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shihalyfie · 2 years

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From one Appmon enjoyer to another, do you know what this series' standing with Bandai/Toei is? It really feels like the Appmon's inclusion and exclusion with the rest of the franchise is constantly pinballing. It's included in stuff like the anime anniversaries, the Digimon museum and is at least acknowledged in the questionnaire for the upcoming 25th anniversary book, but then it's a no show for the vote for best anime opening and the manga is missing from the manga competition PV. Any idea?

I've noticed this too, and this is only my personal observation and take on the issue, but the way I've been seeing it is like this: the Toei side (Digimon Partners, Kizuna website timeline, aforementioned museum, basically anything that has a stronger emphasis on anime production) has been showing no restraint about treating it like another Digimon anime and including it proudly in the lineup with everything else, whereas the Bandai side (Digimon Web, card game, Premium Bandai, etc.) has been waffling on whether to consider it as part of the franchise or not and has been more flip-floppy on it, probably leaning more on the side of excluding it.

I'm going to give them the benefit of the doubt and assume that part of this is another of the Digimon franchise's usual "right hand not talking to left hand" issue. Toei produced the Appmon anime and thus understands very well that it's pretty much the same as any other Digimon anime in terms of substance, writing style, story concept, and even production pipeline (the Appmon staff list is full of people who worked on older Digimon anime too, after all). So to them, Appmon really is the same as any other Digimon anime and is another part of their portfolio they should be proud of.

However, Bandai has a much weaker relationship with the anime, and things get much more complicated when you start taking into account all of the Appmon-related things that are not anime. When you consider the Appmon "IP" as a whole, it is true that at first glance, it looks more like a spinoff branch than anything (it has its own website portal too, so someone giving it only a cursory glance could easily assume that there's no point putting Appmon things on Digimon Web because the dedicated Appmon site takes care of that), it had its own card game, it had its own trademark registrations, and its monster lines and evolutionary systems are somewhat more incompatible with the main Digimon lines than even the Xros Wars lines used to be. I imagine someone working with Digimon-related stuff at Toei is probably going to have a much higher likelihood of understanding how close of a relationship Appmon had in practice with the mainline series than someone at Bandai who only got a list of all the relevant merch lines and naturally jumped to the conclusion "yeah this is a spinoff branch, ignore it for now." Most of the people reading my blog here are probably coming from the anime fan perspective, but it's important to remember that the anime is only one part of the entire IP's branding.

In other words, it's basically the inverse of that really awkward period between 2014 and 2019 when the Bandai side had no problem treating 02 as normal while Toei was treating it like some kind of cryptid.

Another thing to consider is that, as much as it breaks my heart to say this, it is true that there is a certain not-insignificant branch of the Japanese fanbase that absolutely loathes Appmon with all of their being, or at least wants it to stay as far away from their precious Digimon franchise as much as possible. This attitude is much less pronounced in the Western fanbase (or at least, if you do have a condescending attitude about it you'll easily get a whole crowd of fans treating you like a laughingstock) mainly because to be this hardcore of a Digimon fan at all means you really need an extra level of dedication, but I have definitely seen an entire Japanese Digimon fan camp that cares more about the Digimon null canon and species/evolutionary lineup than they really care about any anime or anime story at all. To them, it doesn't matter how close the anime was in style to the traditional Digimon style, it doesn't even matter if the anime was good or not, Appmon was still that weird thing that threatened to dismantle all the existing Digimon lore they'd built up over the years and turn it into something unrecognizable, so they want nothing to do with it.

Even ones who aren't downright condescending about it still clearly don't want to see them mixing; I was watching a Japanese YouTube video recapping the history of the Digimon franchise, and once they got to the 2014-2018 period, they labeled it "heaven and hell" due to the rather turbulent period that was and labeled different parts of it "heaven" or "hell", but Appmon was branded "not sure if it's heaven or hell" because the YouTuber's attitude was basically treating it as a financial and branding failure that attempted to completely go off in a weird direction, and although he did acknowledge "people who watched the anime said it was actually pretty good, though" it was treated like a comparative footnote. And unfortunately, this part of the fanbase is responsible for funding a good chunk of the franchise in terms of merch, especially the card game, which is the franchise's current effective life support and is a reason I'm particularly apprehensive about whether Appmon will ever be able to get any representation there.

But on the flip side, things like Digimon Partners don't have to worry about that -- because anything that selects for the anime-loving part of the fanbase is therefore also likely to be more closely targeting people who care about the anime, and therefore are more likely to care about Appmon. Like for instance, the fact Offmon actually was a winner in one of the merch polls; I'm not too surprised that happened on Partners, but I'm definitely not as confident that would have happened on Digimon Web. Digimon anime fans are generally the ones who are most consistent about wanting to see Appmon included in the lineup (and, I mean, really, I don't exactly know anyone who actually liked the Appmon card game, and very few people played the 3DS game, so the anime and to a lesser degree the manga based directly on it are honestly the only parts of that entire IP branch that actually got any significant following), so it's understandable that the Toei side would be more likely to pick up on that and be more proactive about it. Which, mind you, is still something that's only specific to the last few years; after all, it wasn't even that long ago since they were in that phase of everything besides the original Digimon Adventure being unworthy of note, so it's really thanks to their attempts at restoring their relationship with the fanbase and improving their PR that they've been making headway at since 2020.

#atamatajiih #shiha's ask box #appmon

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mycomicbox · 2 years

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OMORI 2 (spoiler warning for OMORI)

I highly doubt that there will ever be an official sequel to OMORI. However, the idea of it is fun to play with.

Let's get the most obvious thing out of the way: No matter which way you slice it, OMORI's story is complete, done, tied up with a bow. A direct sequel, prequel, or midquel game would be nigh impossible to pull off well. The story is just too self-contained to allow an entirely new game that branches off of it, and I am extremely annoyed that people think otherwise. A continuation would work better in the form of something like a short story or comic, not a full-fledged 25-hour RPG.

"But what about a game about Sunny at his new home?"

"But what about game that shows how Aubrey, Kel, and Hero reacted to the truth?"

"But what about a POV shift to another character?"

These are examples of direct sequel ideas that, while not bad, would work infinitely better as a different form of media and not an RPG. (plus the three friends’ reactions were SUPPOSED to be left up to player interpretation)

I get that we're attached to these characters and want to see how they grow and progress, especially after the good ending, but there's no dancing around it. A direct continuation would not work as a full-fledged RPG because there would be no “game” to speak of.

This is why I propose the idea that an OMORI 2 would start fresh with a new story, setting, and cast of characters. This is similar to, for example, what the Final Fantasy series does. Each mainline entry is its own contained world and storyline (with a few exceptions such as X-2 being a direct sequel to X), but still has plenty of aspects in both gameplay and story tropes that unify them as a series.

This isn’t a brand-new concept. To quote the TV Tropes page on Thematic Series:

Unlike a typical series, a Thematic Series does not follow the same characters or story; instead, it follows the same themes. For instance, a series may focus on themes of war, but with each installment centering on completely different people being affected by completely different wars. One might recognize a few nods to past installments here and there. If the installments share any characters at all, they will be side characters or it may be in the form of a cameo by a former main character of a different chapter.

I wouldn’t write this whole text wall without sharing my own ideas, so here they are!

OMORI was originally planned to allow the player to select Sunny/Omori’s gender (M/F), but the idea was scrapped due to the crew having to redraw all the art. I would bring back the gender selection with a NB option to boot.

Also I looked up Hail on babynames.com out of curiosity and I think I can work with this meaning.

Random character concepts:

Gameplay changes

Headspace foes

Headspace items

Some stuff I wrote down in a .txt file:

While OMORI 2 is not connected to OMORI in terms of story, they do take place in the same world, with some minor connections to the first game (such as the Pet Rocks games getting sequels or Captain Spaceboy becoming a huge multimedia franchise).

While the Headspace in OMORI is more wacky and cartoonish, I want the Headspace in OMORI 2 to have a somewhat different feel to it. Maybe something more akin to a grand adventure rather than silly antics. It could have a little high-fantasy flavor mixed in (emphasis on "little").

I imagine Hail to be very hateful and misanthropic, save for their friends (similar to Omoriboy from that old blog)... But what happened to them that made them this way? Maybe it wasn't a single event, but multiple throughout their life, and Hail has to confront each of them one by one. Maybe the game could be in several acts, with each confrontation increasing in intensity.

Since this game takes place about a decade after OMORI, I could have some Faraway Town NPCs (such as Cris or Mincy) make an appearance... or even be a playable character.

There are some quotes from the OMORI 2014 trailer and the Omoriboy comics that I want to play into: "Anything fun is just a distraction from how much the real world sucks..." "You're not crazy if even one person believes in you..." "Too bad saving the world isn't as easy as these games make it out to be..."

There will probably be a Hikikomori Route or something adjacent to it.

Omori is an in-universe brand of piano, which is why Omori the character from the first game has elements of a piano in his design (his shirt is the top, his striped shorts are the keys, and his socks are the legs). In our world, there is a company called Casio that makes pianos (albeit electric ones), but they also make watches, calculators, and other devices. So, what if Omori the company is basically the equivalent of Casio, and Hail's dream persona was still called Omori? (similar to how almost every Final Fantasy has some incarnation of Cid) That would mean that there's some sort of physical object that holds importance to the story.

Due to the fact that OMORI 2 likely wouldn't revolve around dissociative amnesia like the first game, the lightbulb in the logo will likely have to be replaced.

For the horror bits, I should delve into more of the psych-horror genre for inspiration. Similarly, I should play some Yume Nikki fangames for more inspiration (Yume 2kki, .flow, etc.)

If I'm being completely honest with myself, this game probably wouldn't be as good as OMORI, though that's usually how it is with like 80% of sequels.

In OMORI, all of Sunny's friends were directly affected by Mari's death. How do I connect Hail's friends with the main conflict so that they aren't just there for the sake of existing?

While I should keep similarities to the first game for OMORI 2 to be called a sequel, I also don't want it to just be OMORI again but with a different coat of paint. Similarly, I don't want any of the characters to simply be clones of those from the first game (other than Omori himself, who is somewhat the same, even with a different incarnation).

I have to be EXTRA CAREFUL to avoid romanticizing, sugarcoating, or truncating heavy themes. However, I also can't be too overboard with it or else it comes off as insensitive. It's a delicate balance.

Will I end up projecting myself and my own issues onto Hail? Probably.

I want to have the real-world sections take place in a big city... but I grew up in a fairly rural area surrounded by farmland and sports fields, meaning that my sources of inspiration are pretty lacking.

An idea that I had was that, since OMORI has themes of forgiving oneself, OMORI 2 could have themes of forgiving others. However, I'd be playing with fire, since I could accidentally deliver a toxic message.

None of this will probably be an actual game, as I'd need composers, artists, funding, people who are skilled with RPG Maker, and probably permission from OMOCAT and crew.

If I decide to develop this idea further, I’ll probably delegate it to a second blog.

#omori #omori fanart #omori 2 #omori sequel #omori spoilers #omori fandom #fanmade sequel #doodle

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the8gates · 4 years

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Naruto Characters and What Music I Think They Would Listen To Pt.1

Naruto

-You know those popular boys from school? The emoji tracksuit kids that like dunked on you when you walked through a door?

-Those vibes

-He listens to almost exclusively mainstream rap. It has to be 🔥🔥🔥 ya know?

-Always talking about the new Drake album or the new Kanye album. LOVES Chance the Rapper and Childish Gambino i just see it in his eyes.

Sasuke

-This fuckin guy

-See, my knee jerk reaction is like your emo classics. Pierce the Veil, MCR, Linkin Park. Screamo. Metal.

-But no. We have similar temperaments and I think that kind of music would actually irritate him.

-I think he’s emo but more mainstream soundcloud rapper emo. Lil Peep, $UICIDEBOY$, Lil Uzi Vert. LOVES XXXTentacion.

-Post screenshots of what he’s listening to on his snapchat story and you just know the boy is going THROUGH it.

Sakura

-OKAY so HERE is your rock and roll/metal baddie!!!

-hear me out. when she’s young its all pop. like y2k pop with R&B leanings. Britney Spears, Christina Aguilera, Beyonce, etc. you get the idea

-but after training under Tsundae she picks up rock. starts with some classic rock at first, then slowly progresses.

-this girl loves Metallica and Black Sabbath. she just loves rock. Zeppelin, AC/DC, Five Finger Death Punch. All of it. I will not be taking any criticism.

-windows down in the car, headbanging always.

Kakashi

-this one is a little difficult to nail down

-a part of me just wants to throw him in the pool of doesn't really care and will listen to anything

-i think he’s got a different playlist for every mood

-R&B sexy playlist with the Weeknd and some Justin Timberlake (yes he thinks that's sexy), soft sad boy hours playlist with Post Malone and Russ, a party mix with some your standard frat boy bops.

-overall, he listens to a lot of popular music

Yamato/Tenzou

-another tough one to nail down!!!

-i truly think Yamato is a man of all tastes as well

-however.... i get country music vibes???

-not like new, pop, country. but the classics. Johnny Cash, Willie Nelson, Dolly Parton.

-he also likes jazz! and big band/swing. Frank Sinatra, Dean Martin. What i would refer to as whiskey drinkin music. kinda classy and fun

Sai

-girl

-i truly do not know

-the man is an enigma

-i think once he joins team 7 and kinda strays away from the foundation he’s gonna be all about trying new stuff

-so one day he’s listening to Taylor Swift and Ed Sheeran and Ariana Grande. Radio pop, entry level shit

-and the next time you see him its songs he heard on tiktok exclusively

-eventually he’s down a rabbit hole, consuming music in mass quantities and he’s into Crystal Castles and Grimes. Then next week its Tupac and Notorious B.I.G. Then it’s Judas Priest and Guns N Rose.

-everyone just gives up trying to keep track

Shikamaru

-oh its male manipulator music ALLLL DAY

-tame impala, mac demarco, the front bottoms, arctic monkeys, modern baseball, the smiths

-you get the idea

-dont necessarily think he's the ‘male manipulator’ type but he’s def the edgy smoking cigs and listening for the lyrics type

-i don't have to go into detail here you know I'm right

Ino

-see, her and Sakura go down similar paths

-she started off with the y2k bubblegum pop phase but her progression is a little more understandable

-shes your typical indie (except they aren't really indie) pop darling. Lana Del Rey, Lorde, Marina and Diamonds, Melanie Martinez, the 1975.

-what I'm saying is she was definitely on tumblr in 2014 and just never moved past that phase (did any of us tbh)

-as time goes on though she starts to branch out a lil. loves the mainstream women of rap! Cardi B, Megan thee Stallion, Nicki Minaj, Doja Cat. constantly bopping

Choji

-i couldn't find any gifs of this cutie smiling and that's a crime i want addressed RIGHT NOW

-but music wise?? i mean he’s a sweetheart right?? genuinely likes pop music! Ed Sheeran, Maroon 5, Katy Perry. HUGE Bruno Mars fan surprisingly

-i can see him just bopping his head along to the radio, just vibing and not being picky. loves a good ballad. Sam Smith, John Legend.

-hes just having a good time

Hinata

-queen of yearning and pining

-girl in red, mitski, HOZIER

-i feel like her playlist just looks like someone let a closeted queer girl put it together

-ABBA, St. Vincent, Florence + the Machine

-also just soft pop vibes. she’s defo posting sunset videos with the Lumineer’s playing in the background. HEAVY cottage core inspo

Shino

-here is your true emo king

-the trinity of course. P!ATD, MCR, Fallout Boy

-then Twenty One Pilots, Paramore, GORRILAZ

-he gives me also like art kid vibes as he gets older? Weezer, Wallows, Cage the Elephant. you know the type

Kiba

-kinda smilar to Naruto tbh

-but it HAS to be FIRE. no sad music! bass turned up and LOUD always

-i feel like he even went through a dubstep phase.

-hes the guy in the mcdonalds drive thru ‘you know what I'm here for’ *blasts Sicko Mode*

-some stand out faves are Travis Scott, Tyler, the Creator, Kendrick Lamar, Freddie Dredd

-he’s actually pretty cool tbh

Rock Lee

-yall ever been to a football game and they play the same hype songs over and over? ever seen a workout montage in an 80s movie?

-thats this boy. he’s just constantly listening to workout playlists. Eye of the Tiger, Livin’ on a Prayer, Welcome to the Jungle

-outside of that, i would think some of his favorite artists would be things Gai would listen to. Billy Joel, Bon Jovi, the BEASTIE BOYS, Foreigner, Aerosmith

-what I'm trying to say is he listens to the same music ur dad listens to

Neji

-fucking music SNOB

-’you've probably never heard of them’ headass

-and then its like the strokes or vampire weekend or some shit jfc

-male manipulator music part two but 100% fits the stereotype. hes gonna leave you on read and then cry to the Yeah Yeah Yeahs.

-some standout favorites are the Pixies, Neutral Milk Hotel, alt-J.

-likes some other stuff too. The White Stripes, The Black Keys, some Beck.

-decent taste if he wasn't such an a-hole about it!

Tenten

-ya know what

-hyper pop. 100 gecs, Charli XCX, CMten, SOPHIE, Slayyyter, A.G. Cook.

-i would say she started off kinda like Ino, the 2014 tumblr pop stuff

-then that just got to be too boring. so now she's riding the wave of the super new age stuff.

-neji fucking HATES it and grumbles all the time about ‘its just noise, how can you stand that’ and it only makes her like it more.

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redpensandgreenarrows · 6 years

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The Arrow plot twist we never saw coming...

Well, sort of... I believe most in the Arrow fandom knew S8 would most likely be the last season of Arrow, but a shortened season? When was that ever in the cards!? Hello my lovely Arrow fandom friends and followers! I know that it’s been a minute since I’ve been on here - to live blog or otherwise - but real life (aka work life) decided to ramp up in February, and things became a little hectic. So, there’s been no real time to sit and live blog, or write fanfic. Just browse quickly and reblog a few things.

In light of Stephen’s rather unexpected news on FB this afternoon (100% broke down watching him get emotional), I just wanted to write a few things down and share just what this show has done for and meant to me...

I came to Arrow late in the game. I binged watched seasons 1 & 2 right before season 3 started, and quickly found myself immersed in the story and in love with the show! I was excited to see what the future seasons would bring!!

This was right around the time I was figuring out my tumblr page. A college friend of mine knew just how invested I can get in shows/movies/fandom and suggested that I should join tumblr; I would love it. However... for the life of me I couldn’t figure out what the hell tumblr was, I just didn’t get it. Arrow changed that for me. When I became a part of the Arrow fandom something finally clicked. And it only got better from there...

~ I finally had a new ship! While I may have many “minor” ships, there are only a few that really grab a hold of me and I invest my time in. Sarah and Jareth from Labyrinth were my first. They brought me to fandom and fanfiction; however, Olicity renewed my love and desire to be involved in it. Thanks to the amazing Olicity fanfic that was already out there, I had plot bunnies popping out of burrows for the first time in years! And with some gentle urging from @skcolicity - the first person I had the courage to talk to in the fandom - I wrote and posted my first fanfic in ages!

Olicity felt real and grounded (for the most part, ha!). They were a TV couple that felt relatable. It appeared new and exciting, something that really hadn’t be done on a TV show yet. Or, at least in one that I watched. I was so happy to be ficcing and shipping again!

~ I have friends! In 2014, when S3 started, I was only 2 years into this post-college life called the “Real World”. I was in a new city, family and friends were miles away, and I was adulting all on my own. Pretty much the only friends I had were co-works, and while I have some great work friends, I felt limited in my social life. I had no idea to branch out. But thanks to Arrow, that all changed!

I gained internet friends, and it was so nice to talk (and squee) about something that didn’t involve what I did for a living! @arrow-through-my-writers-block and @hopedreamlovepray were two of my first fanfic author crushes. Their works inspired my own writing, and luckily they both became two of my closest fandom friends. (Ladies, I love you both <3.)

Next was taking the plunge and meeting some fandom friends in real life! This led me to @jedichick04 and @mel-loves-all. These ladies changed my life, and they probably don’t even realize it. Because, taking that plunge to meet them was the best decision I could have made. My list of internet-to-real life friends only grew from there:

@ireland1733, @scu11y22, @laurabelle2930, @emmilynestill, @smoakingbabbles, @lyricalarrow, Kai, Meg, and Brittany. All of you are blessings in my life, and I am so happy to have met you, and gotten to know you. *MUAH*

~ I went to a con! The idea of SDCC has always seemed like a pipe dream to me. If I ever get to go, that would be awesome, but I’m not going to hold my breath. However, I did get a chance to do the thing were you meet the people from the show(s) that you love, take pictures with them, get autographs, hear stories, and gain so many memories! Attending HVFF (two years in a row!) was such an amazing experience. I’ve written about them here on my blog, and both years were such a blast! I know I never would have gone if it wasn’t for Arrow...

I know this (suddenly longer that I anticipated) post seems like a “goodbye”, but I promise you I’m not going anywhere! Arrow may be ending next year, but not my time in this fandom! I plan to keep writing for Olicity when to muse strikes, and I certainly plan to continue being involved in the Arrow/Olicity fandom here on tumblr.

I just wanted to express my gratitude for a show that has come to mean more to me than I ever expected. Arrow has had it’s ups and downs throughout the years, but this fandom has always been there and it has been such a joy. Now before I wrap this up, just a couple more things...

@dust2dust34, @anthfan, @so-caffeinated, @millennialfangirl, @supersillyanddorky06, @bytemegeekette, @effie214, @sentence-fragments, @jsevick, @sophie1973, @tinaday3w, @deadlybingo, @yet-i-remain-quiet, @smoakmonster, @realityisoverrated-fic, and @mogirl97 thank you for your fic, your art, and your contributions to the Arrow and Olicity fandoms. But most importantly thank you for your friendship <3. You’ve made this fandom such an awesome place to be.

The above list and anyone else tagged in this post is by no means a complete list of who I want to give a shoutout to. I know I’m missing/forgetting people and I am so so sorry!!! But please know if you follow me, if we’ve had an interaction of any kind: you are awesome, thank you for being a part of this awesome fandom, and all my love to you guys!!

Arrow fandom: you are my always! Cheers!

#arrow #arrow fandom #olicity #the lobsters #otp: you are my always #the beginning of the end #what a wild ride it's been #thank you

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thearkhound · 5 years

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CGWorld: Metal Gear Survive interview

The following is a translation of an interview with Konami developers Mineshi Kimura and Noriaki Yamamoto that was published by the Japanese website CG World Entry on February 21, 2018. While this article mainly serves as a promotional piece for Metal Gear Survive, it actually covers quite bit of Metal Gear Solid V too and even briefly touches upon on Mr. Yamamoto’s work as a pixel artist for the Castlevania games released on the Nintendo DS. This was actually the fourth in a series of articles published by CG World aimed at CGI artists hoping to join the video game industry, with previous entries focusing other games and companies such as Dark Souls III by FromSoftware and Monster Hunter World by Capcom. I might translate those too in the future.

The original Japanese article can be read at the following page:

https://entry.cgworld.jp/column/post/201802-c-konami.html

Profiles

Mineshi Kimura - Project Manager. Joined Konami in 1997 after graduating in graphic designs from the Tama University. He has been involved in the mecha and graphic production of the Metal Gear franchise from the original Metal Gear Solid (1998) up to Metal Gear Solid V: The Phantom Pain (2015). He served as project manager in Metal Gear Survive (2018).

Noriaki Yamamoto - Graduated from the Department of Mechanical Engineering in the Tokyo University of Science in 1997. Joined the Konami School in 1999. He was involved with the Castlevania series, creating pixel art for characters, weapons and icons, up until Castlevania: Order of Ecclessia (2008). He was involved in the modelling and designing of weapons and mecha in titles such as Neo Contra (2004), Metal Gear Solid V: Ground Zeroes (2014), Metal Gear Solid V: The Phantom Pain (2015) and Metal Gear Survive (2018).

Konami Digital Entertainment - The digital entertainment subsidiary of Konami Holdings (itself, originally established in 1973 as Konami Industry) which branched off in 2006. They are involved in the planning, production, manufacturing and sales of console games, mobile games and card games. Currently headquartered in Minato, Tokyo.

Metal Gear Survive - The latest installment of the Metal Gear series, released on February 21, 2018. A spinoff of Metal Gear Solid V: The Phantom Pain (2015) that reconstructs it as a survival game while retaining its high sense of action. We’ll be covering the designs and modelling of the mechas and weapons that appear in the game during the latter half of this article.

Determining the Designs and Coloring of a Character

First of all, can you please tell us about your career up to this point and your current employment

Kimura: I’ve learned graphic design from the Tama Art University and then I’ve joined Konami in 1997. Since then I’ve been involved with the making of the mechs and scenery for the Metal Gear series. From Metal Gear Survive and onward I’ve been mostly in charge of project management, leaving the creative process to other people, starting with Yamamoto. My job is to support everyone else on their work.

Yamamoto: After studying mechanical engineering at the Tokyo University of Science, I studied 3D CGI and game development at the Konami School, joining the company in 1999. I was in charge of drawing pixel art for the characters, weapons and icons in the Castlevania series until 2008 and I was also in charge of designing and modelling the mecha in Neo Contra, which was released in 2004. I’ve been in charged of modelling and designing the weapons and mecha of the Metal Gear series after being assigned to the Metal Gear Solid V project. There are also many setups that I use myself. The tools that I use include Maya, SoftImage, ZBrush, Substance Painter and Photoshop.

Kimura: Since Yamamoto’s specialty is mecha, I think the content of what we will be talking will fall out of the scope of this article series. Nevertheless, Yamamoto was in charge of the modelling of Metal Gear Sahelanthropus, the leading mecha of Metal Gear Solid V: The Phantom Pain. He started with the idea of wanting to transform it. Therefore, we have many stories that could be helpful to those who want to create a robot.

We’ll look forward to it. It’s pretty unusual for an artist to had majored in mechanical engineering, but it seems to be advantageous when it comes to designing mechas. But before you tell us about Sahelanthropus, can you talk about your involvement with the Castlevania series? We would like to cover your work, from the past to the present, in chronological order.

Yamamoto: I did the pixel art for characters, weapons and icons featured in Dawn of Sorrow (2005), Portrait of Ruin (2006) and Order of Ecclesia (2008). In this case, we would designed the characters in pixel art first and then we would ask the illustrators to draw detailed designs and artwork for the characters.

You mean the pixel art was done before the official art?

Yamamoto: That’s right. Since these are video game characters, we prioritize their visibility while moving on-screen when it comes to deciding their designs and color schemes. We actually implemented the pixel art in the actual game, refining it to perfection while checking out its visibility while moving.

Pixel art for various Castlevania protagonists. From left to right: Soma Cruz from Dawn of Sorrow, Jonathan Morris and Charlotte Aulin from Portrait of Ruin, and Shanoa from Order of Ecclesia. Each character has a design and a color scheme that helped emphasize its visibility on-screen. In the case of Soma for example, white was chosen due to how it’s easy to view on the dark LCD screen used by the portable game machines at the time. Jonathan and Charlotte appear and fight on-screen as a pair, so they were color-coded to make them distinguishable.

Official art of the same characters from the 2010 gameCastlevania: Harmony of Despair. The official art was based on the existing pixel art.

Designing Mecha Like It’s A Toy

Can you tell us the circumstances that led you to propose a transformation gimmick to Sahelanthropus?

Yamamoto: I was assigned to the Metal Gear Rising: Revengeance (2013) project during the middle of its development. Because of that I wasn’t assigned on any of the large mechas, but I was devising mechanisms for even the smallest things with the aim of high quality. After that I was assigned to the Metal Gear Solid V project and was put in charge of modelling the Sahelanthropus, and I think that’s when the opporunity presented itself.

So the evaluation of your previous work had a great impact on your next one.

Yamamoto: Not only that, but it also helped in clarifying what I like to work on everyday. If you keep going on and on, you will eventually find work that you will want to do. I think everyone likes to leave the most important work to someone who likes it and knows it well.

Kimura: Yamamoto’s specialty is plastic models. He’s always building one. Moreover, since he majored in mechanical engineering in college, his love for mecha and engineering oozes in his work.

Yamamoto: I’ve been building models since childhood and I like transforming mecha, so I often thought about their gimmicks. When I started drawing in 3D CGI, I started making such gimmicks myself and began appreciating mecha even more. I was pretty glad when they put me in charge of Sahelanthropus. Because it was the most prominent mecha, I did my best without holding back.

Design illustration of the Sahelanthropus drawn for Metal Gear Solid V.

The 3DCGI model of the Sahelanthropus. Initially it only had the upright bipedal form on the left, but the ability to transform into the Rex-like form on the right was added thanks to Yamamoto’s proposal.

Yamamoto: Ever since I first saw the design of Sahelanthropus, I wanted it to transform into a shape similar to Metal Gear Rex (the mecha from the original Metal Gear Solid). I have a personal passion for Rex and I’m sure many fans of the series feel the same way. While Sahelanthropus was almost unchanged from its original design, we thought of adding a gimmick that allowed it to transform into Rex forum and experimented with a rough a 3D model. The transformation gimmick was well-received, so we were able to adopt it without any issue.

That specifcation change must have had a significant effect on the game.

Yamamoto: We were able to get such proposal accepted since we were involved with the Metal Gear Solid V project from the very beginning. When it gets to the stage of having to come up with the details, we designed it under the assumption that it will be turned into a toy such as a figure or a plastic model, so we make sure that the individual parts will operate without interfering with each other. As a result, the transformation can now occur within the game without the individual 3DCG parts having to overlap with each other. My experience with plastic models helped me in this regard. Because the gimmick with knee is quite complex, I thought it would’ve been impossible to reproduce without metal parts, so I was surprised when the official toy ended up using actual metal parts.

Kimura: I think it’s a great benefit to have the intuition of knowing how to adapt it into a toy. Moreover, I think it’s wonderful that we could add our own original ideas such as wanting a transformation gimmick and not just do what we’re told to do.

The transformation process of Sahelanthropus. “I thought a transformation might be possible if you can somehow manage with the dexterity of its upright form, but I what I actually struggled with was the transformation of its feet.” says Yamamoto. “The actual Metal Gear Rex has so-called ‘reverse joints’ for its feet and I was asked to reproduce in Sahelanthropus’ second form. But if we reproduce it too closely, we cannot used the same rig as its standard form, so we solved this issue by making the knees double-jointed.” Kimura added “Using the same rig consistently will make it easier for the animator to work with. When making a character during game development in this matter, it is necessary to consider points such as whether the thing will collapse if another rig is added or if there will be any issue if more animation is added.”

Sahelanthropus, as it appears in the game.

Making Things Without The Knowledge

Can you tell us about other things that Mr. Yamamoto was assigned to while working on Metal Gear Solid V?

Kimura: From Metal Gear Solid V and onward, we’ve been designing all the mechas that appear in the game. Yamamoto in particular was in charge of designinf the tanks and jets, as well as modelling the Walker Gears. Although the Walker Gears are an original design, we aimed for a sense of a realism that wouldn’t make them stand out too much from real weapons, so we came up with a design that matches the historical background of the 1970′s and 1980′s by researching weapons used by actual military during that period. We followed that same process when designing the wardrobe and props used by characters. If someone without the knowledge ended up coming up with the designs, they might look cool at a glance, but they’ll lack sense of realism, so it’s not a job you could just give to anyone.

Yamamoto: Since weapons are industrial product, each part has its significance and its purpose. It’s essential for the manufacturing to have good productivity. You design while thinking whether this part will be designed by pressing, welding or minting. Good maintainability, such as whether they can be easily removed with bolts, is also important.

It seems that the setting verification and investigation during the prior stage takes a lot more work than the actual designing and modelling.

Yamamoto: The work itself is not all that time consuming. Given that we model each part one by one, research how the paint scrapes off and how it gets dirtied, and then try to reproduce that, that’s what actually takes our time. (laughs)

How long does it take to build just one mecha?

Yamamoto: It depends on the model. Some will take around two weeks, while others will take more than a month. If there are elements that affect the gameplay, then further validation and adjustments might be required. For example, if someone order us to have a vehicle that shoots long-range missiles, then a 3D model will be implemented in-game, actually move it, verify it, and make any necessary adjustments.’’

Many of the vehicles shown here were designed by Mr. Yamamoto.

A couple of tanks designed by Mr. Yamamoto.

A fighter jet that Yamamoto was in charge of designing. “One of the methods of designing an aircraft is called the ‘area rule’.” says Mr. Yamamoto. “It states that shortening the cross-sectional area reduces air resistance. Many real-life fighter jets are designed based on this rule. By applying the same rule to the fighter jets we design for the game, our sense of realism is improved.” The jet’s design follows the area rule such as the main wings having a small fuselage in order to enlarge the cross-sectional area or shifting the position of the vertical and horizontal tails. Such attention to detail reinforces the sense of realism in the game.

D-Walker, a Walker Gear used specifically by Snake.

D-Walker, as it appears in the game.

Working With Partner Companies

What kind of work did you do in Metal Gear Survive?

Yamamoto: In addition to designing and modelling the weapons and mecha, several 3D models were also outsourced to partner companies. In past, when we outsourced some models for another project, parts of my instructions were unclear and the resulting 3D model was very different from what I’ve conceived in my mind. Based on that reflection, this time we started by making a rough 3D model, implemented into the game, and verify if it doesn’t feel out of place even while moving. After that, we create a design sketch and sent it to our partner company along with the previously-created 3D model.

Concept drawings of the JET Hammer designed by Yamamoto. “We render the outline only as a rough 3D model and then we draw over it using Photoshop” says Yamamoto. “I was conscious of how mechanism would actually work and the realism in the composition of parts. I think we came up with a unique item thanks to that.”

A CGI model of the JET Hammer developed by an external company based on the prior image.

Kimura: Our work is practically done when creating the design drawing. (bitter smile) I think Yamamoto’s responsibilities were pretty large, since the instructions I gave him were quite detailed. But it was because of that we’ve been able to come up with 3D models with a higher degree of perfection than ever before. Some of them were approved the first time, which was quite surprising. Prior to that, we usually redid the models at least twice.

Yamamoto: I believe our partners were able to concentrate on improving the quality thanks to the fact that they were not lost when it came to the shapes, sizes and structures. It might seem done at that point, but there’s actually a lot more work to be done afterward such as making the vertices of the polygons suitable for the game, creating various textures and adjusting the shaders.

Does the number of polygons change from the rough shape?

Yamamoto: It depends on the game’s specifications. Sometimes the number of polygons remains almost the same, but sometimes the number might increase or reduce greatly.

Concept art of the wormhole transporter constructed by Yamamoto. “I’ve ordered a design from somebody else, but it wouldn’t hold up together completely, so I’ve decided to redid the design myself” says Yamamoto. “The final design matches the game’s specifications, such as attaching an energy unit that shows its working status or having pole-shaped lights that can be seen from a distance.”

CGI model of the wormhole transporter outsourced to a partner company.

Kimura: While implementing a 3D model into the game, Yamamoto can talk to the directors and planners of game to find out whether it’s fun or not for the game, or whether they have a good feeling or not. I think that’s his strength.

Yamamoto: There are many things that must be said such as “I made this kind of gimmick, so this is how I want it to be used in the game”, “I want you to add this kind of sound” or “I made this kind of weapon, so I want it to be used properly.” Just passing data around will not get you everything, so we verify things after we implement it and try to explain it afterward.

The JET Hammer and the Wormhole Transporter, as they appeared in the game.

All Actions Will Change When You’re Aware of The Users

Finally, can you tell us about your future aspirations?

Yamamoto: It might be fun if I could be focus entirely on creating 3D models all the time, I can’t actually say that. In the future, I feel it might be necessary to take on a management role and bearing the burden in allowing the younger employees to nurture. You need good developers and a good team in order to make a good game. With that in mind, I’ve been mentoring rookie modellers lately.

In what order would you teach them things?

Yamamoto: First I would teach them how to use the basic tools and how we do things in our company. We cannot proceed if the basic tools are not suitable enough. There are many other things that must be taught, but the most difficulty thing that newcomers must learn is to understand a game’s specification. When it comes to game development, a modeller’s goal isn’t just to model things, but to create a game. You need to create a 3D model while considering how it will make a game fun and whether it will work without failure. If you can understand the setup, the animation and even the players themselves, everything can be changed such as how to deal with things, how you will schedule things and how you create data.

Mr. Yamamoto (left) and Mr. Kimura.

#CGWorld #Konami #Castlevania #Metal Gear #Metal Gear Solid V #Metal Gear Survive

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lokaneiscanon · 5 years

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Mighty Thor in Thor: Love and Thunder rant

Seeing Natalie Portman returning to reprise her role as Jane Foster, nevertheless wielding Mjolnir, finally getting the treatment this character deserves, was surreal to say the least. I had just started reading Lords of Midgard, the 8th issue of Mighty Thor (2015 - 2018), and had fallen in love already. But I didn't suspect at all that Taika Waititi would pull this card in Thor: Love and Thunder, considering Jane was barely mentioned in Ragnarok. The news about my favorite actress portraying one of my favorite characters coming out of the blue - you can imagine the excitement. Alas, I quickly remembered what the fandom thought of that comic (at least on tumblr) and imagined it now growing tenfold, cuz not everyone in the MCU fandom reads comics but pretty much everyone wants to watch another Thor movie. And yes, many fans weren't ready for this step, still recovering from Sam Wilson getting the shield in Endgame. Which is completely fine. We're not obligated to like everything Marvel throws in our faces, we're allowed to criticize and express our opinion on the internet or wherever. What is not okay is mindlessly hating, and even worse - using false facts to support said opinion.

I have seen some people using the argument that it is one of Marvel's worst selling comics. Which has already been proven wrong by multiple sites, including Comichron, just Google it, as I did myself. I read multiple posts, ones saying how good Jane is doing as Thor in sales, others disproving this, so I checked for myself the numbers at the site mentioned above month by month to be sure. The comic truly had its downfalls as the story progressed but in my opinion it's normal for the 1st issue to have more sales than the 21st. If we compare it to Unworthy Thor, which started running a bit later and followed the now unworthy Odinson, the data shows the latter had more sales. But then again, while Might Thor was at its 17th issue, Unworthy Thor was at its 2nd. Also, they later crossed paths, shared comic issues, it's fair to say they go hand in hand and Jason Aaron, the author, probably doesn't want us to compare them, as they complete and compliment each other's stories. Still I decided to check the comic that made Thor unworthy in the first place - Thor: God of Thunder (2012 - 2014), which seemed to me more "comparable" to Might Thor (2015 - 2018). *I keep putting the years it was being released so as to not be confused with previous Mighty Thor issues, whole Odinson was still Thor, please bear with me* So yes, the numbers were pretty close, but from what I saw, Mighty Thor had the upper hand if we compare first issue to first issue and so on. (In defense of Odinson, we have to take into account that this data is only from the US and does not include digital sales. Also, he's been around since the 50s. We could argue Jane was a breath of fresh air that some Marvel fans were indeed ready for. As a non-American, and also a person without a hint of knowledge in economics I cannot take into account inflation and whatever else has prevented or enabled Americans to get their hands on the comics or has affected prizes through the years. Bear that in mind.) Moreover, from what I saw on Comichron, both comics had much competition - God of thunder was released along with Avengers vs the X-men, the Uncanny X-men, pretty popular at the time, and the Goddess of Thunder faced Civil War 2 and DC Universe Rebirth (yes, DC is in the game too), also dominating with tremendous sales for the longest time. Yet I stick with my original statement - both Thors are valid and shouldn't be put against one another regardless of profit. Because at the end of the day what will matter the most is the story. And boy, what a story it is.

Now, I haven't read the Thor: God of Thunder, but as I was doing research I found one very well written summary and explanation of Thor's arc and his becoming unworthy and I will post a link below, because I honestly feel I wouldn't be doing this comic a favor by describing it without having read it. Which I plan to do in the future, tbh. It's a fantastic prelude to the Mighty Thor (2015 - 2018) that I've come to love. First, I'd like to ask you all to stop hating on the comic without having read it first. It doesn't make any sense and being petty for the sake of being petty won't benefit neither you, nor anyone, really. Now, about the comic itself - the art is magnificent. It's just gorgeous. Mighty Thor isn't , thank all the gods, sexualized, she is pretty buffed and generally looks like a warrior. As it is with the other characters, I dare say. The background truly captures the essence of every world Jane finds herself on. Action scenes are just the right amount and balanced with dialogue well. On a side note, it's pretty funny to read/listen to in your head the Shakespearean English cursive in which Jane talks as Thor. The plot line branches beyond this comic, starting from Thor: God of Thunder and leading to the War of Realms. And it is elaborately built in every issue. You don't know what to expect, yet it makes sense when it happens. Which leads me to the characterizations. My God, what a treat Loki is in this. Clearly, my opinion is kinda biased, since he's my favorite character, but you never know which side he's on. What his motivations are. And it just feels so... Loki. His writing is brilliant. Almost makes me forget what the MCU did to him. Also, he gets some daddy time with Laufey (not as kinky as I make it sound). Frigga/Freyja is just as awesome as in the MCU, even more, at least in the comics she calls Odin out on his shit, who btw is I guess an asshole in every version and universe. Malekith, the main villain, is unbearably despicable, I want to tear every page he is on. He really was mishandled in the Dark World, if you want some true action with the dark elves, you are welcome to enjoy. I saved the best for the end - Jane Foster/ Might Thor. Now, if you think Dr. Foster spends her time boasting about her worthiness and how Odinson is just called Thor, but she is Mighty Thor, you are horribly wrong. She just... does her job. Because the hammer chose her. Because there's no one else to do so. That's it. If you think there's some feminism involved, yes, there sure is, but it certainly isn't the reason Jane became Thor in the first place. It was not the creators going SJW because it's trendy, as such a mindset is honestly offensive to any descent creator with any self respect, but a well thought out story arc, which, I repeat, you have to read the comic to understand. Jane is not at all whiny about the hate she gets in-universe, not only from foes like Odin and who-not, but from Shield and generally people whose asses she's saving. Her having cancer is not something they pulled to provoke sympathy and make her look like a victim - on the contrary, she is a damn hero and a victor. I don't want to give out spoilers, but her being Thor is actually a giant sacrifice that no one really appreciates (both in-universe and in the fandom). She is not Thor to prove she can be, or just to prove "women can be heroes" - she doesn't have to. She is simply needed by the realms and so she does her job, even though she is called a thief, persecuted and generally hated. All that matters is that the hammer finds her worthy - the beauty and simplicity of that fact you will find out, for the last time, if you read the comic.

I'm not making you read the comic or watch Thor: Love and Thunder. I myself don't know what to make of this film yet because there's barely any information about it. I only know it will be based on the comic so that's a reason for my hopes to be up already. On the other hand, since I didn't like Loki's characterization in Ragnarok, I'm not sure what to expect from Taika. There are valid reasons to not like the idea of Jane returning to the MCU as Thor, which you are entitled to. However, reasons such as "why does everything have to be political these days" are not. Because if I had to make a list of everything politically related in the MCU, it would take forever. Steve Rogers kills nazis is the most blatant example. Make of it what you want. But I think we're far enough into the 21st century to realize art and real life are not that separable. It's undeniable that art affects people and that is to say, people everywhere. And they all have different opinions and aren't gonna like everything media is offering to them. And I wish I could simply tell you not to watch the movie but I'm a Marvel fan too and I understand that I can't just take away Thor from you because I want Mighty Thor as well. But none of us can stop Marvel from producing it. So, to quote an image I saw recently, I don't know how to explain to you that you should care about other people. Let the rest of the fandom enjoy what they want to enjoy. Yes, ik I can play around with the tags and avoid posts that unnerve me but, for example, I'm looking up Mighty Thor fanart, which obviously isn't anti-Mighty Thor, yet I get attacked in the comics for anticipating a movie that doesn't even have a full cast yet. Ik I'm not asking for too much when I wish to get the same internet experience (not only tumblr, but also insta, YouTube, Twitter, any site) as the Thor Odison fans, for example. I'm aware I cannot stop all the toxic fans and the trolls but I hope this post has inspired those of you who simply can't envision Jane as Thor, or don't like Natalie Portman in the role, or whatever eles personal preference that doesn't involve political issues and isn't harmful to the community, not to attack every post on your dash with hate. The movie is called LOVE and Thunder, for God's sake. (on a side note, is a franchise that is too afraid to show LGBT characters for more than 1 minute so as to not lose profit from China, THAT politically correct)

Anyway, that was a veeeery long rant, sorry to whoever reads this but, like, please, I put effort into this, hoping this time around I won't be the only positive reviewer of a movie, like I was with Solo: a Star Wars story (yes, I'm still bitter about this), which was boycotted for no apparent reason but was a decent film in reality, and I'm only bringing it up because it has a similar experience to Love and Thunder for getting hate before even being released. I'm not defending a billion dollar company that flopped in box office once, I'm defending the viewer's right to media they are interested in. If you don't like the character, remember - that's your opinion, not a fact that the character sucks. Kudos.

Not very easy to navigate, I advice you to do the research month by month individually for comics you'd like to compare. Also, if you happen to find more reliable data, pls say so in the comments.

Here you have the summary and explanation of the greatness of Thor: God of Thunder, Jesus, I'll go bankrupt if I buy this one too.

youtube

Yes, I want to end the sales dispute once and for all, I'm tired of seeing it on my dash. This guy probably explains it better than I did.

@awesomejenlawrence you said you'd like to read this and I delivered

#natalie portman #mighty thor #marvel #mcu #mcu phase 4 #jane foster #thor odinson #loki #taika waititi #chris hemsworth #thor love and thunder #thor god of thunder #jason aaron #my thoughts #my rants #positivemindset #lovewins

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kellyvela · 7 years

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THE STARKS ARE THE HEART

Everything started with THE STARKS:

RS: You've talked before about the original glimpse of the story you had for what became A Song of Ice and Fire: a spontaneous vision in your mind of a boy witnessing a beheading, then finding direwolves in the snow. That's an interesting genesis.

GRRM: It was the summer of 1991. I was still involved in Hollywood. My agent was trying to get me meetings to pitch my ideas, but I didn't have anything to do in May and June. It had been years since I wrote a novel. I had an idea for a science-fiction novel called Avalon. I started work on it and it was going pretty good, when suddenly it just came to me, this scene, from what would ultimately be the first chapter of A Game of Thrones. It's from Bran's viewpoint; they see a man beheaded and they find some direwolf pups in the snow. It just came to me so strongly and vividly that I knew I had to write it. I sat down to write, and in, like, three days it just came right out of me, almost in the form you've read.

—Rolling Stone 2014

But what about the dragons?

Meduza: The world of “Game of Thrones” is very convincing and very realistic, so why did you decide to bring magic into this world? Did it need walking corpses and dragons? What prompted you, as the writer, to introduce magical elements?

GRRM: I did consider in the very early stages not having the dragons in there. I wanted the Targaryen’s symbol to be the dragons, but I did play with the notion that maybe it was like a psionic power, that it was pyrokinesis — that they could conjure up flames with their minds. I went back and forth. My friend and fellow fantasy writer Phyllis Eisenstein actually was the one who convinced me to put the dragons in, and I dedicated the third book to her. And I think it was the right call. Phyllis, by the way, is distantly related to your Eisenstein, the maker of the great Russian films, “Battleship Potemkin” and “Alexander Nevsky.”

—Meduza 2017

THE STARKS are the center of the story:

Collider: In creating this world, did you start out with one family and then branch off into the rest of the world?

GRRM: Well, the Starks are certainly the center of the story, when it begins. It all begins at Winterfell, with occasional cuts to Daenerys across the ocean, because there was no way I could get her into Winterfell. But, we bring all the characters together at Winterfell, and they’re all there for a while before they start to go their separate ways. By the time you’re done with the first book, pretty much all of them have gone their separate ways. There are no two characters together anymore. From that point forward, the story spreads and grows progressively larger. I also introduce more characters, players and factions, in later books, to thicken the plot a little more. But, the Starks are the center of the book and, to a lesser extent, the Lannisters. They are still the major players. I write from this tight third-person viewpoint, where each chapter is seen through the eyes of one individual character. When I’m writing that character, I become that character and identify with that character. So, when I’m writing a Tyrion chapter, I’m in love with Tyrion. And then, when I switch to Jon Snow, I’m in love with him. Same with Daenerys. Even the characters who are perhaps not the nicest people in the world, and who are deeply flawed and might even be considered villains, if I am writing from their viewpoint, I have to identify with them. Nobody is a villain in their own story. We’re all the heroes of our own stories. So, when I am inside the head of a character who would otherwise be considered a villain, I have a great deal of affection for that character and I’m trying to see the world and the events through their eyes.

—Collider 2011

THE STARKS were always at the heart of this, always very central:

Collider: When you went into this, did you intentionally take the children, put them in an adult setting and force them to be in very adult and complex situations?

GRRM: Yeah, the children were always at the heart of this. The Stark children, in particular, were always very central. Bran is the first viewpoint character that we meet, and then we meet Jon and Sansa and Arya and the rest of them. It was always my intention to do that. As for the harshness, the whole series is harsh. My inspiration have grown, not only from Tolkien, but also from history and historical fiction. I tried to blend some of the tropes and traditions of fantasy with those of historical fiction, while doing this. If you read about the real Middle Ages, as I do all the time, it was a brutal time for everybody – for men, women and children. Children weren’t sentimentalized, the way they are today. They were frequently made to work, from a very early age. They were taken into battle. Boys become pages and then squires. You’re riding into battle with your knight, as a 12-year-old squire, but you’re there, and people are hacking at you with swords and shooting at you with arrows. You’re not at home, being protected. It was a different age with a different mind-set. I did want to reflect that.

—Collider 2011

But what about Jon and Dany?

RS: Given the complexity of A Song of Ice and Fire, did you have concerns over how faithfully it could work onscreen?

GRRM: (...) Some people I met thought we have to find the story’s through line. Who’s the important character? Somebody thought that Dany’s the important character – cut away everybody else, tell the story of Dany. Or Jon Snow. Those were the two most popular characters to build everything around, except you’re losing 90 percent of the story.

—Rollingstone 2014

Time: It must have been a leap to allow this adaptation to happen, knowing it could never be as internal as a novel could.

GRRM: (...) I had a number of meetings long before David and Dan, with people who said this is the next Lord of the Rings franchise. But they couldn’t get a handle on the size of the material, the very thing that I set out to do. I had all these meetings saying, “There’s too many characters, it’s too big — Jon Snow is the central character. We’ll eliminate all the other characters and we’ll make it about Jon Snow.” Or “Daenerys is the central character. We’ll eliminate everyone else and make the movie about Daenerys.” And I turned down all those deals.

—Time Magazine 2017

THE STARKS are the heroes:

SI: What about the families: Are the Starks, say, the Green Bay Packers?

GRRM: Whenever I propose analogies like that, fans jump in with their own ideas, but it depends on what team you root for. To me, the Starks are heroes, so they would be the Giants.

—Sports Illustrated - 2014

But what about the Targaryens? Isn't Dany the hero?

Question: Why do you think the political institutions in the Seven Kingdoms are so weak?

GRRM: The Kingdom was unified with dragons, so the Targaryen's flaw was to create an absolute monarchy highly dependent on them, with the small council not designed to be a real check and balance. So, without dragons it took a sneeze, a wildly incompetent and megalomaniac king, a love struck prince, a brutal civil war, a dissolute king that didn't really know what to do with the throne and then chaos.

—Fan Chat in Guadalajara, México 2016

Vulture: When civilizations clash in your books, instead of Guns, Germs, and Steel, maybe it’s more like Dragons, Magic, and Steel (and also Germs).

GRRM: There is magic in my universe, but it’s pretty low magic compared to other fantasies.

Dragons are the nuclear deterrent, and only Dany has them, which in some ways makes her the most powerful person in the world. But is that sufficient? These are the kind of issues I’m trying to explore. The United States right now has the ability to destroy the world with our nuclear arsenal, but that doesn’t mean we can achieve specific geopolitical goals.

Power is more subtle than that. You can have the power to destroy, but it doesn’t give you the power to reform, or improve, or build.

—Vulture 2014

THE STARKS are a huge part of the story, the central part:

The kids [Sansa, Arya, and Bran] are a huge part of the story, in many ways the central part of the story. And I always intended to separate them and set them on their own paths.

—GRRM, Inside HBO’s Game of Thrones: Seasons 1 & 2 - [x]

(...) And no, before someone asks, I had no idea when this all started where it would lead... or how long the road would be. That picture of me up above was taken in 1995 in Scotland, after I'd signed the contracts for the first three books but before I'd delivered any of them. Back then, I'd thought the whole story could be told in three books, and that it would take me three years to write them, a year per book. That picture was taken just a few weeks after I blew my first (bot not my last, oh no) deadline on the series. Ah, how innocent I was... little did that guy in the picture imagine that he would be spending most of the next two decades in the Seven Kingdoms of Westeros with Tyrion, Daenerys, Arya, Sansa, Jon Snow, Bran, and all the rest.

—Not A Blog 2016

But Sansa is not part of the “five central characters” in the original outline

(...) George said he was "pissed" that the outline was posted in the office building and that someone took photos and shared them. He said it was a letter for him and the publisher only. He was very firm when telling this and it showed on his face.

He then said that he is not good with writing outlines, making book deadlines, and that often in outlines he was "making shit up", and "characters changed along the way".

—Balticon Report 2016

—Not A Blog 2011

#GRRM #ASOIAF #GAME OF THRONES #Sansa Stark #Jon Snow #Arya Stark #Bran Stark

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rugeon · 6 years

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The level design of V&A Design/Play/Disrupt

Recently went to the V&A expo on videogames and thought it might be fun to try and think about it’s ‘level design’. I realise its silly to call it that and is more informed by planning an exhibition/ event planning and architecture, but w/e.

[pictured: how do you Do it?, 2014 - Nina Freeman, Emmett Butler, Decky Coss, and Joni Kittaka]

This is mostly gonna be some simple thoughts on the experience of traversing the space of this exhibition, and how that space is used effectively to create different effects/ experiences, as well as notes on the smarter considerations on how the experience is paced/sequenced.

This warped/truncated/inaccurate/drawn from flawed memory map roughly shows the layout of the V&A expo:

The whole exhibition can be roughly broken up into four fairly distinct parts:

Exhibits of the design of different video games from differently sized studios ~2009 onwards. [blue]

Articles, talking points, video discussions and exhibits of games as part of our broader social context, concerned with violence, gender, sex, sexuality, race, language, protest etc. [orange]

A large video theatre showing some of the communities that form around games. [red]

An arcade showcasing several more experimental games and projects, that is open to free play. [yellow]

DESIGN

When you walk in you are greeted by a huge projector flashing between collages of the various exhibitions and the alternating titles DESIGN, PLAY, DISRUPT.

[pictured slides from Jenny Jiao Hsia’s talk on prototyping to make her game: ‘Consume Me’, 2016]

Seeing this is unavoidable when entering, and it serves as something of a banner to signal the transition into the formal exhibition space. YOU HAVE ENTERED THE WORLD OF THE VIDEO GAMES.

Mapping this first area of the 1. Design section of the exhibit we get something like this:

Note that these numbers are in an arbitrary order of roughly when I encountered them, and are not indicative of density, just general location of possibly several bits of each exhibit. Also this list is not exhaustive, nor is the map strictly accurate, I do not have an eidetic memory, but I do have a notebook and a smartphone.

Design/Play/DIsrupt screen

Large Print Text Binders

‘Journey’ gameplay montage projection

Notebooks, sketches, a headphone + video prototype demo, inspo photos/footage, graph and board of intended player journeys/narrative threads

‘Last of Us’ Dual screen demo showing gameplay and some of the work relevant to make that part of the game happen

Sketches, notebooks, board plotting out story events/setpieces in seasons, film made for atmosphere reference, blue sky concept art, colour scripts

Mocap footage +suit

Matt Lees @jam _sponge describing the anxious, excitable play of ‘Bloodborne’ between 3 screens.

Notebooks, sketches+concept art, level design docs, and SketchUp pics of early levels, headphones to listen to a recording of the soundtrack

Bunch of top designs for ‘Splatoon’

Early Prototype, creature sketches, fashion asset design

Playable prototypes from the making of Consume Me

Notebooks, corkboards, workplace ephemera, unity project demo, headphone + video 40 minute talk on prototypes

Music from ‘Kentucky Route Zero’ / KR0, visual representation of branching dialogue in twine, Margritte’s ‘Spring in the Forest’

Inspirations, typeface considerations, group wiki, twine showcase

Realtime Art Manifesto, Even more notebooks, with sketches and details of designing Tale of Tale’s ‘The Graveyard’

Playable demo of The Graveyard

Bench

Multi-screen montage of generated worlds in ‘No Man’s Sky’

Blueprint tool for spaceships, terrain debug tool, sci-fi inspirations

Visual inspirations

So what are some of the ways we can think about how this expo was laid out?

For a start it’s fairly linear, there are no branching paths at Design/Play/Disrupt, it’d be a layout ill-suited to somewhere like this where there’s a strong desire for the audience to see all the content and assets (the exhibits) and not miss any pieces that time was spent curating. Thankfully unlike some videogames, this linearity is not gated. There are no attendants fiendishly running up behind you and closing doors as you move from one game to another, people might have missed something, or want to visit an earlier piece while friends are preoccupied with something for a little longer.

Exhibits are visited for the most part in a defined order, with some freedom in the Kentucky Route Zero/Graveyard room as well as the Splatoon/Consume Me room. You are encouraged to experience what is on display for each work and are being guided in a deliberate order, as opposed to set loose in an open hall with no boundaries where some attendees might skip or miss a part of the exhibition.

One thing tying sections you can explore or skip is their loose thematic / tonal linking:

To put it another way, there is a good reason that Bloodborne is next to The Last of Us. Both are triple-A big budget, rated 16+, 18+ action games for blood guts and all the cheery stuff. Consume Me and Splatoon work well next to eachother as the cute aesthetic and playable prototypes hanging from the ceiling work well across from Nintendo’s colourful and playful Splatoon. It would be a bit less natural to have the grotesque and rapacious sounds of Bloodborne echoing within the exact same room as Splatoon. I’m not saying any of these works don’t have some commonality beyond the arbitrary border I’ve drawn, but they fit better together.

- Plus this open space invites an atmosphere of play after having just been cramped into two games rooms that feature horror elements

[Pictured: Splatoon’s section, as well as Consume Me minigame prototypes open to play, suspended from the ceiling]

This also showcases another thing about this event applicable to level design: the same space can be made appealing to different types of audiences. This is an exhibit about video games. I’ll admit this is just my gut but I’d be willing to bet that this exhibit is more likely to be attended by parents and their children than it would most other exhibits. I don’t know exactly what the V&A’s idea of the ideal attendant is, and that’s probably owed to the fact that this event catered to lots of different levels of assumed knowledge and engagement with videogames.

Parent’s who might be a little out of touch with mainstream games, are quite likely to have been put off by bringing their kid to something that was entirely wall to wall Bloodborne, Dark Souls and other things as frightening (as much as I personally would have enjoyed that). Standing watching a parent pull their rapt child away from dulcet descriptions of how deadly mistakes are, in the big monster game, the success of the exhibition is apparent; the next room is a bit more targeted towards that kid’s age range (even though they did seem pretty into Bloodborne).

[The concept art from Bloodborne is such a treat]

It’s no surprise as well that the first game is not The Last of Us, but Journey. More people are playing games now than ever but there remains a fair few people who still don’t really know what’s going on in games. As an exhibition that in part is attempting to show the breadth and depth of games being designed, it makes sense that the first introduction to what games are being made is a game without much in the way of traditional combative interaction.

To wafflingly reiterate: the sequence of how things were placed matters: The accessibility options: 2. [Large Print Binders] are available at the start. Benches and places to sit are placed later throughout the exhibit (including rather wittily across from The Graveyard; a game where the entire goal is to make an old woman sit on a bench).

Reinforcing this point of how the same space can be made to cater to different people this event was extremely Multimedia. Explanations of parts each games design process written up, sketchbooks, and lots of different drawings, scrawled graphs, charts and plans. Concept art, drawings. Video of prototypes and animation, Sounds of ‘Long Journey Home’ echoing up the hall, and the omnipresent dread of Matt Lees echoing down, as well as headphones to listen to specific parts of the exhibition that might be less suited to how crowded the soundscape is or be for a more narrow audience (I wonder how many of the attendants listened to all ~40 Minutes of Jenny Jiao Hsia’s talk on prototyping. I did. It was good). Just in this section of the exhibit, there were so many different means of engagement, and they all felt very well matched to the story of each games development that they wanted to tell, while still offering different types of engagement. People can be looking at a video display showing how the layers of environmental concept art become important and manifest in The Last of Us, while someone else is poring over sketches of Ellie’s design.

[Corkboard plotting out events + setpieces across the timeline of The Last of Us]

As an exhibition space, it is made with the fact that multiple people are occupying it at the same time in mind. If something is not available you can engage with something else. And if one type of engagement is not to your tastes there’s a good chance something else will be- not bothered about the wiki used to help the team of KR0 to communicate? Maybe you’ll be more interested in some of Ben Babbit’s sonic improvisations, or the visual inspirations involved in the creation of the game.

There’s more I could talk about wrt this first sections layout of how it winds you around instead of giving you a straightline to the exit, the choice of games playable being fundamentlly simple, an anecdotally sweet image of a child holding the obscenely big original xbox ‘duke controller’ on a pedestal and their dad cradling their hands. But I’ll just leave off this post here for now and maybe continue looking at V&A things and posting about it later.

To be continued..?

#gamedev #design #v and a #heposttoobig

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nonagaye · 7 years

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Important Quotes from GRRM

“Some people I met thought we have to find the story's through line. Who's the important character? Somebody thought that Dany's the important character – cut away everybody else, tell the story of Dany. Or Jon Snow. Those were the two most popular characters to build everything around, except you're losing 90 percent of the story. “ - Rollingstone 2014

“[T]hey couldn’t get a handle on the size of the material, the very thing that I set out to do. I had all these meetings saying, “There’s too many characters, it’s too big — Jon Snow is the central character. We’ll eliminate all the other characters and we’ll make it about Jon Snow.” Or “Daenerys is the central character. We’ll eliminate everyone else and make the movie about Daenerys.” And I turned down all those deals.” -Time Magazine 2017

These two quotes are probably the most important quotes from George because he plainly states that the story is not just about Jon/Dæny. George narrows them down to being only 10% of the story. Are they important? Yes. But so are a host of other characters.

“So all that time I thought Gandalf was dead, and now he’s back and now he’s Gandalf the White. And, ehh, he’s more or less the same as always, except he’s more powerful. It always felt a little bit like a cheat to me. And as I got older and considered it more, it also seemed to me that death doesn’t make you more powerful. That’s, in some ways, me talking to Tolkien in the dialogue, saying, “Yeah, if someone comes back from being dead, especially if they suffer a violent, traumatic death, they’re not going to come back as nice as ever." That’s what I was trying to do, and am still trying to do, with the Lady Stoneheart character.” - Time Magazine, 2017

Death does not make you stronger or nicer. Applying this to Jon, he is not the same and never will be.

“At some points, when [Game of Thrones showrunners David Benioff and Dan Weiss] and I had discussions about what way we should go in, I would always favor sticking with the books, while they would favor making changes,” he said. “I think one of the biggest ones would probably be when they made the decision not to bring Catelyn Stark back as Lady Stoneheart. That was probably the first major diversion of the show from the books and, you know, I argued against that, and David and Dan made that decision.” - Time Magazine, 2017

Leaving Lady Stoneheart out was something George feels is a big mistake, we can assume that Lady Stoneheart is integral to the storyline in the unreleased books.

"It was the summer of 1991. I was still involved in Hollywood. My agent was trying to get me meetings to pitch my ideas, but I didn't have anything to do in May and June. It had been years since I wrote a novel. I had an idea for a science-fiction novel called "Avalon. I started work on it and it was going pretty good, when suddenly it just came to me, this scene, from what would ultimately be the first chapter of A Game of Thrones. It's from Bran's viewpoint; they see a man beheaded and they find some direwolf pups in the snow. It just came to me so strongly and vividly that I knew I had to write it. I sat down to write, and in, like, three days it just came right out of me, almost in the form you've read.”- Rollingstone, 2014

The Starks sparked the idea, and are at the very root of the story, but not the entire story. This also emphasizes that this book is not just about a bastard and dragon. +Bran is important, though the show fails to portray this.

“You have to remember that I started writing this story in 1991 and I first met David and Dan in 2007. I was living with these characters and this world for 16 years before we even started working on the show. They’re pretty fixed in my mind and I’m not going to change anything because of the show, or reaction to the show, or what fans think. I’m just still writing the story that I set out to write in the early 1990s.” - Time Magazine, 2017

Self-explanatory.

"I think there are two types of writers, the architects and the gardeners. The architects plan everything ahead of time, like an architect building a house. They know how many rooms are going to be in the house, what kind of roof they're going to have, where the wires are going to run, what kind of plumbing there's going to be. They have the whole thing designed and blueprinted out before they even nail the first board up."

The gardeners dig a hole, drop in a seed and water it," he told the Guardian. "They kind of know what seed it is, they know if [they] planted a fantasy seed or mystery seed or whatever. But as the plant comes up and they water it, they don't know how many branches it's going to have, they find out as it grows." -2011, The Guardian

“In the case of any of my novels, I know where I’m starting from, I know where I want to end up, more or less,” he said. “I know some of the big turning points along the way, the stuff I’m building for, but you discover an awful lot along the way. Characters rise up and seem more important, and you get to what you’d thought was going to be a big turning point and… the thing you’d thought about two years ago doesn’t really work as well, so you have a better idea! There’s always that process of discovery for me. I know not all writers work that way, but it’s always been the way I work.” -Time Magazine, 2017

Putting these quotes together because they’re implying similar things.

George has a view of where he’s going but that doesn’t mean things can’t be reimagined. For an example, George’s original outline is almost completely different from the books we have now, but a few parts of the outline are still there, but taking shape in different characters.

“I did consider in the very early stages not having the dragons in there. I wanted the Targaryen’s symbol to be the dragons, but I did play with the notion that maybe it was like a psionic power, that it was pyrokinesis — that they could conjure up flames with their minds. I went back and forth. My friend and fellow fantasy writer Phyllis Eisenstein actually was the one who convinced me to put the dragons in, and I dedicated the third book to her. And I think it was the right call.” -2017 Meduza

“In some senses, Theon is struggling all the way through to be a hero. They both come out of the same situation: they’re both raised in Winterfell by Eddard Stark, but they’re not part of the real, core family. Theon is a ward, and Jon Snow is a bastard son. So they’re both a little outside, but Jon handles this successfully, and Theon fails to handle this. He is poisoned by his own envy and his sense of not belonging.” -2017 Meduza

This quote brings the Season 7 scene with Jon and Theon to mind. Theon tells Jon that he always made the right decision, while Theon made the wrong decisions (choosing the Greyjoys over the Stark family that raised him). Jon will make the right decision.

"So many readers were reading the books with so much attention that they were throwing up some theories, and while some of those theories were amusing bulls--- and creative, some of the theories are right. At least one or two readers had put together the extremely subtle and obscure clues that I'd planted in the books and came to the right solution." -The Telegraph, 2014

Extremely Subtle and obscure hints; George’s bittersweet ending will not be predictable. Only a few people have figured out the ending. If your predicted ending involves ultimate good (humans) vs ultimate evil (others), you already lost.

#Jonsa #Jon x Sansa #Game of Thrones #anti-daenerys #GoT #george r.r. martin #quotes #a song of ice and fire #Sansa Stark #Jon Snow #theon greyjoy #starks #lannisters #thronesyall #books #lady stoneheart #Rollingstone #time magazine #nona posts

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flairmagazineblog · 3 years

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Spain To Egypt: Amir Samahy's Take On 'Go! Padel'

Padel has recently emerged as the coolest and rapidly expanding sport on the worldwide stage. The International Padel has grown at an exponential rate from its inception to today. Originally, Enrique Corcuera designed the padel in 1962 at Las Brisas, a villa near Puerto de Acapulco, México. Since then, the padel has expanded internationally to reach all regions of the world, an ideal sport for people of all ages and athletic ability because it is easier to understand and needs technique rather than muscle. Brought to Egypt in 2014 by none other than Amir El Samahy, the founder and sports leading whizz of the Go! Padel Egypt club series. We are thrilled to present to you our chatter with him on his take on Go! Padel, his journey, and ceaseless accomplishments so far.

How did it all start?

It was and still is a long journey. It was never easy at the beginning though, I nearly spent all my savings on the four courts I opened in Katameya Heights. I started in February 2014 in Katameya Heights but after working hard for four years in 2018, one of the biggest sporting clubs in Egypt – Shooting Club – was looking for someone to construct and manage their four courts, Go! Padel won the bid and that was the real boom for Padel in Egypt, when it entered one of the biggest governmental sporting clubs in Egypt.

What is Go! Padel?

Padel is a hybrid of tennis and squash. It is often played in a duo of men or women or mixed doubles on an enclosed court encircled by the glass and steel mashed walls. The court is around one-third the size of a tennis court. The ball can rebound off any barrier, but it can only contact the turf once before returning to the player. When the ball bounces twice in the opponent’s field, points are awarded.

Do you have to practice Padel at an early age?

Padel is a sport that responds to the qualities of its participants and can be done at any age, regardless of whether you are young or daring to start playing it at a later age. It is self-evident. Padel is a sport of balance and instincts, therefore with each practice, you will enhance these characteristics, which will also help you in other parts of your daily life. That is why we always have people who keep coming back to play and inviting new family members and friends to join.

When did Padel become a significant sport in Egypt?

One of the things I studied is the evolution of padel throughout the years, from the late sixties to boom through the nineties. It all started with José María Aznar, a Spanish politician who was the Prime Minister of Spain from 1996 to 2004. He was a padel freak, and hence, eyes were all focused on this sport ever since. Today, Spain has over 26,000 padel courts and still counting. Hence, it started to expand the worldwide nation of all countries. Egypt has on its own 65 padel courts where I own around 70% of the market, so I am extremely happy that a sport like this has reached the eastern region in a short period.

Does it eliminate stress?

Practicing paddling is a great way to unplug from the outer world. There will just be you and your friends here between four walls. Even if the match is with coworkers, the Go! Padel will help you forget about other things and separate from your troubles.

How did you decide that padel was your long-term thing?

Well, long story short – I decided to take on squash professionally after college, so I moved to Spain. It was an epic decision back then since I have always wanted to work in any field related to sports by all means. I had numerous trials to bring it home with me in 2012 but it didn’t work at the time; however, in 2014, I gave it my best shot with Katameya Heights and all puzzles fell into place after ceaseless hard work and immense planning.

Tell us more about the challenges you faced to get and build Go! Padel in Egypt.

The challenges were a handful at first, we are talking about a project that nearly cost a hot 1,600,000 EGP in 2014 which was a huge amount back then. I had to convince my friends to take a chance with me after excessive studying and researching to invest in this project. It didn’t come as easy as one might think. It took six months of learning the highest certificate coaching program ‘National Head Coaching’ in Madrid, managing the sport from A to Z, be it private lessons, building courts, rentals, and more. I also had to convince a major club as Katameya Heights to invest in my vision and it took a while but it paid off eventually. So, it takes belief, hard work, and dedication to make anything successful and most importantly sellable.

You have more than 15 branches all over Egypt, are you considering spreading the sport on a wider scale?

Today, we are invested in continuous competition with the spread of the game. Go! Padel has 15 branches across Egypt. I opt to maintain the quality in each one of them, whether to bring the best coaches, build impeccable courts and provide the best equipment. I aim to put my vision of presenting fun and health in people’s lives into reality and to leave an imprint in the world of sports.

Recount your journey, mentioning who was your support system in such a long and fruitful one?

From a very early age, both my parents encouraged me to play sports, take part in a competitive environment and try new things. without fear or backing up. Once I knew I wanted to put my mind and soul to make Go! Padel happened, they supported the idea with no hesitation or doubts. They knew I had to put nearly all my savings into making that happen; yet, encouraged me to do my part of studying very well and measure the pros and cons of everything beforehand.

Do you want your kids to be active and take on sports as well?

When I first was introduced to the world of sports, fewer families than today have been willing to encourage their kids to invest their time into playing sports. Luckily, my parents were keen on supporting this decision and that is what I am trying to do as a parent now. They don’t have to be champions but they need to be active and aware of their health. They can choose to pursue anything they want, for I will support them and their decisions no matter what. However, like with any sports, practice will help you tone muscles, particularly the legs and glutes, but the arms, waist, and back will also be improved by the many motions required to make the plays and stay fit.

It was just announced that Go! Padel is launching its first women and mixed tournament in the west, in which the tournament will take place from the 24th-26th of June At MALL OF EGYPT. Tell us more details about the tournament and how excited you are about it.

Through the numerous campaigns we are working on, I still have in mind different goals and aspire to reach them. I have endless passion when it comes to spreading the awareness of healthy competitiveness and teamwork today more than ever. Talking parents into allowing their children to be involved in sports and travel with their teams to compete in international tournaments to build their sense of belonging to their homeland is major to me. Making room for women to partake in such a vision is also crucial. The ratio is 8:1 for men to women when it comes to padel in Egypt. That’s why I am so thrilled to have worked on a ‘women’s movement’ initiative to shed light on an important category of society. This tournament and event will highlight the role of women in the sports section.

Why is ‘Spread the Game’ the first women & mixed tournament in the west launched just now even after more than two years of the existence of Go! Padel?

This is a campaign I worked on with the City club to create fifteen locations across Egypt with all of its suburbs. We already constructed and managed the first three courts in Shebin El Kom, Kafr el-sheik, and Tanta.

Spain To Egypt: Amir Samahy’s Take On ‘Go! Padel’ was originally published on FLAIR MAGAZINE

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couldnt-think-of-a-funny-name · 7 years

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Wait what con artist from 2014

I’d like to title this story “Swing And A Miss”

Okay, so my high school had this program where seniors could leave school like a month and a half early and opt out of exams if they took on internships around the neighborhood, but not everyone wanted to/was eligible to do it. Back in like 2013, they had like 15 bored seniors stuck in the school, so the administration brought in this Professional Life Coach, left him in alone in a room with them for two hours to talk to them about like, self-esteem or some shit. All the kids were pulled out of their classes for this*, and later told the administration that they loved him, they really enjoyed the talk.

So, about a year later, we have a new principal. He’s supposed to set up an assembly for all the 11th and 12th graders, but he doesn’t know what to do. One of his coworkers mentions that there was a life coach that was a huge hit with the kids that didn’t do community study last year, so maybe he’d also be great for a larger audience. The principal basically thinks “okay, what the hell” and calls up and hires Jason C. Jean to come talk to the kids.

Now, it’s like, 10:30, maybe 11:00 in the morning, and two entire grades are getting shepherded to the main gymnasium, and no one wants to God damn be there. We ain’t got time for self esteem talks. We want to sleep. And this guy, watching us all drag our feet in and collapse into the bleachers was just like…offensively peppy. There’s a couple faculty members sitting behind him, the woman who suggested he be hired for this, the vice principals for the grades- but the principal himself kept getting calls so he was in and out the whole time.

Now, Mr. Jean was like…the chill “Just call me by my first name dude” history professor at college times 30. He was trying so fucking hard. I’m referring to him as ‘Mr. Jean’ in this story just to be disrespectful. So anyway, we all get in there, and he tells us right off the bat “You guys are totally allowed to be on your phones and laptops during this! I get it! It’s no problem, like really, I insist!” so while the faculty members are exchanging smiles that read ‘how do we kill that while respecting him’, all the kids are immediately pulling out their electronics and he’s starts his speech.

Now, again, I really wanna reiterate that he told us we could be on our phones- because when the news articles started coming out about this, I remember all these angry, annoying comments from old people like “Why the hell were the students on their phones in the first place! So disrespectful! These damn millennials and their social media!” like, they were completely ignoring the entire story and just focusing in on kids using the internet, and it Really Super Pissed Me Off, so. Again, we had permission for this (which also ended up being Mr. Jean’s fatal mistake).

So, he starts off this speech fairly normally, like ‘hi, I’m Jason, I’m a professional life coach and I wanna teach you kids about how to be The Best You!’ and like people were tuning him out and listening to varying degrees. Some kids (like myself) were kinda dozing off, and everyone was on twitter or facebook.

His approach to a self esteem speech seemed to be ‘let me tell you my entire life story for hours’ and like, at first I was like “I’m not really hearing this, I’m half dreaming right now” but the more I started making myself pay attention the more…bizarre and rambling his story got.

So like, for instance, he told us he drank a lot in high school. Like, a lot. But he didn’t use that as a ‘don’t drink or party too hard’ lesson, instead he was like “I was fourteen so I always called my parents to pick me up, and they weren’t mad because they knew it meant I could trust them. So remember, always tell your parents when you’re drinking!” and then it kinda got to a point where it sounded like he was encouraging partying and drinking and the like to the group of underage kids.

And then, he told us how he used to play baseball all the time when he was a kid, and at 16 reached a crossroads in his life where the Phillies wanted to draft him or he could go play football for Penn State. And he said he went with Penn State but later lost the scholarship for some reason and we’re like…really.

There was absolutely nothing coherent about anything he was saying- nothing that tied anything together, made a point, seemed like it had anything to do with an assembly on self esteem. He told us at one point he was making upwards of 7 million a year. He told us one time before college he was homeless. He told us he used to own a construction company and built his own branch of nightclubs himself, that he and his friend then ran. He told us he fought a shark and came out with no scars. He told us that he had less money now, because after surviving a work related accident- direct quote- “I fell almost 30 feet and I broke in half” - he decided to leave that industry and spend more time with his family.

So, yeah, I was pretty positive this was bullshit, but there were clearly kids in the room that were falling for it. But then he said something like…he and his friend got bored one day and started jarring up their own pasta sauce, and made a deal with wegmans or some store like that to start selling it, and now he has a pasta sauce empire. Like he spent 15 fucking minutes on this. The way he kept saying ‘pasta sauce’ was so annoying I was about to claw my ears out. But anyway, two girls in my grade wanted to find out what brand he was talking about, so they googled his name.

And then quietly gasped.

And then furiously started typing into their phones.

And remember- everyone, even though they were paying attention- was on twitter and facebook. All the sudden I see heads flying up and wide eyes and people whispering to each other. Mr. Jean doesn’t seem to notice the change and keeps rambling on, but I know something happened so I google him too and-

Okay so basically he’s 1) been arrested, 2) filed for bankruptcy like three times and 3) has been hailed as a ‘Swinger Guru’ by playboy.

EVERYONES SILENTLY FLIPPING OUT.

So by now, this is a fucking game- he still doesn’t notice anything wrong amongst the kids, so we’re all silently texting each other to fill each other in. Pulling up receipts. But still playing the part of politely intrigued audience members. The school faculty have no fucking idea what’s going on, until one of the students texts her mom, who happens to be the woman that convinced the principal to hire this guy. We see her check her phone, go wide-eyed, and she runs out of the fucking room presumably to either find the principal or hide in terror.

So Mr. Jean had been talking to random people intermittently throughout this speech, but we reach the ‘questions’ part of it. Everyone seems to silently agree that instead of just asking him anything outright, we should just see how good of a liar he was. So they’d be asking him stuff like ‘how much money did you make with ____ company’ and he’d give a ridiculously high number as people were sending each other reports of him filing for bankruptcy during that time. Or they asked him about his construction business which he said was great, and while he was talking about how great it was we were all reading his arrest report, from when a woman hired him to build her house, and he took her money and then like…just didn’t build anything. Wild. Someone asked him about his family and he’s extolling Christian virtues while we’re all on the website for his annual Swing Fest. People would ask him how he got certain jobs and he was making promises to hook kids up in interviews and shit. Everyone was loosing their God damn minds online and just barely holding it together in person. This man was so beyond full of shit- like, he was a God awful life coach but his dedication to lying was inspirational.

We eventually get to leave and everyone is yelling and cracking up and freaking out, all running to our classes to tell the teachers and the underclassmen everything, and the teachers are freaking out, alternating between horrified confusion and laughing hysterically. Before the school day even ended, someone had called a bunch of news stations. The principal was freaking out and denying he had anything to do with it, before calling some students to his office to see what exactly the kids had searched up on the guy…Because apparently teenagers can perform better background checks than school officials. It was all anyone could talk about for weeks.

A couple months after this, for my theater class’ showcase, I wrote and directed a skit called ‘Mason B. Mean’. It was a huge hit. The principal was in the audience. I’ve never seen a grown man look so dead inside. I made sure I was out of the room before he came up to congratulate the cast and everything. The next day, my theater teacher told me his only comment about the skit was a quiet, long-suffering “Why.” 😂😂

Annnnnnnnd that’s the time a Swinger Entrepreneur rambled on about pasta sauce and money in front of teenagers who knew how to use google for almost two hours.

http://www.philly.com/philly/news/breaking/Montco_principal_apologizes_for_having_swinger_entrepreneur_speak_to_kids.html

#lmao #true story #molly mumbles #high school #memories #asks

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rpgmgames · 7 years

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June’s Featured Game: Living Playground: The Witch’s Puppets

DEVELOPER(S): Meaka ENGINE: RPGMaker XP GENRE: Supernatural, Puzzle WARNINGS: Both implied and shown violence to the children, Emotional abuse, Blood SUMMARY: With what starts as a simple day at the park, siblings Tony, Pablo, and Octavio are once again caught up in a series of strange circumstances such as strange pocket dimensions, coordinated monsters, and more geese than anyone could ever want to see in their lives. Stranded with them are Haze and Seal, two witches who seem to be connected with whatever nonsense is going down. As witches tend to be.In the simplest of terms, this game is about friendship and relating to others, both the good and the bad. With an unfortunate focus on the bad. It will be mostly straightforward with only one ending.

Download the demo here!

Our Interview With The Dev Team Below The Cut!

Introduce yourself! *Hi hello I'm Meaka. I've been kicking around the RPG Maker scene since like 2012 with my first game release in 2014. Whether that makes me but a wee RPGM baby or a seasoned veteran is probably dependent on how "long" you'd consider that h-haha. I'm an animator and illustrator, so visual development is my strong suit.

What is your project about? What inspired you to create your game initially? *Meaka: The Witch's Puppets is best summed up as "a game about friendship." Part of my motivation for creating it was simply personal catharsis: it deals heavily with circumstances that impacted my own life greatly and affects how I interact with people to this very day. Beyond real-life experiences, a big inspiration is Hatoful Boyfriend: Holiday Star in terms of how emotionally raw and powerful it is while also carrying on its sense of humor.

How long have you been working on your project? *Meaka: Far too long oh man. As a reference, my first game took me maybe six to eight months on and off to complete. I'm. almost 3 years into The Witch's Puppets and while I can probably hope for the best in terms of my completion rate, it's been a wild ride. (Did you know I thought it'd only take a year? 2014 me, how innocent you were...)

Did any other games or media influence aspects of your project? *Meaka: I say this like everywhere and I'm sorry if I'm repeating myself, but a huge inspiration for my art in general is the Kirby series. It has such a flawless blend of cute-to-macabre that I absolutely love and hope to capture that same feeling in my own work! Living Playground was inspired by the usual "RPG Maker/ Wolf RPG Editor" games (mostly Ib and Alice_mare) which led to it's "kind of horror but not really" flavor.

Have you come across any challenges during development? How have you overcome or worked around them? *Meaka: In all honesty, just staying motivated three years into a project is difficult. I'm absolutely ecstatic to be making this game and bring it to people for them to play, but it's so easy to be excited about the cool parts and hit a wall production-wise when it comes to the mundane and tedious parts, particularly programming events that tend to be made up of a ton of conditional branches, variables, and occasionally will crash RMXP. So I give myself breaks on occasion and try to switch it up between whether I work on visual assets or RPG Maker programming, and sometimes I flip over to side projects (be it jam games or just other art).

Have any aspects of your project changed over time? How does your current project differ from your initial concept? *Meaka: From my initial concept, beyond certain themes and characters, they're two entirely different storylines. I actually gutted the entire script and started over at least twice during the course of production because of things not flowing well, weird writing choices by me, or just ideas that I slowly realized weren't that good. In particular, a very big part of some rewriting came from having some friends look over my script + game doc and pointing out some flaws that were from too much personal investment. If you're ever in a tight spot and not sure if stuff reads right, get some friends to beta read for you!

What was your team like at the beginning? How did people join the team? If you don't have a team, do you wish you had one or do you prefer working alone? *Meaka: In my first game it was just me until I threw it at some people to beta test. That was an interesting experience. For the Witch's Puppets, I commissioned music from the absolutely amazing ProjectTrinity and needing to consolidate my ideas and express them in a way for someone to create music for it helped me commit to my ideas and also helped me put into words what I couldn't really describe well beforehand. I haven't really had the chance to work fully on a team. I'd sure love to, but I fear my hectic life schedule would hold back whatever team I would want to join.

What was the best part of developing the game? *Meaka: I may be an animator and used to this by now, but there's something really magical about making your characters and putting them into a thing and then they move around. It just feels really nice. Also for me, I love telling stories and entertaining people, so I hope that my games allow me to do that! Whenever someone offhand mentions they enjoy something I make, it fills me with the warm fuzzies. (And don't even get me started on fanart. I literally cry.)

Looking back now, is there anything that regret/wish you had done differently? *Meaka: I absolutely want to 100% go back and remake Living Playground one day. It was the best I could do at the time, but now that I know so much more about what RPG Maker can and can't do, I want to go back and fix all those little things and make it more of what I wanted it to be. ... Also cut back on the ham-fisted attempts to be scary, maybe.

Once you finish your project, do you plan to explore game's universe and characters further in subsequent projects, or leave it as-is? *Meaka: I've already kind of done that! The Witch's Puppets is a sequel-but-not-really. And also Retail Hell, my Horror Funhouse jam project, is set in the same universe. As for the future, I can't say for sure that I'll make another game with the same characters, but I love the playground kids so I would never rule out the possibility of making something containing them again. Whether it's a game or not, that's a problem for Future Meaka to figure out.

What do you look most forward to upon/after release? *Meaka: It might be conceited of me, but I hope to see it give some sort of positive impact on people, even if just a little! I'd like to hope my little Friendship Game helps someone out if they're in a rough patch and at least makes them smile for a bit. Also I cannot wait to shitpost with wild abandon. Bad memes, here I come.

Is there something you're afraid of concerning the development or the release of your game? *Meaka: I always low-key fear my files corrupting and losing everything, but since I am paranoid and keep a ton of back-up copies, I don't think that's going to be an issue. There's also a small part of me that is worried about people completely missing the point, but at that point I guess it would fall on my writing...!

Question from last month's featured dev: Which of your characters do you feel like you'd get along with the most? *Meaka: Strong Pickle. There is no other answer.

Do you have any advice for upcoming devs? *Meaka: Google Drive, Dropbox, and Mediafire are good friends and back up your stuff! Also, there will be days when making your game will not be fun. You will open your version of RPG Maker and look at it with dread. Keep going. Even if it's just one event a day, one spriteset at a time, keep on poking at that game. It just seems daunting because you know what you want it to be and you're looking at the beginning of the beginning. You can do it!!!

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

Remember to check out Living Playground: The Witch’s Puppets if you haven’t already! See you next month!

- Mods Gold & Platinum

#rpgmaker #rpg maker #rpg maker games #games #game of the month #gotm #living playground #living playground: the witch's puppets #the witch's puppets #meaka #interview #dev interview #game dev

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abigailtan · 5 years

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Singapore Red Cross; Mission Trip, Batam (10th – 11th November 2018) Written by: Abigail Tan, Singapore Red Cross Volunteer

I AM SO EMBARRASSED! Because this trip happened almost a year ago and I thought I had posted it. On the bright side, I did send my write-up.

Day 1; (GMT +8) Singapore

5.30am (GMT +8) I was dragged out of the comfort of my bed, with my messy hair and a rancid breath, I made my way to the bathroom and got ready. Short of bring bright-eyed and bushy-tailed I was dressed decently enough; my motivational quote t-shirt and a pair of worn-out jeans, I left home before the break of dawn…

The official meeting time was 7am at Harborfront Centre and a handful of volunteers were already there by the time I arrived.

The man were requested to wait by the drop-off to help carry some boxes. (15 boxes)

15 boxes worth of first aid supplies for Red Cross Indonesia, which will come to be known to us over the weekend as Palang Merah Indonesia (PMI).

Cataloguing each box and appointing people to account for a couple of boxes.

Majestic Dream; rather suggestive but was not quite the case, I hardly slept on the hour-long ride to Batam as I was battling motion sickness. Urgh. But it was bearable.

Instead, I made my first new friend; Jessica! An operating theatre nurse and so we hit off rather well, top it off with our volunteering experiences and that was a good 45 minutes worth of talk!

Some took the opportunity to get a group picture and others slept.

But the hour-long ride was quick and almost painless… The sheer number of people going into Batam on a weekend was insane. It is rather on par with the number of people going into Johor Bahru. So, we grit our teeth and power through.

Prior to leaving Singapore, we were told that when we reached immigration on the other side, we had to keep our voices down. Unfortunately, none of us took a picture of the sign, so here’s one off an article from Straits Times.

(image credit: Signs showing prohibited behaviour at the immigration checkpoint of the Batam Centre International Ferry Terminal are plastered all over the pillars. -- ST PHOTO: DANSON CHEONG ) – caption off straits times article; Shhh! Be silent at Batam immigration queue or be sent back home (published: 17th August 2014)

https://www.straitstimes.com/singapore/shhh-be-silent-at-batam-immigration-queue-or-be-sent-back-home

I wouldn’t say that there was pin-dropping silence but no rowdy noise, so good enough.

We cleared immigration in under an hour and each of us took charge of collecting the boxes from baggage claim. With almost no hiccups the mission trip officially began.

(GMT +7) Indonesia, Batam

Remember how when we were kids and there was always headcount during field trips to make sure all the kids are accounted for. Or some of our teachers made us buddy up so that we could look out for each other. Well, that happened automatically for us and it wasn’t just counting heads we had to make sure all the boxes brought over was accounted for too!

A bus came to pick us up and off we went to PMI!

The ride went without accident; the thing that struck similarity was the amount of greenery. Huge trees that formed a canopy created shade in this equatorial region.

A small road leads us to where PMI Batam sat, lalang grass lined the sides of the road until we hit a dirt road that branched out and that lead us to the property where this 3-story building sat. It showed age together with improvements and refurbishments; an extension of the former building was obviously new and rather posh for what Batam has to offer.

The bus came to a halt and all 20 of us on the bus took a minute to soak in; PMI staff lined the entrance of the building in anticipation of welcoming us. Ladies first and then the guys were right behind us and Uncle Tony was the very last as discussed, no one is supposed to be behind him.

The storage unit by the side of the bus opened and revealed 15 cartons that were together with some personal belonging and without hesitation, all of us formed a line and moved the cartons from the bus to the inside of the building. Our Malay speaking friends instinctively became unofficial translators.

15 cartons moved in seamlessly and as we settled into our new environment an elderly lady walked out, she is the lady that will come to be known to us as ibu (Malay greeting for mother). She warmly welcomed all of us and lead us to the 2nd story where a room was prepared for us to rest and fill up on food and drinks. There was a spread of kuahs (starchy and sweet delicacy) and what seemed to be a pastry with potato in it.

We walked in and dropped our bags, and our hands went straight to our necks for a good stretch. PMI staff came into the room and started visual documentation of our movements; in other words, took our photographs.

We soon settled in comfortably and got refreshments.

Ibu came in shortly and there was an exchange of kind words between PMI and ourselves.

We then went on a tour of the place.

3 floors worth of square-space for utilisation. The first floor where the entrance opens to a foyer has a high ceiling and huge windows that allowed plenty of sunlight to brighten the place. A shelf by the entrance held several potted plants and across it a decent reception area.

Right by the foyer sits a plaque on the wall that states the opening date of the building by the President.

A set of glass doors sits on the far right and that leads to the blood donation area where 2 resident doctors are. And they briefly explained the process, a donor would walk in and fill in a form indicating personal particulars and their last date of donation, medications taken or any illness within the last few days. Next, they’ll be led to a doctor who would screen through the form and a couple of drops of blood from a prick of the finger to test for blood count. Then a basic health screening. Blood pressure and what not. If all is well, a set of recliners awaits past another door where the donor will lie there for about 30 minutes while a pint of blood is drawn out.

I tried to donate, but I was on allergy meds a couple of days prior so that disqualified me.

It’s interesting; the way they collect blood. The strikingly obvious difference from Singapore would be the governing body that deals with blood collection.

2nd floor was where the offices are and where the meeting room that held all of us were. At the end of the long corridor was a hall that could easily accommodate 300 people comfortably standing with sufficient personal space and maybe 500 to 600 people but packed like sardines.

By the other end of the corridor stood a room; the call centre.

Where equipment like these would be found on the Titanic. Although out-dated, but I admire that they’re still out there fighting the good fight with what they have. And that’s admirable.

It was incredible; I apologise if I sound like I’m dishing out on them. I’m not. I feel that they’re worth saluting because even if equipment like that and they’re still out there helping people.

PMI I salute you.

Truly an eye-opener for all of us; or at least I can speak for myself.

Prior to lunch we got down on our hands and knees and worked up an appetite. Not exercising per se but the output alone was enough to get our stomachs growling.

This is where the 15 boxes come into play. Almost like clock-work, we settled into a factory line up; passing down each kit and each pair or trio would place the items needed. Face masks, micropore tape, shear scissors, gauze, crepe bandage, triangular bandage and tweezers. Came up into a rather decent first aid kit. 15 boxes worth of supplies was made into 200 proper first aid kits.

LUNCH! I am not even going to deny, yes, we were all looking forward to food after the incredibly productive afternoon.

Okay, I am going to need someone to level with me… Because whilst eating I had a realisation that it’s probably not chicken that I was eating… …

So… I dived in thinking it was some form of ayam penyet and when I picked up the supposed chicken with my hands I realised that the wings are smaller than usual and the ribs are surprisingly small too. Which lead me to the conclusion that it wasn’t a chicken to begin with.

I eat quail eggs, but to think that I chomp on a bird… … I am going to need more time to rest this unsettling feeling.

That aside, lunch was good.

Lunch was followed by nearly an hours worth of some more chatter among ourselves. A couple of us represented Singapore Red Cross and discussed the following days’ events with PMI.

So by this point, we knew that there was going to be an event the next day with some of the PMI youths; think of is as Secondary School’s Red Cross Cadets. An event was to be held with some 2200 students and we are to assist with some of their programs. 20 of us were split into 2; basic first aid training and outdoor games! We discussed among ourselves and delegated jobs. Among us were first aiders of all ages and varied experiences to offer; some were already first aid trainers, some of us are in the medical field. Naturally, the trainers formed a group and they needed more people, I eagerly raised my hand; there’s something about teaching that I enjoy, something about passing on knowledge and seeing their eyes light up when learning becomes fun. 10 of us formed the teaching team and the rest helped at the games booth.

As our discussion came to an end, something was brewing down the corridor within the walls of the hall.

PMI staff and some; if I had to venture a guess; 60 PMI youths were seated on the floor facing us as we walked in. You know how when it’s your birthday and you have to stand with the cake facing the party as they sing happy birthday to you and you have completely no idea where to place your hands. That was me. It was a massive wave of mixed emotions; overwhelming and essentially trying to grasp their enthusiasm about our arrival. I was in complete awe. The kids, they greeted each and every one of us. I mean it in every sense of the word. EACH AND EVERY ONE OF US. It was the LONGEST greeting, but also the most heartfelt.

We spent the next 40 minutes with our youth volunteers thinking of ways to engage tomorrow’s students. They were eager to help us, more than I can speak for ourselves. Joint discussions came to an end and we had to say goodbye to everyone at PMI. It was time to check into the hotel.

Time to freshen up for a pow wow session and DINNER! Some shopping at the mega supermarket then back to the hotel for another SouthWest Discussion. Settled some stuff, delegated work and just like that the day ended; but not before a hot water bath… urghhhhhhhh…

Day 2; (GMT+7) Batam, Indonesia

Our day started at the break of dawn; 6am. Freshened up; changed, packed and down we went for breakfast and an early checkout. We literally stayed the night. Time was of the essence and by 7.15am we were already on the bus towards school grounds!

It was probably almost 8am by the time we arrived at the school. Personal and important belongings were brought along with us. 2 cartons of first aid kits were brought down together with teaching aid.

Not so bright-eyed and bushy-tailed this morning; after yesterday’s culture shock and taking the time to let everything around us settle in, today is a lot better. (Or so I thought) We stood around rather aimlessly until we saw familiar PMI faces! And then we were led to the field and sat by the bleachers.

So some 500 students were already standing on the field when we got there; being PMI they had first aiders on stand-by and also an ambulance.

There weren’t any translators so what happened next is essentially what I saw coupled with what I felt. So all of us were seated there, the parade commander comes out and shouts out commands; attention and at ease. On our far right of the field were 7 students standing side by side, we were to their left. And they each shouted what seemed to be the 7 fundamental principles of Red Cross. The parade commander walked back, faced the students, shouted a command and soon all of them were saluting us. SALUTING. US. US! Singapore Red Cross. [I am still very much in awe as I am typing this.] It’s a level of gratitude and respect that I’ve never experienced, and I speak for myself.

Then it was the presentation of a first aid kit and a Singapore Red Cross Bear from SRC to PMI and PMI presented us with a plaque.

LET THE EVENTS BEGIN!

The teaching team gathered and grabbed our teaching aid which included 2 miniature little Anne, 2 chocking demo sets, and triangular bandages. We were then led to the upstairs classrooms where tables and chairs were pushed aside to make more floor space.

The team split into 2 so that we can accommodate 2 groups of 30 students. Despite having a discussion yesterday about ‘lesson plans’ we had to make do with what we have. What were we teaching first? Which team was going to take which teaching aids? You’d think that since there’s 2 of each; at least for miniature little Anne and the chocking demo sets we could split. But my team took both Annes and allowed the kids to have their hand on the CPR dummy and try it for themselves. While the other team started with chocking.

We had the kids sit by 3 sides of the classroom and we took ‘centre stage’. If I hadn’t said it already, I will; I enjoy teaching. We had to break the ice somehow, there’s no manual on “how to start a lesson” especially since there was no concrete plan on how we were going to go about doing this. I did the first thing at the top of my mind and that was to jump right into the centre and wave my hands whilst saying “hello!!!”. And an equally enthusiastic response was returned.

I am incredibly grateful for the PMI staff we had with us and the youth volunteer who helped us with translation. Despite English being taught in school, but because it isn’t practised very much at home there is still some form of language barrier. The kids were very patient with me and the translators, which made teaching went on without any major hiccups. Each step was taught with great patience ensuring that the kids understood everything and that no one got left behind. We taught what was essential; under what circumstances would CPR be required, how it was done, the positioning of the hands, knees placed apart for stability, locating the landmark and the placing of the heel of the palm, how the elbows had to remain straight and teaching them that we weight needed to allow compression to happen was coming from your own body instead of exerting strength from your arms.

At first, I thought it would be fun to have the kids raise their hands to try out the dummy, first to raise their hands would come up. Then I quickly realised that it was not feasible. So after a few quick hands, I decided to go good-old-one-by-one in sequence, that also allowed me to keep track of who has tried CPR on the dummy.

I had a few interesting questions that I can recall off the top of my head;

1. Miss, why must the elbow be straight?

a. Less force is exerted if the elbow is bent

2. Miss, if the unconscious person has a pulse do I still do CPR?

a. Pulse = heartbeat, which means the person is alive and so CPR is not necessary

We taught them how to secure various fractures; cervical fracture and a wrist/forearm fracture. Simple fracture. Nothing complicated.

Teaching them was an amazing experience; answering their queries and quenching their thirst for knowledge was amazing beyond words can tell.

The time soon came for us to say goodbye, but not before handing out little presents to them. One by one they came to us and greeted us in the most respected way possible; in Indonesia or rather the Muslim community, young ones greet their elders by holding their hands and placing it to their faces and then their own hands to their chest. This form of greeting is known as ‘salam’.

Just before we stepped out Ibu invited us to lunch. We left school and the bus took us to a seafood restaurant. It wasn’t posh, it wasn’t anywhere ‘upscale’, a dirt road led us in-between 2 rows of shops. You’d think that somewhere like this was an ordinary seafood place, but when we walked in, it was almost like a political rally, the Mayor of Batam was finishing his lunch, people were surrounding him and pictures were taken. There was an exchange of formalities between the Mayor and Ibu and we each went on our way. A private room with 4 tables was prepared for us.

Cereal prawn, fried fish, vegetables, chili crab, rice were served to us. Not forgetting fresh coconut and its refreshing water and flesh. It was an amazing lunch. We thanked Ibu for the invite and salam as we made our way out. It was only right after the way we were treated throughout our stay.

Last minute shopping before we made our way back to Singapore where I believe most of us knocked out during the hour-long boat ride.

I’ve been volunteering with Red Cross for over a year now and I have met several beneficiaries; I’m a born and raised Singaporean, we may not be rich, but we get by, I may have seen our low-income families but I’ll never understand their difficulties as I am lucky enough to have not walked in their shoes. I was fortunate enough to have lived abroad for almost a year and I’ve come to appreciate what Singapore has to offer; clean water, convenient public transport, good healthcare coverage, good public education system and a generally safe place to call home. I’m grateful for a job that pays me enough to travel from time to time and travelling solo has opened my eyes to other parts of the world. I’m not here to gloat or brag about my life; after the mission trip I’ve come to really understand the term “the ones with the least to give have the most to offer”. This trip opened my eyes to below poverty line and despite that, help is bountiful. This trip has given me more than I could ask for; kindness, respect and a lifetime of learning ahead of me.

#first aider abi

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switchcheek14-blog · 5 years

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Could Philly ever be a game development hub? Nathan Solomon says no

Editor’s note: (5/24/19, 9:37 p.m.) Wow, a lot of you really hated this story! In all seriousness, I realize now that we — I — missed adding a lot of context here. Technical.ly has been covering Philly’s video game community for years, including most recently things like the Phillytron arcade, companies’ crowdfunding raises and when Philly Dev Night became Philly Game Mechanics. We’ve also brought a whole bunch of local game makers to our own events over the years.

So, yeah, there’s a lot more that could have been said here that wasn’t. This story came about because the author wondered what happened to Philadelphia Game Lab, specifically; it doesn’t look like we covered its 2016 shutdown when it happened. The headline and the interviewee’s responses are meant to represent one (challenging) perspective. Still, the result didn’t do enough to also acknowledge the history and current activity of indie game development in Philly.

I’d love to publish a response guest post or roundup of responses to this story, so if you have strong feelings, please do email me — [email protected]. As always, thank you for the feedback. Seriously. -jz

For a few years before it shut down in 2016, the Philadelphia Game Lab (PGL) was a hub for those interested in building video games locally.

Originally, the nonprofit — not to be confused with the Philly Game Forge — was meant to be a kind of branch of another organization, the Grassroots Game Conference, before PGL founder Nathan Solomon concentrated on working with university students in game technology and development, which would eventually led to the founding of PGL. It shut down largely due to difficulties with its funding model and university partnerships.

There are a number of indie game development studios operating in Philadelphia right now, including PHL Collective, Cipher Prime, Gossamer Games and JumpButton Studio. But could the city still have aspirations for being a hub for the video game industry? Solomon says no.

Since Solomon’s departure from the game lab, he has become the director of Blackstone LaunchPad at Thomas Jefferson University. While he has not completely detached himself from the gaming community, he’s not a convener of it anymore.

I reached out to ask Solomon about the end of PGL, why the industry isn’t stronger in Philly, and whether indie developers have a chance to grow here. His responses have been edited for length and clarity.

###

We shut down in 2016. At that point we had held the Grassroots Game Conference for two years (2012 to 2013), then operated with focus on working with university students in immersive experience and game technology development as the Philadelphia Game Lab for two years (2014 to 2016). I actually started out with the idea that PGL would be a different sort of entity, and organically transitioned to the final model of working primarily with teams of university students and recent grads (about 120 individuals in total), in development of technology, in late 2013.

I can probably best organize the reasons for ending the project into two categories:

[First,] creative technology talent in Philadelphia lies overwhelmingly in universities. We had great relationships with professors and students at a range of universities, including Penn, CMU, Temple and Drexel. Students with whom we worked, especially at Penn and CMU, all loved this city but generally moved on high prestige tech companies on the west coast or elsewhere (unless they stayed here to work at Comcast). We were a step on that path, between university and prestige positions.

The bookend problem to that proposition, which eventually became clear, was that universities have a strong tendency to want to be in the position/role we were taking. We were squeezed between the universities wanting to develop IP/entrepreneurship and the tech companies to which our developers were inevitably bound. This made it hard to see how we could flourish in the long term.

[Second,] I founded PGL as a 501c3 in the belief that that structure would both facilitate university relationships, and be helpful in finding additional funding toward our mission. The problems we ran into with this approach were around the reality that our best and most promising funding sources ended up being in commissioned technology development.

We grew from $7,000 in revenue in 2013 to ~$700,000 in revenue in 2014, that went entirely toward paying students and recent graduates in this region — which created a problem unique to nonprofit structure, in that we could take no investment to continue that growth, and that a nonprofit cannot take on a credit line until it has three years of audited financials. The latter meant that every month or so, I had to approach a board member for bridging funds to carry us until we receive payment from a client for the work we were currently doing.

The institutional funding that we’d hoped would be aided by 501c3 status never materialized, for a couple of reasons. The first is that funding for economic development and regional job creation is (quite reasonably) much more focused on the unemployed and unskilled, rather than the highly skilled students with whom we worked — a majority of which were grad students. The second is that much grant funding is also dependent upon a longer history of audited financials.

Historically, video games tend to require a set of skills that have not aligned well with those of endemic Philadelphia businesses. Where else are 3D modeling, creative C++ programming and game design needed here? All of those things align well with motion picture/animation, theatrical embedded systems/theme parks, and other areas of expertise that are big in Los Angeles, Central Florida, NYC, etc. In addition to that path, there are locations like Austin and Maryland that have organically grown specifically as a result of game developers who started businesses there during periods of the industry’s greatest expansion.

In a place like Austin, there are a lot of developers, working for a number of game development entities. When one business goes under, a developer can move to another. That’s a much more appealing situation into which to be hired than going to a city where there’s only one game company, so it’s really a big deal to decide to become that sole game company in a city.

The only way something really major in games could come to Philadelphia would be if they parachuted in a fully formed, fully backed team of experts. There’s one example I know of that happening anywhere in the past, 38 Studios, and that did not work out well.

I previously worked with the folks in New Orleans who got a Louisiana tax break passed for game development, and that had negligible impact for them. [Editor’s note: Solomon also didn’t think tax credits would work here in Philly when they were proposed back in 2014.]

Canada does a better job with creating centers of opportunity in game development, largely because of the high quality and low cost of appropriate university training, and also because instead of tax breaks it directly subsidizes industry employees’ salaries. That said, its centers (Toronto, Vancouver, Montreal) also have some of the same endemic industries requiring skills with high applicability to game development that I mentioned previously.

I believe that the best opportunities for something like game development being truly significant in this region are in development of immersive experience. The biggest centers for this in North America are Los Angeles and Montreal. Montreal because it has a nexus of technical and creative talent, not unlike what is beginning to form in Philadelphia. Data shows that one of the best business categories here is live entertainment, so that immersive entertainment is strategically aligned with local opportunity in a way that games never were.

Absolutely, it’s a great place to live and to exploit one’s own skills and talents. The barriers would lie primarily in the fact that they are highly unlikely to find creative day jobs in the industry here and they are even less likely to find others with depth of experience and skills here.

I should also mention a minor factor that impacted PGL and would likely affect most indie developers starting up: Because there isn’t a base of experienced game industry people here, when you have a game business in Philadelphia that runs into barriers, and go to ask local people for help and resources, they’re unlikely to be able to dive in and be really useful in helping you to next steps. There’s a strong likelihood that you’ll get the response “you’re the visionary; just make this work like you always do!” I got to a point where I didn’t have answers for what we should do next here, and neither did anyone else.

I’m director of the Blackstone LaunchPad for entrepreneurship at Jefferson University and I also spend a fair amount of time developing immersive works and technology in collaboration with creative engineers and other folks. We just patented a new method for large-scale deforming of physical spaces for responsive experiences, and are working on a few other projects.

I’m also trying to get good enough at Fusion360 to better develop additive and subtractive-manufactured components for installations. I come from cinematography, so my practical skills are largely in optics, light and physical rigging.

-30-

Source: https://technical.ly/philly/2019/05/24/could-philly-ever-be-a-game-development-hub-nathan-solomon-says-no/

#read more #see more #check it out #interesting #learn more

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playeroneplayertwo · 5 years

Text

Editorial: ‘Til the Money Runs Out

(Unless otherwise clarified, all prices are MSRP, or manufacture standard retail price)

The subjectivity evident in any critical analysis of a book, movie, or board game is–I would hope–obvious. Value, however, feels far less subjective.

How much someone is willing to pay for something varies greatly depending on the person, not only based on what we’re talking about, but also how much money that person has. With that out of the way, let’s talk about a sticky wicket in the hobby of board gaming: value.

It wasn’t long ago that this idea felt less nebulous, with value often coming down to the argument of collectable games vs non-collectable games. Things are a little different now. Collectable card games (CCGs), expandable games/living card games (LCGs), legacy games, campaign games, mystery games, and consumable games have gone a long way in complicating a once-simple(ish?) idea. These days, everyone has an idea of what’s a good value, and what’s not. Lots of people have axes to grind against games deemed “of poor value.” I’ll try not to fall into such a black and white box.

When I originally thought about writing about value, my main angle was simple: Magic (1993) vs an LCG, like Android: Netrunner (2012) or Lord of the Rings: The Card Game (2011). As a former fan of Magic transformed into an avid LCG fan, I bristled at the less than rosy coverage most LCGs received from the gaming community, in regards to value specifically. I knew firsthand how expensive a collectable game like Magic could cost. With a 15-card Magic booster pack costing $3.99, and a booster box of 36 booster packs coming in usually around $100, it gets expensive quickly. Individual cards can be bought online for anywhere from 10¢ to $50+, this is a deep hole that is hungry and ready to eat you alive.

For anyone who has not played a collectable game, it is set apart from LCGs by randomness. A collectable game is purchased in packs of randomized cards, so oftentimes you will purchase a pack and get nothing you want or need. This happens far more than you would believe. LCGs/expandable card games are unique because they are available in fixed, non-randomized sets, whether that be small expansion packs of larger deluxe expansions. The rub is that these will cost more. For example, the typical small expansion pack for an LCG is typically $14.99, but you know exactly what you receive in that expansion, and additionally you’ll receive multiple copies of each card–something that never happens in collectable packs.

This distinction alone is worth a deeper dive, but we’ll only gloss over it briefly. Head to head LCGs or expandable games (like the now OP Android: Netrunner, Legend of the Five Rings (2017), Doomtown: Reloaded (2014), or Game of Thrones: The Card Game (2015)) offer a large pool of cards with a fixed distribution. You would conceivably be able to buy the core set for one of these ($40), plus perhaps four small expansions ($60 total), which puts you in at $100. For $100, you could buy a booster box of Magic cards and maybe build two strong decks, if you’re looking to have a satisfying experience. The randomness will throw a wrench in here, because you could theoretically get enough good cards for more than two solid decks; you could also get mostly junk.

Reviewers often balk at the LCG model, because while it appears to solve the money-pit aspect of CCGs, they are still not cheap. That being said, for people who are merely interested in the game–but not deck construction, LCG core sets offer plenty of introductory level gaming to help you discern whether you actually like a game or not. If you do, and you know what you like about the game (eg factions or mechanics), the set expansion packs allow you to build up where you want. Why buy an expansion pack for a faction you don’t like or don’t play? You don’t have to!

The cooperative LCGs are a different story. They, too, have the $15 expansion packs, but in addition to cards you’ll add to your pool for deck construction, you’ll also get quests to play against, essentially a typical “expansion” that brings in additional content beyond merely deck construction.

Whether it be cooperative or head-to-head, LCGs are expensive, but unlike CCGs, LCGs have simultaneously removed both the excitement of the blind buy as well as the frustration of the bad buy. Granted, in the small box expansions, you’ll still be getting cards you don’t need or don’t want, but at the very least, you will be getting at least a few cards you know you want (if not, uh... why did you buy it? Do your homework!).

As a player of both Lord of the Rings: The Card Game and Arkham Horror: The Card Game (2016), I would argue that the best value for me in LCGs probably lies in the cooperative line. By giving players both quests to pursue as well as player cards tailored to those specific quests, these small packs never feel incomplete. And, I would argue, getting a core box of Arkham Horror or Lord of the Rings is a great value as an introduction to satisfying, well-supported systems.

Beyond card games, the water actually gets far muddier when you expand what you’re talking about. Legacy games and escape room games (which is a term I’ll use to encompass both consumable games and “mystery” games that, once solved, can’t really be replayed satisfactorily) have managed to blur the lines in terms of value considerably. Let’s start with legacy games.

A legacy game is a game that evolves the more you play it, and with the exception of Charterstone (2017), most legacy games cannot be played beyond the completion of their main narrative arch. For example, Pandemic Legacy (season one or two) leads the players through a series of games that add up to a long-form narrative. As the games unfold, the rules of Pandemic will change, as will the cards, board, and other components, making the last game wholly unique from the first. However, once completed, you can’t play it again. You may as well recycle your game. Charterstone, Stonemaier Games’ take on the legacy game, at least leaves you with what amounts to a custom-designed worker placement game that is replayable. Legacy games can be played anywhere from 10-20 times before you complete the story. That being said, because they have so many components, they are usually quite expensive: Pandemic Legacy (2015/2017), $70; Charterstone (2017), $70; Betrayal Legacy (2018), $75; Rise of Queensdale (2018), $80; and the peril-plagued SeaFall (2016), $80.

After looking at these numbers, take a minute and compare them to the LCG/CCG numbers above. Yes, they are cheaper, but they also have a limited lifespan. Is a legacy game worth $70-$80 if you can only play it 12 times? That’s about $7 per play, cheaper than (or at least comparable to) a movie ticket for a good night spent gaming. Seems like a decent deal, right?

What about consumable or “mystery” games? In this case, I’m looking at you Exit (2016), Unlock (2017), and T.I.M.E. Stories (2015). Other games will fall into this category too (further escape room games or a host of Sherlock Holmes or similar mystery-type games, like Consulting Detective (1981) or Chronicles of Crime (2018)), but these three games are hyper present in the hobby today. Both Exit and Unlock retail for $15, but they will each offer a one-time experience only. Unlock games are mystery-based, so once you’ve worked your way through, they essentially can’t be replayed because the answers will all be known. As for Exit, this is probably one of the more controversial because it is literally consumable. At the end of a game of Exit, that $15 game you bought is now destroyed. Cards are cut, the book is written on or torn up, maybe event the box is destroyed. Unlike Unlock, you can’t even trade it to someone who has not yet played it. Each set of Unlock and Exit is unique, offering lots of new games, but it’s a flat $15 each time you play. Still cheaper than a night at the movies.

Which brings us to T.I.M.E. Stories (2015). T.I.M.E Stories is essentially a board game version of Unlock: card-based and entrenched in a branching narrative with puzzles. You’ll play one set of T.I.M.E. Stories maybe three times, at most, before it’s completed and cannot be replayed. The core box ($50) sets you up with the components and one mystery. Additional mysteries are available in modular expansions for $25 each. At its heart, T.I.M.E. Stories is most analogous to a BluRay player, with each expansion being a new BluRay you pop in to watch. In the long run, it’s also the most expensive of the bunch.

So what’s the point of all this? Board games are expensive, but you know that. Your average big box board game (ie not a traditionally labeled “filler game”) runs anywhere from $30-$60 MSRP.

Ah, but who pays MSRP these days? you’ve been muttering this whole time.

Who’s paying MSRP? Well, if you’re looking to support your brick and mortar local game stores, you should be. Yes, this is a tough case to make, because money is money. It’s hard to rationalize spending $90 on Scythe (2016) to support your local store when you can buy it online for $52. I can try to make my best possible case for spending that extra $40, but like I said, it’s a tough sell. $40 is a whole other game. I’d like to say I only shop local, but it’s simply not true. This hobby is expensive, and while I buy local when I can, more often than not I buy online from brick and mortar places like Cool Stuff Inc or Miniature Market. It’s worth making a case for buying local, though. Do you like having a local store? If you want to keep having a local store, shop there. Support them. Give them your money when you can. It’s hard out there for brick and mortar stores. And please, don’t expect a brick and mortar store to sell at online prices. I don’t want to have to explain profit margins; in almost all cases it’s just not feasible.

In the long run, what does this all mean? I could throw my opinions at you endlessly about how I think T.I.M.E. Stories is, for Player Two and I, not worth it, or about how Exit is worth it, or legacy games don’t work for us, but that’s not what I’m here for ultimately. I guess I’d like people to ease up on LCGs, and maybe think twice about those hot hot big box legacy games, or remember to pass on their Unlock games to friends or families to get extra miles out of those small boxes. The breadth of the hobby is wide, and it is getting wider every year. Ultimately, you need to decide what you’re willing to invest, and in this case I don’t just mean you money, but also your time. Which of these games will you get your time value out of? If you buy a legacy game with shoddy mechanics, it will fail you on value across the board, because you won’t even finish it. LCGs or CCGs will offer you–theoretically–endless play, but if you don’t like the game enough, or it’s not nuanced enough to sustain those theoretical infinite plays, what’s the point?

The best advice I can give new gamers is to start small. Do your homework on small box games first. There’s a reason that in our first episode recommended gateway game was Oh My Goods! (2015). It’s a quality game that teaches new players a lot about engine building euros, it’s got decent replayability, it’s got two expansions, and it’s only $15. If you are new to the hobby, figure out what you like. Don’t run out and buy Lords of Hellas (2018), Batman: Gotham City Chronicles (2019), or Gloomhaven (2017) on a lark, because you’ll be unloading tons of money on something you may loath.

There’s nothing wrong with starting small. Trust me, in the long run, it will save you a lot of time and money.

#board games #value #editorial #my two cents

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