Goku and Vegeta. AGAIN. snorefest. no Gohan, Piccolo is just there to show them the fusion, Goten and Trunks are still kids and look like babies (and Pilaf gang is with them which is another can of worms), no Android 17, who the series established as one of the top 4 fighters on Earth.

Do we get any of that? Nope. Just the two Blue and Bluer fucking again and again I. dont. care. anymore. Their dynamic is so boring and played out id rather watch paint dry. It was fun in Buu Saga, hell it was even fun in GT, but DBS constantly forcing this dynamic and Vegeta as the second Main Character needs to fucking STOOOP. Toei and Toriyama has no idea how to further Vegeta’s character because theyre stuck in this infinite loop.

Vegeta doesnt want to help Goku, he mentions Bulma and/or Trunks, Vegeta blushes, and then he decides to help. THAT HAPPENED LIKE SIX TIMES IN DBS ALONE. It happened in Buu saga as well, but it organically worked cause it was the first time but Bulma and Trunks were ALREADY DEAD/ABSORBED. The look on his face wasnt blushy or pouting for a gag, dude was legit shocked. I rag on Vegeta but he had some legit great moments in the early arcs and later parts of Buu Saga. Anyway im off track. They repeat that same exact character moment OVER AND OVER. cant tell you how many times we had “my Bulma, my bulla, my Trunks, my cabba” in the Tournament of Power alone, and this movie is no different.

DO SOMETHING ELSE FFS

Then we have Broly. ohhhhhh boooy Broly. if you can even call this version of him Broly. His backstory is kinda the same as original movie 8/Broly LSSJ, but its more tragic becuase according to most fans, if youre background is a sobstory, that equals better character. NO. sure it could, but that trope was so worn out so long ago I hate it. “waaa his life was bad, hes not a bad guy” bruh i dont care thats not Broly. just make an OC if you wanna do that. but nope. gotta use the marketing! (More on that later)

People like to criticize Z Broly as “he hates Goku cause he cried” or “all he says is Kakarot” which both are false. On the first point, Broly is a psychopath. He was stabbed as an infant and left to die along with Paragus cause he was too powerful. Then that same day Planet Vegeta explodes practically on top of them. The rest of his life hes basically either being controlled or on a rampage. So that one moment of peace is “ruined” by Goku in a sense cause he subconsciously associates that with Goku. On the second point, Broly was already mentally unstable and then nearly dying, getting caught in the explosion of a SECOND PLANET and then being frozen for seven years will fuck anyone up in the head. Z Broly in the original movie was sadistic af and he had a lot of memorable moments and lines that werent just screaming Kakarot, that Second Coming made him infamous for.

New Broly is legit a man-baby. People talk about old Broly having no personality and this new version having a deep character, but I dont see it. He acts like a child when hes with Cheelai and Lemo and then once the fighting starts he doesnt say a single word but yell. SOUND FAMILIAR?? But he gets a pass because the canon police says so right??? fuck off. New Broly is boring. Im tired of trying to make the Saiyans into ThEyRe noT aLl BaD sEe The SaIyAns ArE AcTuAlLy GoOd!!!11111 ugh i hate it. keep Broly a psycho and keep Bardock a prick. even that guy that went with Buzz Lightyear I mean Paragus was a sweet guy who couldnt fight because of course he was. At least they kept Paragus being a prick when he killed him. Tho his death was lame.

Cheelai’s overrated af. Shes just green bulma lmao. and the fact that they included the “big soft-spoken man gets mad and saves girl from drunk lowkey-rapey pervert” trope just had me roll my eyes like dude stop. Lemo was fine? Nothing against him but didnt do much for me either.

FUCK. FREEZA. i went over this one before too so ill be quick with this as well. I hate hate hate the fact that they brought him back not once but twice in DBS, but even worse that they left him alive to do whatever tf he wants including going back to mass murdering people and expanding his army again. Goku and Vegeta just LET HIM LIVE. Why tf did they go all out and attack Broly, but not Freeza? when one of them was fighting Broly th other easily could have taken out freeza but nope we need a token villain like Joker or Skeletor cause unoriginality. Even at the end, Gogeta does a full power blast to wipe Broly tf out, but when Freeza tries to kill Cheelai and Lemo (two innocent people, feelings on them aside) Gogeta basically just shakes his finger like nuh-uh! dont do that! and then he flies off. Just let this mfer die already im sick of seeing his ass. FUCK I HATE IT SO MUCH GFGFFGFGFGF

Lastly this movie is legitimately Dragon Ball Fanservice The Movie.

Gogeta vs Broly, which the games have been doing since fucking 2003, is the main point of this film. Theres no originality whatsoever. Minus is discount Father of Goku special, and then its a mashup of Broly LSSJ and Fusion Reborn (both of which are superior movies imo). This creatively banrkupt shell of a franchise cant think of anything new, so they legit remake an old movie, through in fusions because that sells like hotcakes, and make the animation pretty because thats all that matters.

Imo, this movie, like 99% of Super, is all flash and flair but no substance at all. At least this movie looked nice. unlike the show.

ok thats all i got lmao

#this got really long lol #longer than i intended #but thought of more stuff as i went #asks #cozymochi

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littleeyesofpallas · 4 years ago

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I don’t usually dwell on American cape comic shenanigans too much, because it’s a fast and loose kind of writing that doesn’t really play well with being scrutinized or really thought about at all, at least any longer than it takes to get through a page, but man... this whole Tynion IV Batman thing is still rubbing me the wrong way... and what bugs me is how it’s definitely not all “bad,” and in fact a lot of the build up is great, but then the resolutions (or lack there of) are massive let downs, but then also he keeps skirting by with these loose ends that feel like they weren’t forgotten but that they might get picked up later. It would almost suggest he has a real big picture planned as a through line across multiple stories...

So, when Tynion took over with issue 86 and Their Dark Designs, he actually provided a great premise: In the aftermath of City of Bane and Alfred Pennyworth’s death, Bruce muses over his apparent old habit of sketching himself little snapshots of an idealized Gotham he holds in his head. We have a clear establishment of the theme of Design, and also the idea that Bruce has an end game in mind. He’s not just reacting to crime as it happens, he has a long term plan. This is a genuinely good angle to have for a Batman story.

To build on this, we learn that Lucius is working on some new tech for Bruce and he specifically marvels at how far Bruce’s war on crime has escalated. The bat-gear hasn’t just been getting more sophisticated over the years, its development is beginning to outpace its practical applications.

Additionally, we get a weird kind of distraction of a B-plot with various master assassins convening in Gotham under a singular organized job, but among them the spotlight falls on Deathstroke. Does Tynion talk about Deathstroke being one of the classic anti-batmen? Does he talk about Deathstroke’s healing factor? No. He talks about Deathstroke’s augmented brain processing faster than Bruce can keep up with (a trait most authors tend to overlook with Slade); this means his only means of competing with Slade is to have a plan that puts him down before his super fast brain can think of a way out, because implicitly he will out think Batman given time, and if they’re both whittled down to adapting to one another in the moment, Slade wins.

Again, our theme is Master plans/Designs/end games.

Enter the heretofore unmentioned legendary, nigh mythical, Gotham villain named The Designer has reemerged after an indistinct time missing from the criminal underworld. His claim to fame is planning 20 steps ahead, outpacing his adversary’s planning to snub any and all resistance utterly and completely.

He’s brought up because he once mentored Penguin, Riddler, Catwoman, and Joker in their early days(and in their 90s era outfits as a clever reference) and apparently the master plans he devised with each of them that were never enacted have been queued up by “someone.” Designer is back, but he’s supposed to be dead; In a painfully uninteresting, cliche “twist” Joker was too KuHrAaZzY to handle and Designer turned on him rather than finish his tutelage, and in the ensuing firefight the 4 Gotham rogues killed the legendary Designer.

So, there are a lot of fun questions this raises, like who the apparent new Designer is, what his plan is, and what he wants...

Bruce has another run in with Slade and launches into an awkward, kinda whiny rant where he tells Slade that if only super villains hadn’t wasted so much of his time escalating the arms race of powers and gadgets and gimmicks, that he could have fixed Gotham years ago. So, here we are again, this idea of plans, of reactionary escalation, and of the absolute need for a master plan that snubs the opposition before they can react and learn. Batman beats Slade, of course, which just goes to show what we’re always meant to assume from Batman anyway, that he already had Slade beat from the get go. He had a plan; Batman always has a plan.

So this is super cool! It took us kind of a plodding 6 out of 9 issues of this story to get here, but this is a good place! We know Batman has a master plan for Gotham, we know from what we’ve heard about plans/Designs as a theme that means he’s already got all his villains accounted for, and that he’s just going through the motions: turning the wheels to make the machine work. It’s only a matter of time, now.

I’ll be honest, my thought at first when I was reading these? I thought The Designer was Batman, or some part of Batman’s plan. That he’d resurrected this mythical villain as part of his own master plan, to perhaps trick all his biggest adversaries to go all in on a singular massive criminal enterprise that Bruce had already designed from the get go to fail, and to take them all down with it once and for all. It fit the profiles, and it felt like the natural direction this all was headed...

But then it was just The Joker. Designer really was dead, Joker brought him back, stole his master plan and pulled it off himself. He stole Batman’s money and gadgets, and took over Gotham (again). That’s it. It was a 9 issue/4 month long fucking prologue to Joker War. And more importantly... NONE of these themes paid off, even a little... And to be fair, if these had turned into something to be addressed and resolved in Joker War, I might have been okay with it... But they weren’t...

Also there’s a (would be)great little moment towards the end here where we learn that The Designer’s original nemesis, a master detective whom he crushed and humiliated, once taught Bruce “how to lose.” And this went nowhere. But it could have been super interesting, because what exactly does that even mean? Does it mean learning to accept loss and move on? Does it mean letting the opponent’s plan succeed because if they put everything into the one plan, then it means they never actually had a follow through, so now the board is wiped clean and everyone’s back to square 1? What exactly was the point of bringing back the Designer’s legacy if we just learned that the real Designer wasn’t even the master mind of this whole story?

So then we meander into Joker War, curiosity still piqued, but expectations drastically lowered...

Joker has all Batman’s gadgets: that’s actually kind of cool. I like the idea of Joker having infinite resources and Batman being the one working underground. It’s kind of been done before in pieces, but never quite as explicit as this. It’s not genius, but its a solid premise. Joker goes on a meta-rant about people watching “the classics” over and over, and audiences being content to see the same old story, provided it’s done right. (A bold called shot, Tynion.)

And we glimpse the mysterious future Batsuit that apparently Bruce doesn’t remember designing. It’s kind of a throwback to the gray and blue look of the silver age Batman, when comics were a little more cheery and goofy and child friendly. It’s a nice commentary on the idea that Bruce wants to make Gotham into a better place, not where he doesn’t need to be Batman, but where he can be a less grim Batman. It speaks to Bruce’s character, his vision for Gotham, and Tynion’s nostalgia that is now being strongly established as a driving force of these stories...

Joker’s plan involves paying Gothamites, in the middle of this citywide takeover by clown gangs, to attend screenings of Zorro, at which point he’ll kill them walking out of the theaters. Batman shows up at one theater, fights some Joker zombie things, get gassed, gets rescued by Harley and given an antidote that induces a hallucination chat with Alfred.

Laughably, in this talk Bruce admits “I failed...” when talking about letting Alfred die and letting Joker take over the city but then hallucination Alfred talks Bruce OUT of it. So whatever it was Bruce learned about losing from the old detective, this apparently wasn’t it; this was the wrong kind of losing.

Joker mentions part of his plan was to make a new generation of heroes and villains with the massive shared trauma of the theater killings. We’d been seeing bits of Clown Killer, but that’s it. He actually seems pretty cool, but he wasn’t really doing much more than cameo in this. No new villains* actually, not until the epilogue gives us the anti-hero GhostMaker.

*correction: there are a few retroactively established villains who are new to publication, but no new villains born out of the actual Joker War scenario.

The whole Batfam shows up to wrestle clowns. For some reason Tynion or DC editorial in general went to GREAT lengths to contrive Dick being back in the old Nightwing outfit, Tim being Robin again, Cass and Steph being Batgirls, Babs being Oracle, and Damian having renounced the Robin title for this... They don’t do jack shit; They wrestle clown goons in the background.

Yet, again one of Joker’s stupid genius plans ends with a fist fight between a highly trained martial artist and a guy in a purple suit and we’re expected to be excited about this. Harley shows up to trick Bruce into leaving Joker to die, but of course he survives anyway...

So there are a few themes here that got heinously underutilized... Joker’s super into this self-aware thing about this being just another Batman-v-Joker affair, and about recreating Batman’s origin, and we see this play out on the other side with the weird walk back on the Batfam’s costumes. But we know Joker will lose, so ostensibly the bottom line here should be that, no, actually... doing the same old thing isn’t enough, and people aren’t as predictable as Joker thinks.

But if we’re acknowledging this idea that Batman-v-Joker is a thing that happens in cycles and it’s always kind of the same thing, and people are sick of it, then you know what one undeniable fact of continuity flies in the face of that? That no matter how many times we reboot the universe and repeat this whole song and dance, Batman keeps accumulating more sidekicks. I’d have loved if this whole thing had just climaxed with Joker “winning” in his over elaborate 1v1 grudge match only to have half a dozen extra bats bust in and kick his ass.

But more over, Batman NEVER had any sort of plan in this... The whole lead up in Their Dark Designs, which took LONGER to set up Joker War than Joker War actually lasted, was about Bruce having this Design for Gotham... And Joker War goes out of its way to remind us of this lingering concept, and doesn’t actually do anything with it, but tries to still dangle it over us, like... “oh no, we didn’t forget it, it’s just for later!” And like, I’m still kind of on board for it, but less and less so the more this shit drags out without any satisfying benchmarks along the way. And it’s just super frustrating to want to give Tynion credit for the genuinely good set up he seems to have here... Except is it still a “good setup” of it ends up not actually setting anything up? or if what it sets up turns out to be disappointing and bad??

It’s just really bizarre to me that I honestly kind of desperately want to like Tynion’s Batman (Clearly I’m having a fucking field day digging my teeth into it) but in spite of the good that’s there, and the clear forethought that appears to have gone into it, he keeps tripping himself up somehow.

#batman

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lit--bitch · 5 years ago

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Current-Reads (20/04/2020 - 26/04/2020) 🍓🐢

(Disclosure: I don’t know anybody I’ve been currently reading this week. 😊)

Adding the preface again here: every Sunday without fail I throw up the freshest literature and photography I’ve read over the week, sometimes it’s a book, sometimes it’s a piece I saw in a magazine or an online zine, sometimes it’s something I saw on social media, etc. Sometimes I add ‘RECOMMEND’ next to a few of the titles, but that’s not to say I don’t recommend all of them, I just love some pieces more than others. Not everything will be everybody’s cup of tea, yanno, c’est la vie. And any titles that you see in bold are hyperlinked so if you click or tap them they’ll direct you straight to the source… or shopping basket.

This week I’m gonna throw in a red herring and tell you about something I’ve been watching as well as what I’ve been reading, because I think it’s really cool and definitely appropriate for the age we’re living in at the moment.

So I’ve been reading: Susan Sontag’s As Consciousness is Harnessed to Flesh (Diaries 1964—1980) which was edited by her son, David. I also read an interview on Granta from March between Rachel Long and Morgan Parker. I’ve also tucked into a couple pieces on Fence, Lexi Welch’s ‘Astroturf’ and Anthony Michael Morena’s ‘The Whale’. I also saw Cecelia Knapp’s poem in Bath Magg Issue Three (but the whole issue is an absolute smacker, it’s great). Last but not least, I’m up to episode 5 of a brand new thing called The Midnight Gospel. It is crazy good. And it’s on Netflix right now.

***

Cecilia Knapp, ‘I Used To Eat KFC Zingers Without Hating Myself’, Bath Magg Issue #3: I really loved the whole of Issue Three, I guess I was quite struck by this particular poem for its “staccato-ness”. This poem is buttered with present-day references. But they’re not necessarily about creating a familiar environment. Rather the object of familiarity is found within the assemblage of places, snacks and thoughts, all of which compound the grief ‘I’ is experiencing. The ‘I’ ruminates on life’s banality and their personal insecurities in living banality: ‘I need a thigh gap. I use emojis / to avoid conflict. Worry I’m a gentrifier. Watch docs about murdered women’. The vapidity is funny. The pain is not. The insecurities deepen. Your body, your life, continues the ache of day-to-day routine, and finds no resolution in the things which may or may not stand to comfort oneself when ravaged by loss. The poem feels quite loose, and disinterested. It’s a sore poem, but its array of references make it colourful. It sort of reminded me of Édouard Levé’s work a little bit? But if Édouard Levé had been a pop culture fanatic chewing HubbaBubba bubblegum on the London Overground. Bath Magg is a pretty exciting new magazine, (been around just under a year I think?) and they’ve published a lot of great writers, many of whom are emerging and I’ve spotted some quite established peple in there too. Kudos to their rubber ducky logo. It’s run by Mariah Whelan and Joe Carrick-Varty.

In Conversation with Morgan Parker and Rachel Long, Granta Magazine: I deeply love Morgan Parker’s work, she’s, in my opinion, the master of titles. I can’t think of anybody who titles their work as well as Morgan Parker does. And I love the depth of honesty and charisma in this interview. Like yeah, it appears to be a generic Q/A but, it genuinely feels like a conversation, and it’s welcoming and unpretentious. Rachel Long asks some penetrating questions, and Morgan’s answers are so detailed and self-aware. Most of the discussion revolves around the action of writing poetry in general and where does that impulse arise from, but they do discuss Morgan’s latest collection Magical Negro which came out February last year. It’s a narrative on black womanhood, on micro-aggressions and reoccuring violence, it’s about breaking down white perceptions of blackness, and dissolving those projections. What I love about Morgan Parker is she’s tackling this fucking idiot thing where (mostly) white people think she’s attempting to represent all black women in her writing, which is, by Morgan’s own admission, impossible. Her work is a duty to herself, to the background she’s lived and lives, and to unpack that discourse in her own way. And if it resonates, then great! I felt all this was inherent in the interview and only adds to my respect for her, and to Rachel for being such an attentive interviewer. BTW Rachel Long has a debut collection coming out this July, My Darling from the Lions.

Anthony Michael Morena, ‘The Whale’, Fence Portal (Streaming) (RECOMMEND): I can’t tell you how much I adored this beautiful mass of whale and word. It’s an essay which references the American Natural History Museum’s Blue Whale model. The writing is thick with feeling and fat with concern. It blends monologue, memoir. It’s non-fiction and documentary. It’s elusive, enigmatic, fragmented. It’s like broken biscuits and blubber. To me it felt like a note on the offences of climate change, the emotional response and grief as we bystand erosion and corrosion, the loss of life, and the urge to merge something back together as it dissolves and fragments before our eyes. It’s as personal as it is public. A gorgeous and complex piece.

Susan Sontag’s As Consciousness is Harnessed to Flesh (Diaries 1964—1980) (RECOMMEND): I felt so afflicted reading Susan Sontag’s diaries, because y’know, it’s the equivalent of invading an Ancient Egyptian pharaoh’s tomb. Like, leave people alone. At the same like, this woman. These diaries are still shaping me, and each section leaves you with the weirdest aftertaste. Her personality permeates through every detail, every line-break, every reference and articulation of feeling. You learn so much, you gain so much from her perceptions and observations. How do I contain Susan Sontag? How do I describe these diaries? Not at all. Just buy it.

Lexi Welch’s ‘Astroturf’, Fence Portal (Streaming) (RECOMMEND): My eyes locked onto this piece and just didn’t really stop reading. Lexi’s voice is enamouring and hypnotic. It’s so violent too. You’re lunged into friction burns and sports injuries, time and progression, the tensions between collectivity and individuality, family and sexuality, or as Fence put it, ‘lesbian eros’. This piece felt acidic. At times you can’t tell if the ‘I’ is indifferent or hurting to the point of numbness. It straddles so many different thematics, and breaks down a lot of conventions pertaining to the “ideal experience” of family relationships and team work. The resolution seems to be that in spite of people, our collectivity is defined by our collective solitude. This essay kicked me around a football field. It takes a good few repeated reads to appreciate its kaleidoscopic shifting, but it’s definitely one of my favourites.

The Midnight Gospel, from Pendleton Ward and Duncan Trussell, Netflix: (RECOMMEND) So the other day my friend Ben linked this to me and I had seen the trailer ages back and thought “Oh yeah I really wanna watch that”, but just forgot. After his reminder, I started watching it and ever since I’ve been saying to loads of other friends “Have you watched ‘The Midnight Gospel’ on Netflix?” because I’m d y i n g to talk about it with everybody.

I literally can’t categorise this “TV show” to you. It’s like if animation had a baby with a philosophy podcast and then put that baby onto an IV drip of psychedelics. It’s this swarm of different stimuli which you kind have to zone in on and absorb individually and yet somehow collectively.

So like, “Clancy” is a spacecaster who sets up “spacecasts” (podcasts) with creatures from other simulated worlds and he interviews them. But when Clancy transports himself into these worlds, it’s not like they’re sat down on some cream sofa with two glasses of water like it’s animated Oprah. No, his interviewees are like in the middle of fighting off a zombie apocalypse or meditating on a mountain or trying to find and save their lost lover. And Clancy just joins them on the journey and interviews them about their “specialism”. These are real people that are being interviewed like, the first episode is with Dr. Drew Pinker. And when you’re watching it, you think that the animation is totally separate to the conversation exchange the characters are having, but that’s not true. They have intersections, they have meaning. It only becomes obvious that it has meaning right at the end of each episode, but if you lock on you’ll see it’s all relevant throughout.

One of my friends was like “Oh I might stick that on tonight and have a joint” and I was like, don’t fucking get high when you’re watching this because it’s already intense enough as it is, like you know that Pendleton Ward and Duncan Trussell have felt some real shit to create this absolute rare jewel. In my opinion, you don’t need cannabis to appreciate these discussions. But if you wanna do it, then hey it’s a “free country”. And it’s not as though there’s a serious, central core plot like there is with Rick & Morty, I mean there is a kind of overarching plot but it’s not always integral. Like ultimately we’re invested in Clancy’s story but also all the stories of all the other people that come his way. There’s multiple plots, there’s multiple dimensions and ways of seeing. It’s a programme which delivers on multiplicity, which manifests itself in everything and everyone we see and know and touch and hear, etc, etc.

This production articulates some of the revelations that psychedelics can give you. Psychedelics don’t make you see the world literally like these animations do, but the sensations of the animation are reminiscent of an acid trip’s oscillating moods and sensitivities. It’s really cool, and it’s very poignant, and it’s my new favourite show to watch. And what’s so great about it is that, it requires multiple watches in order to really absorb everything in its entirety, so it’s a series you can just keep going back to even after you’ve seen them all. It’s re-watchable. Just fundamental goodness all round. Best way to indulge in it is with ice cream. 🍨

***

So that’s it for this week, next Friday’s review is Annie Ernaux’s A Girl’s Story translated by Alison L. Strayer, published with Fitzcarraldo Editions.

Stay safe and well as always, my little caramels. 💁🏽

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ask-art-student-prussia · 6 years ago

Note

You’re one of the only Hetalia art blogs still active that I absolutely love! Do you know any more of them?

Actually!!! I spent the past week sitting on this question, but im finally able to compile (most of) i have a bad memory and theres just so many, you see) the hetalia artists ive admired. ill write up a little blurb on each so you can know what to expect

warning, this is super long

I’m going to list my fav Prussia focused artists first:

@theknoflook is SO SO SO good at capturing the worn/rough-round-the-edges Prussia and they’re 100% the BEST at drawing the aged feel of him. They draw a lot of characters with human imperfections, it’s just such a RAW emotion I feel from each drawing.

@maplevogel I’ve admired since I was like,,, 13. You have no idea how much I want to be able to draw like them. Their watercolour illustrations are KICKASS!! They have such a sense of mystical-ness to each piece, everything is so unreal in what they draw it gives me such a sense of calm-ness. Constantly they’re using watercolour to it’s full extent, im EXTREMELY floored and always have been.

@mieudiary is another person ive admired since i was a absolute baby. Their art teeters on anime-realism and their use of lighting, shading and blending is SOOOO GOOD. They’re able to make their characters so real yet overly gorgeous lol. They’ve got the best damn detail in form/muscles (flesh) ive ever seen.

@kisamesfacioplegia is LITERALLY DRAWING RENAISSANCE PAINTINGS OKAY. Their art is always refined and carries the same aura as those huge paintings you find in museums, with extremely good storytelling and illustrations. Best historical prussia and germany on this site imo.

@carnagekiid (i dont know if they do aph anymore but their recent work is JUST AS GOOD) has the cutest modern interpretation of gil and is my fav. i personally am not a fan of like,,, the “ideal” canon prussia, and the way they draw emotion/use of colours (for all their work) with prussia has that like,,, UMMF of character, yknow what i mean??? they focus on ruspru i think but idk lol

Okay those are just the best prussia’s ive seen, heres some more general hetalia artists that focus on other characters

@payadraws is quite possibly my FAVOURITE HETALIA ARTIST???? IF NOT AT LEAST IN THE TOP 3 BC THEIR STUFF IS SO GOOD AND STYLIZED PERFECTLY. their linework is stunning, and colouring has that tone over all of it that harmonizes the whole piece. The way their utilize their style in everything is PERFECt, idk how to use words for it, just take a look. Their austria/switzerland is deadass on-the-money.

@tomato-bird Literally how does one even manage to do this. theyre professional and it fucking SHOWS. Each composition, each stroke of their pen, it shows dude. Their art has like,,, the emotions, the feeling, is really well executed and they have so much attention to detail it blows my fucking mind. like ,,, this gives of hard renaissance level mastery vibes

@paperdrawsshit is SO GOOD at using that like,,,, the form/silhouette of characters. like,, the shapes they use, the flow of each pose, the hands, ALL OF IT SCREAMS PERFECTION. Each drawing has such flow and structure at the same time, and each character has such a pretty fashion sense. Excellent use of lighting and i strive to be as good as them in drawing people

@jackce THIS ARTIST HAS LIKE.,, SUCH A CLEAN CUT ART STYLE ITS GORGEOUS. Each drawing has the smoothest lines and the characters have distinct features. Their prussia, italy and germany styles stand out so much because of the way they draw the noses, jaw, features etc. Like they look like screenshots out of a professional 2d animated feature. Seriously.

@starstray (not sure if they draw hetalia anymore but i need to tell yall about them anyway) has such gorgeous like,,, composition. like if you dug through a collection of paintings from the renaissance you’ll find a few of theirs scattered in their. The use of like,,, linework paired with the way they colour is so perfectly executed. its so balanced im shaking

@amazing-prussia has the cutest, quirkiest style with what they draw. the hair/clothes are so stylized and fluid and i love them so much!! Each drawing looks so quick and perfected, every time I see one of their pruaus doodles i fucking DIE.

@glass-soda has such gorgeous illustrative style. It’s so unique and the way they colour and draw people have this wonderful POP to it. The colours are so balanced and bright, its so SO!!!!!! LOVELY. LIKE,, IDK HOW TO KEEP FROM RAMBLING ABOUT HOW MUCH I LOVE THEM JUST LOOK.

@ask-risorgimento-italy (ack, dont know their main sorry) Their illustrations are so well done, you can see the thought and practice in each character!! and i love the “realistic” feel to it. I say that about characters who dont have like,,, idk “anime hair”?? but not only the hair, the clothes, the form, the ENVIRONMENT. THIS ARTIST KICKS ASS WITH THEIR ENVIRONMENT BUILDING. LOTS OF DEPTH. ABSOLUTE LEGEND.

@hetapolis !!!!! THEIR ART IS SO CLEAN AND SKETCHY AND BEAUTIFUL. OKAY. Shading/colouring is GORGEOUS. and the way they draw each character to be distinct and have unique features ITS SUPER PROFESH AND LOOKS AMAZIGN!! I admire their style so much yall got no idea

@thedisappointedidealist12 has REALLY GOOD LINEWORK/STORYTELLING. LIKE WOW. Every time i see something theyve drawn im shaking bc the pacing and execution is AMAZING. Everything about the way their art looks is super balanced and you can see the exact emotion each character is expressing.

@captainjellyroll OKAY. THIS PERSON. LEMME TELL U BOUT THIS. FIRST OF ALL. THIS IS ONE OF MY FAV ANIMATORS. THEYVE BEEN MY IDOL SINCE I WAS 11. Their work has so much energy, colour, and you can see the thought in each composition. I love them so much,,, each drawing has its own burst of energy!!! i want to be able to be like them when im older and live with like 5 cats.

@tea-artblog (they dont draw hetalia much anymore but their recent art is 100% worth looking at) OKAY. YALL. This is one of the people who’s art i looked at constantly when i first joined!! Their art is so like,,,, balanced and has just enough contrast and the colours???? EVERYTHING WORKS SO WELL. The eyes/expressions are SUPER CUTE.

@sully-s ANOTHER ARTIST WHOS STYLE IS ONE OF MY FAVS. It’s super fluid and the colours are perfect!! Each character has their own uniqueness I cant express my love of how perfect their lighting/colouring is. Their illustrations are straight out of a movie art book, its so GORGEOUS. and the environment REALLY has depth!!

@ask-victorian-austrian (dont know their main ack sorry!!), THE LINEWORK IS SO DETAILED AND CLEAN. I love the way they draw clothes/fashion, its all so detailed and gorgeous and you can feel the weight of the cloth and the lace and everything okay???? Seriously I love all their blogs, they have a bunch, and you should check out all of them!

@amoxesyoew HAS SUCH CUTE DRAWINGS!! The style in their characters’ hair is so flowy and the way they draw faces and eyes have this adorable quality to it!! the pureness of the emotions they draw are really prominent and i constantly just DIE because of it! I love love LOVE the gercan they draw too

@arschbiene THE WAY THEY DRAW FACES??? SPOT ON. The colours are SO spot on and i love the POP they give. The shading?/? SPECTACULAR. And each doodle is super cute and like,,,, when people say each drawing has a story behind it?? I FEEL THAT WITH THEIR ART OKAY. HIGHKEY.

@ekinoksin ???? HELLO??? THIS RENAISSANCE VAN GOGH MICHAELANGELO MASTERMIND OF AN ARTIST IS LIKE THE SAME AGE AS ME>????? I just foudn that out. BUT the way their art has so much depth!!!! THE BACKGROUNDS??? THE ENVIRONMENT?? ITs ALL EXTREMELY WELL DONE. And they have this texture to their art that makes it look just like historical paintings its so good!!! Im SHOOK.

@alfredtalia WORM. THeir characters all have structure and expression and everything about it has such like!!! UMFF. The way they draw certain things,, theres minor details!! and you may not notice them!! but they ADD SO MUCH!! Everything feels like it has attention to it, and it is so well balanced!!

@avlerie (again, not sure if they still draw hetalia but their art is really pretty) the way they add texture/detail to their art is SPECTACULAR. The hair???? the bodies??? It seems so structured and well drawn!! THE EYES THO. THE WAY THEY DRAW EYES ARE SO BEAUTIFUL I CANT GET ENOUGH

@elhuesoardiente DUDE IDK HOW THEY COLOUR/DO THEIR SHADING. BUT ITS SO UNIQUE AND GIVES THEIR ART THIS EXTRA LAYER OF DEPTH. The art is so gorgeous with the way they do their lighting, and everything about it has balance and harmony im just shook

@ask-2p-uk no idea how someone can even pull off art like they do. the lines/colours ARE REALLY WELL INCORPORATED to EACH DRAWING. The way they draw expressions?? is so unique??? like i love the hair too, it has this flowy-ness to it!! EVERYTHING about their style is so colourful and pretty and unique i just ghhghghg dont know how to explain it, just LOOK AT IT.

@lucerna-lunam the way their shading is,,, the “mystical”-ness of their art??? ABSOLUTELY INCREDIBLE. IDK How they manage to draw stuff with such like,,,, sparkle to it. But their lighting is really well done, the EYES are so gorgeous! even the way each drawing is textured!! It comes together so perfectly!!

@suckmyicelandick THE WAY THEIR HAIR IS DRAWN??? SUPER SHINY AND GORGEOUS. I love the way their draw their characters, the hands/face/hair is so stylized the second you see their art you just KNOW its drawn by them. The eyes are super detailed and its so pretty im just sobbing i love their style

@aph-lithuania OKAY one of the first hetalia artists ive ever seen when i was new. THEIR ART IS SUPER PRETTY. The colours are really smooth and THE WAY???THEY DRAW BODIES?? THE FIGURES ARE SO WELL PROPORTIONED????!!! Everything about it is so cute!!!

@ask-mr-luxembourg BRUH??? HELLO?? COLOURING, LINEWORK, PROPORTIONS, EVERYTHING IS 10/10. Seriously they way they draw hair has such texture, and the way the bodies are drawn are so good. everything about them!! and the eyes?? DEADASS KILLED ME. Their art has seriously so much detail and i just DIE every time

@ellmovy HOW DOES ONE EVEN MANAGE TO DRAW CHARACTERS AS WELL AS THEM?? Each character has distinct features and like,,, the hair is always stylized and it looks SO GOOD????!!! The amount of detail they put into drawing small things like eyebrows and freckles add so much to the overall piece like WOW

@haeko9page THIS ARTIST. HAS THE CUTEST ART EVER. Their comic strips are seriously so adorable and has really good pacing! Each time they draw comic strips, the frames are so varied and it comes together SUPER WELL. Idk how to explain this, but like,,, the “camera angles” and the way they draw expressions/character interactions go together like peanut butter and jelly!

@kyotemeru-arts (they dont draw hetalia much but i love their art so much) dude the flow?? of the poses their characters have?? the flow of the characters themselves?? SUPER WELL DONE LIKE WOW. Also the way they shade and highlight things ?? like using more than one colour?? THAT REALLY MAKES THEIR ART POP. I LOVE THE WAY THEY CAN PERFECTLY DRAW FLUIDITY IN THEIR ART.

@frukmerunning GOLLY GEE DO I HAVE SOMETHING TO SAY BOUT THEM. Just the way they draw faces, eyes and like,,,, bodies in general,, ITS ALL SO PERFECTLY BALANCED. The way they manage to make sketches look incredibly refined and capture the movement in each drawing???? LIKE IVE ADMIRED THEIR ART FOR SUCH A LONG TIME ITS BEEN 300 YEARS

@miss-ostrich-art BRUH how does one manage to draw ???? like them??? the way their characters’ forms and muscles can be seen but like not overly detailed??? they have the PERFECT amount of detail in each drawing, and the expressions!! the way they draw noses and facial structure and *italian hand gesture* PERFECT.

@maryluis THEIR EXPRESSIONS ARE SUPER DYNAMIC!!! AND THE POSES HAVE SUCH FLOW. Also did i mention the amount of detail they put into minor things?? like WOW. Seriously i think out of this list i like the way they draw expressions the best. Also this might be a weird thing to focus on, but the way theyre able to draw the interior/background/angles of things are INCREDIBLE.

@cioccolatodorima YOOOOOOO THIS IS LIKE THE FIRST ARTIST I SAW WHEN GETTING INTO THE FANDOM. ONE OF THEM AT LEAST. Their non-hetalia work is actually my fav and i want to do just what they do when im older! I love their illustrations, and their way of drawing characters/character design (ginjinka of mr.kitkat are my favs). The way their lighting looks, is SO pretty and the linework is ABSOLUTELY STUNNING. their art blog (not just hetalia) is @rainbow-taishi

@ask-badlydrawnseborga lemme tell yall about a thing. i love how funny their art is, and like,,,,, i know its “badly drawn seborga” but the way the hair flows and the proportions,, everything about it is SO nffhhklahjdj polished. LIKE IDK HOW TO EXPLAIN IT BC THEYRE SUCH A MEMELORD BUT I GENUINELY HAVE SO MUCH LOVE FOR THEIR SKILLL

@sabrow3 NOT ONLY IS THEIR ILLUSTRATIONS SUPER CUTE, IT HAS GREAT PROPORTIONS AND DEPTH. I love their attention to detail in clothing and historical things, and like,, the line work is AMAZING. Seriously, I want to be able to draw as well as them, its incredible how the amount of work and effort is shown in each drawing.

@buruzaitama !! The way they draw characters has like,,, this level of realism and the way they do their lighting just pushes that to the next level. I don’t know how people can pull off drawing realism yet still make it so unique that i can instantly tell that a piece is drawn by them, but this artist IS SO GOOD AT THAT. LIKE WOW

@inkodoodles Okay their “1 hour drawing challenges”? IM FLOORED ANYONE CAN DRAW THAT IN ONE HOUR. The have such detail and flow and movement in each drawing! And the lighting they have is so soft and calming, it lends itself to each piece REALLY WELL. Whatever emotion each drawing is supposed to give is conveyed to a tee

@heyheyartman BRO the style??? is so fucking UNIQUE AND ICONIC?? And the way they manage to pace comics and storytell is sO GOOD. Like,,, the way they can use shapes for each of their characters is so refined and stylized i love it. Their use of colour seriously KICKS ASS and im floored every time i see their work.

@merasgar their art is so detailed!! and the backgrounds/environments are so soft and gorgeous to look at! I have like,,,, no idea how you can pull off such beautiful hair and eyes in each drawing!! They draw a lot of rochu and like,, the features look so PERFECT for the characters ghhghghg

@yosb ALRIGHT LISTEN UP THIS ARTIST SERIOUSLY HAS ONE OF MY FAV STYLES. It’s so refined and you can see the distinct features of each character. The style isnt realism but the characters FEEL REAL. They have such a perfect way of paying attention to details and putting in proportions/facial features to each character im so amazed and love their work so much

and of course i want to include @paachubelle though theyre working on their own project ( @the-otwya-project ) now, they’re one of my like,,,, friends that i made on this blog through hetalia ask blogs and i figured id like to include them on this list. Idk how people can draw in pencil with such detail and everything but they do it EXPERTLY. The line work is always so clean and the shading is always so well done!!

of course, im very clumsy and forgetful so i know i forgot some names but i cant remember things!! Either way, these are some of my all time favourite iconic hetalia (and non-hetalia) artists!! I want to be able to draw as well as them one day!

#diamondsketcher #admin post #zonkeywave

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shielddrake · 5 years ago

Text

Final Fantasy XII: A Retrospective Review

So, I received Final Fantasy XII: The Zodiac Age for Christmas last year.

Anyone who knows me knows that I am a huge fan of the Final Fantasy franchise. I have played almost every game with that title that has been released…at least the ones released in America, since I sadly do not speak Japanese. So it’s not unreasonable to assume I would want a remake of one of its games. I have quite a few, in fact, including V and VI on my iPhone, III and IV on my DS, and I and II on my PSP. Final Fantasy IX was the first game I put on my PS4 when I got it (yeah, I admit I put a PS1 game on my PS4 before anything else) and I thoroughly enjoyed replaying VIII when its remaster came out last September.

Final Fantasy XII, however, is a bit of an exception because, my Internet friends, I have a confession to make: Final Fantasy XII is my least favorite in the franchise.

Now I wouldn’t say that FFXII is a bad game. Far from it. It’s a very good game. For the most part, I completely understand why so many people love it. I just don’t feel the same way.

When I first played the game when it was released, I was not too thrilled with a lot of the gameplay decisions and where it ended up going story-wise. At the time, I concluded that while it was a good game, it was a poor Final Fantasy title. And this is taking into account the fact that I had played and beaten both Final Fantasy Tactics and Tactics Advance several times before playing FFXII. Both of these games are quite different from the main FF series, but are great in their own right. I basically consider the Ivalice Alliance as a separate spin-off series, sort of like the Crystal Chronicles games or the Dissidia series.

But FFXII was not that great, in my opinion. I didn’t feel invested in the characters, I was not a fan of the combat or license board system at all, and I felt the story was incomplete at best and annoyingly vague at worst. There were a lot of missed opportunities for the use of the characters. I was neutral about the graphics, which, although beautiful, I felt did not really improve on what was presented in Final Fantasy X, and I didn’t like that a lot of the regular trends known in the previous installments (the summons being the main example that comes to mind) were thrown out for something completely disconnected. I finished the game just feeling a mix of boredom and irritation, to be perfectly honest. The only thing I can recall even remotely liking was the music, despite it not being composed by Nobuo Uematsu, my favorite composer of all time even to this day.

Needless to say, playing The Zodiac Age was not on my list of priorities, and I’m not sure I ever would have played it had it not been gifted to me.

All that said, I received the game and felt that, well, maybe since I have it anyway I would give it another shot. Let’s see if FFXII is as bad as I remember. Maybe a retrospective review would be a good thing to post on the twelfth anniversary of the game’s original release, so why not?

* Looks at the dates and realizes Final Fantasy XII was originally released 14 years ago, not 12. *

Uh, never mind. Clearly I’m way too late for that party.

Anyway, as I started playing, I decided that there were two big questions that I wanted to answer with this retrospective review:

1.) Is Final Fantasy XII as bad of a game as I remember it being when it was first released?

2.) Would I change my claim about Final Fantasy XII being my least favorite game in the franchise?

Obviously the game has been out for a long time, remake or not, but I want to warn against spoilers here just in case. I don’t want to ruin anyone’s experience after all. With that, let’s get started.

Statistics

I just wanted to start this review with a few facts about my playthroughs (yes, the plural is intentional).

I played through The Zodiac Age twice, once for about 42 hours in length and the second for about 47. I used each of the jobs in the zodiac job system in each playthrough, but in different combinations and on different characters. Of course, I couldn’t account for every possible combination. That would take a very long time…

The party was at level 46 on my shorter playthrough and 51 on my longer one. I did not complete all of the hunts, although I fought more of them the second time through. I did not try to get any of the special gear like the Zodiac Spear, mostly because I don’t know how. I also did not get all of the espers, because other than the required time you have to summon Belias to get into Giruvegan, I never used summoning.

I avoided any guides or other playthroughs for the game, relying on the game’s directions and my memory from my previous plays…fourteen years ago…to guide me through the main part of the story. Yeah, I haven’t played FFXII since it was released in 2006, maybe 2007, give or take a few months. So, if I got confused or lost during the course of the game, it was because I either missed directions or the game was not clear on where I needed to go.

At the time of this review, I have not experimented at all with Trial Mode or played through New Game Plus.

Graphics

This section will be short, since I don’t have a lot to say about it.

The graphics are very good. As I stated above, in the original I did not feel the graphics were all that different than Final Fantasy X released four years prior, and my opinion of The Zodiac Age hasn’t really changed. According to the Final Fantasy Wiki, the game was given “high resolution upgrades to backgrounds, character models, 2d parts, and movie scenes.” To be honest, I didn’t notice much of a difference, although that might be because I didn’t play the game often enough to have the original graphics etched in my memory.

However, that does not mean the game looks bad. On the contrary, it is still a beautiful game, despite a few small glitches such as Balthier’s dialogue not syncing up to his lip movements or Basch’s hair not moving, Those are minor nitpicks. The game is still lovely to look at.

Sound and Music

Again, the music for this game is excellent. As I mentioned before, the music was probably the one thing I would praise about the game when it was originally released. The Zodiac Age somehow manages to make it better by providing a rerecorded soundtrack that makes a lot of the notes sound less harsh. There is the option of switching it back to the original version, but I preferred the new one. Basically they took the one thing I liked about the original game and made it better.

The voice acting I am pretty neutral about. For the most part, I don’t think anyone’s voice work was either bad or good. Other than the overuse of sighs, of which I get most annoyed by Ashe’s because she sighs all the time, I don’t mind the voice acting very much.

The only one I have a problem with, and this was also the case when I first played FFXII, is with Fran’s voice. I always feel bad criticizing a voice actor because they put a lot of training and passion into their work, but I just can’t help but be really annoyed at the choices SquareEnix made when casting Fran. She sounds so different in the English version compared to the Japanese one, and I don’t think it fits the character at all. Viera, all viera, are supposed to be these rather ethereal beings akin to the elves in The Lord of the Rings. So why, then, would the translation team have Fran be given a voice that makes her sound like a nasally four-year-old? According to the Wiki, the translators wanted to “sell the new take on the viera,” but it just falls flat.

Miscellaneous Gameplay

Okay, I only made this section so I can briefly go over some of the extra gameplay components the game has, both old and new. First, the good.

The high-speed mode is great. I always thought the characters moved so annoyingly slow! This fixes that problem and honestly saves a lot of time. I feel like it sheared off a couple of hours off the game that are just empty time needed simply to move from place to place. I used this in the FFVIII remaster as well for the same reason. I basically never turned it off. It didn’t affect cutscenes, so that wasn’t a problem. Also, the sound effect of four people running in high-speed mode is strangely hilarious to me.

There is a transparent overlay map now available. I find this to be much more useful than the minimap alone, which was constantly moving and incapable of helping me orient myself. Previously, I was frequently frustrated and getting lost in pretty much every area, dungeon and town when I played the original version. The overlay map was especially useful in places where direction was important, like the part in the Tomb of Raithwall where you need to turn the statues to face the blade. I could never tell which way to turn them and needed to bring up the main map over and over and over again. The overlay map resolves makes this and general navigation much easier.

My only complaint is that, although it is transparent, it does take up a lot of the center of the screen, but that is a small price to pay for the relief of so much frustration. There are times when the overlay map isn’t useable, namely in parts of Giruvegan and the Bahamut, and then the frustration rises again, which only emphasizes how nice the overlap map is the other times.

Autosave feature. Need I say more? Thank you, SquareEnix, for an autosave feature! Especially during some of the hunts.

And now the bad, which can be lumped into one thing: minigames. Or I guess they’re minigames. They’re small quests that are required to further the story that are not combat based. The yell at the guards to make them move game while stealing the Dusk Shard, AKA the dumbest guards ever. The have Vaan declare he’s Basch in front of people in Bhujerba to get the Resistance’s attention, which unless you had already played the game you don’t know to do in front of the guides, leading you to just listening to Vaan spout annoying nonsense while literally nobody listens. The exchanging information quest in Archadia to get chops to be allowed to ride a flying taxi, which is only slightly less annoying this time around because they reduced the number of exchanges you need to do from nine to three. I guess they realized how tedious it was. I disliked all of these when I first played the game and they were superfluous and dumb and add nothing to the experience this time around too.

Character Progression and Combat

Now we get to the parts where I feel I can really say something constructive. I was initially going to have these be separate sections, but they are so closely related to one another that it seemed silly to split them.

There is something I want to make perfectly clear, that I must admit came very much to my surprise: The combat in The Zodiac Age is nowhere near as bad as I felt it was when I played the vanilla game. Before it felt like a boring slog just to get from one quest to another, but I found that not to be the case this time around. I think the changes to the license board helps with the combat be more dynamic and require a bit more strategy since not every character ends up being the same. I’ll get to the license board in a moment.

With the job system in place, you have to think more about how you’re going to approach an enemy rather than having everyone just attack the whole time. I mean, you can still do that, but your white mage is not going to be as strong as your knight, so having the white mage do only physical attacks doesn’t work quite as well. And with the option of giving everyone different abilities, it means that every character has a different role to play in battle.

The ability to add a second job later in the game adds to the diversity you can bring, since you can make any number of combinations of jobs and really none of them are bad. You’re also not limited by which characters can have which job. Once you pick a job for a character you are stuck with it (at least on the PS4 version) but that does not lock the job away from other characters. You can have two white mages, two knights, five red battlemages, or make every character a bushi if you so desire. You can have someone balanced, someone focused on only offensive spells, someone focused on healing, someone just for physical attacks, a tank…the possibilities are huge!

The gambit system is still in place, and I still am not a huge fan. If I have to micromanage a character’s actions, I’d rather have a system that allows me to input commands individually like in previous Final Fantasy games rather than allowing an AI to do it. However, I understand that the combat in FFXII is fast-paced enough that it makes that sort of system more difficult, and I managed to deal with it fine. I wish I didn’t have to buy gambits for every single miniscule action though.

On the other hand, I did find having multiple gambits useful for the various abilities each character has, especially since the job system allows for more individualized characters. This time, I felt like having several gambit slots was actually worthwhile because I had the characters able to do more things under specific circumstances, especially for spellcasters. This made it seem like it was worth the license points to spend on gambit slots from the license board. So while I still am not fond of the gambit system, I found it overall less annoying than before.

Obviously the license board is the biggest change to The Zodiac Age. The job system is excellent this time around, compared to the complete lack of a job system in the original version. Normally a blank slate for character progression isn’t a bad thing. VI, VII and VIII all had no job system as well, but you could still customize the characters to fit with a play style that you liked. Vanilla FFXII didn’t allow that. It was far too easy to make every character identical, so it ultimately didn’t matter which character you had in your party. This time, the available variety made it much more enjoyable to play and experiment.

The board was also improved on in that it was much more logical within each job. Before, the board was literally just a board, with every license just kind of lumped together. The license for a helmet was next to a license for the fire spell. It never made much sense and it seemed hard to predict what adjacent licenses you were unlocking. This time, armor licenses are together, sword licenses are together, magic licenses are together, and so forth. Some licenses in the same category are spread apart, such as the technicks, but for the most part there is at least some sort of logic to it all, making it much easier to plan character growth instead of it feeling random.

Later on, it is possible to make the characters very similar to one another, so that everyone can cast white magic, use the same technicks, wear the same gear, etc. This is especially easy if you pick secondary jobs that are opposite the first job (for stance, adding a foebreaker job to a white mage). This doesn’t happen until late in the game though, so it doesn’t feel nearly as cheap. FFX did the same with the sphere grid, but you had to be pretty far in the game before that was possible. Same thing here.

I feel I should mention the quickenings and summons, even though I never used the latter in battle. The mist abilities now have their own gauge rather than using MP, which is a nice throwback to the limit break bars of some of the previous games. I definitely prefer it that way. I found myself using quickenings less frequently than during my first playthrough, but that might be because the game was made to be overall a little easier.

Story and Characters

While the job system was the big change for The Zodiac Age, and certainly for the better, I feel I still need to talk about the story and the characters even though nothing about these parts of the game have changed. The big reason for this is because the story was where I had the biggest problem with the original version of FFXII, and therefore will probably have the biggest impact on answering my two burning questions at the beginning of this review.

That being said, if I were to go into all the details about the story and characters and what I think of it, this review would probably be three times as long as it already is. To add to that, since the game has already been out for twelve fourteen years I’m not sure there’s a whole lot I could add to the conversation that hasn’t already been said, other than to point out how I would change the story to make it what would be, in my opinion, better.

Perhaps if people are really interested in my in-depth analysis of the story I can do that in another post, but for the purposes of this review, I’m just going to give summarized version here.

1.) Reks should have lived, or been replaced by Vaan, or have both in the party.

2.) Vaan is not as annoying as I previously thought, but he needed to have a more concrete connection to the plot.

3.) Same for Penelo. Still kind of preachy, but seemed more like a Jiminy Cricket character this time around.

4.) The Strahl needed to be stolen somehow, both to give Balthier a better reason to go with the group and to give a better excuse to not just fly somewhere.

5.) That said, knowing the whole plot of the game makes Balthier’s behavior throughout the story make more sense. Better foreshadowing, in a way.

6.) Fran’s storyline needed to have a more satisfactory conclusion. It just sort of ended.

7.) Basch and Gabranth needed to have more personal interactions throughout the story to make their final moments more satisfying.

8.) For that matter, have more personal interactions between the party and both Dr. Cid and Vayne. We meet both of them a total of two times…over the course of a 40-hour game. Too disconnected from the party’s actions to give much motivation for us to defeat them.

8.) Why did they not use Vossler’s actions as a bigger plot point, with Basch trying to stop Vossler from doing what Basch was accused of? It’s sort of there, but it ends far too quickly. Big missed opportunity.

9.) More judge fights! We fight a total of three, Ghis, Bergan and Gabranth. I wanted more judge bosses!

10.) To add to that, have more context for some of the bosses. It kind of felt like so many of the bosses were there just for the sake of being bosses, and there’s only so many times I can say to myself, “It’s probably a guardian of whatever place.”

11.) I still don’t get the love people have for Ashe. I just don’t get it.

12.) And finally, Larsa should have been the main character. End of story.

…Yeah, that’s the summarized version.

Conclusion

All things considered, I definitely had a different experience playing through The Zodiac Age compared to when I first played FFXII twelve fourteen years ago. And ultimately this is why I decided on playing this game again. I wanted to see if my opinion had changed, if I could look at it from another perspective rather than just negative memory. And although some of my feelings haven’t changed, it’s good to look back on something and see that maybe it isn’t exactly as I recall it.

Let’s go back to the big questions I proposed at the beginning of this review.

First, is Final Fantasy XII as bad of a game as I remember it being when it was first released? No, it’s certainly not. I think the changes made to the license board made the combat more enjoyable for me, and by extension it seemed less of a hassle and more of an actual game. I enjoyed running around and exploring more, and the bosses and hunts were more entertaining as well. While I’m still not fond of the gambit system, I wasn’t as irritated by it and actually found myself experimenting more with it.

Second, would I change my claim about Final Fantasy XII being my least favorite game in the franchise? Eh, probably not. Again, even with the alterations made to the game, there are still a lot of things that I personally was not a fan of, especially involving the story. I’m one of those people who love the story of a game more than anything else (which is clearly why I prefer RPGs to any other game genre). Since the story is still the weakest aspect of FFXII, in my opinion, especially compared to other Final Fantasy games, the game overall doesn’t grab me as much as some of the earlier ones. It’s still a good game, but not great. To be fair, short of completely overhauling the storyline and characters, it would the difficult change those aspects for the better in just a remaster. This makes me wonder how the FFVII remake is going to go, but the jury’s still out on that one.

With all the various opinions and thoughts about what makes a video game good, it’s hard for developers to create what might be considered a perfect game for everyone, and the Final Fantasy franchise is no exception. That doesn’t mean a game cannot be corrected to make it better than the original. That’s what is good about patches and remasters. It gives the developers another opportunity to improve on what was criticized. Final Fantasy XII: The Zodiac Age definitely succeeds in this, even if there are still parts that are not quite as good.

Now, if you’ll excuse me, I have a Kingdom Hearts DLC to play and then proceed to tear apart.

#final fantasy xii #ffxii #the zodiac age #retrospective #review #my opinion

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