#peak visual storytelling

[chubphoe-linkclick]

There's something incredibly funny to me about the fact that Liu Min's father was yelling how his cause of death being suicide was completely assinine because his son absolutely wasn't depressed or mentally ill in any way while the show silently shows that fucking no one cares that he's gone. That funeral gathering is EMPTY.

Like shit, HIS OWN FAMILY CAN'T BE BOTHERED TO PRETEND THEY CARE EITHER!! These are the least bothered people I've ever seen, and QJ's shit-eating-grin while standing next to them as they walk around to start drama tops it off.

The fact that these are the family members that even bothered to show up is just fucking brutal. Like wow, he was not liked holy shit.

I get it LAN, he was awful. But dear Lord this is one hell of a curb stomping with only two short lines and three still frames.

[vibe-stash]

Twin Peaks: Fire Walk with Me (1992)

Director: David Lynch DOP: Ronald Víctor García Production Design: Patricia Norris

[dirtyoldmanhole]

;u;

[lesbiansanemi]

Finally finished revolutionary girl utena. Very underwhelming I must say

[masonshmason]

I can explain this!

It's visual storytelling, telling us that Fizz's horns were cauterized due to the fire. They are essentially dead. They will never be able to grow back due to this. This is how horned livestock have their own horns removed in real life. By killing the horn, it prevents them from growing back.

Still wondering why the inside of their horns glow like that.

[louisloulouie]

I just spent the past two hours watching videos of Little Mix’s Get Weird tour and if there’s one concert I would have paid hundreds upon hundreds upon hundreds of dollars to see, it would have been that one

[tealvenetianmask]

It's time to overanalyze the moment when baby Blitz tells Stolas about his dream to run his own business because WOW the visual storytelling is just peak.

Blitz starts talking about it with his feet firmly on the ground and a confident smile on his face.

And then as he starts to describe his vision for the future, he climbs. Talk about a visual metaphor!

Mid-story, he struggles a little, but he's confident and determined. We start seeing little Stolas looking up with an expression of absolute awe.

And when he says this- declares the freedom he'll someday achieve- he triumphantly pushes himself up by the branch and smiles proudly. Look at Stolas still frozen in shock and admiration.

Blitz fully stands up on the branch, proud and POWERFUL, joyfully buoyed by his dream.

Stolas's reaction? Well he starts to question the details of the plan a bit (skeptical eyebrows), but his face is still SO affectionate and impressed. His eyes are still wide, and he's smiling sweetly.

Stolas sees that Blitz is someone remarkable- defiantly, proudly, and joyfully reaching for freedom in a society where people's roles are kind of . . . set- Stolas is especially restricted, but everyone is fixed in the hierarchy to some extent. But Blitz dares to climb, and Stolas LOVES that from the beginning.

No wonder it's so important to Stolas later on that regardless of what happens with their relationship, Blitz has a way to continue running his business and being himself.

This is love ya'll.

[runabout-river]

Thoughts on JJK chapter 268 (spoilers)

So many thoughts. So many...

Sukuna and Megumi finally come face to face and talk with each other but as far as emotional connections and resolutions between them are concerned there isn't much and I will have to say that in that point Gege fumbled the story telling.

He should've put the spotlight on Sukuna and Megumi at multiple points in the story after the possession but he chose to put Megumi to the side which makes his appearance here at this moment less impactfull

But more on that later...

What's really interesting about Sukuna in these first two pages, is him appearing calm and collected in his first panel but then his game is up and we see that through Megumi talking to him

It's really good imagery. Sukuna the shapeless monster that devours everything but then gets reduced to nothing inside the domain between him and Megumi.

I'm certain that Megumi's new will to live actively pushed Sukuna into that state where Yuji was able to punch those two apart.

Again for emphasis:

Megumi pushing Sukuna away is visualized by his words shrinking Sukuna's black soul. If Megumi had completely lost his will to live instead of wanting to fight on for Yuji, Sukuna would've most likely eaten and sank Megumi's soul completely into darkness at that point, leaving Yuji's last soul punch without effect.

Without Megumi fighting back, Yuji wouldn't have been able to separate Sukuna from Megumi's body.

The double page spread was breathtaking and invoked the horror part of this story again.

Sukuna's... remaining form lying on the ground, first looking forward to Megumi and then looking up at Yuji... So striking

Yuji then still talking to Sukuna because he wants to save him after he realized that they had similar beginnings but Sukuna didn't have a grandpa to help turns this moment quite sad

Sukuna backstory when??

And finally Sukuna calls Yuji by his full name while he rejects his offer again, fading into nothing. But he says that he should'n't be underestimated because he's a curse and I made an entire post once about Sukuna ascending into one.

Right now though we have a huge question that needs to be answered: from what did Sukuna die right now? Because when the answer isn't from a CE attack, then he will return as a proper curse.

Uraume meanwhile dies in panels that are strategically placed to not completely answer the question of her (their) gender.

Megumi wakes up and he's scarred. Those scars are not from the battles though. The ones over his right side are from Sukuna's mask and the one under his left eye is from his second eye. Symbolism.

Those are physical representations of the torture he went through under Sukuna's presence and the mark he left on him. Only the torture that was shown... has less impact than I had hoped. Gojo's attack on Megumi e.g. left him suffering UV effect for 1700 years and that's not a factor in any of this apparently.

Megumi has the physical scars but the story behind it is lacking because we didn't see Sukuna and Megumi interacting.

Megumi and Yuji just go back to how things were and that leaves the emotional impact hanging again. Yes, we can explain their psyches on that but in storytelling some things are just more impactfull than others.

Nobara and Yuji wanting to prank Megumi was peak and the last letters from Gojo were also funny but again the emotions surrounding that were a little funky imo

Look at the three they're all scarred now.

Something else I would probably criticize Gege's story structure for is that Nobara's scars have barely any relation to Mahito and that Megumi's scars have no impact from his underdeveloped relationship with Sukuna.

Yuji carries the emotional and structural beats of the manga and that's okay, he's the protagonist after all but that makes the scars on the others look more like paint... Again, in my opinion.

The last panels are about Yuta and whatever he has going on with Gojo's body. We'll see in the last three chapters...

And that brings me to a point I can't stop thinking about.

Is this the actual end of JJK, or is there a Part 2?

Because there are so many different plot points left, things that could easily make an entire 200 chapter story arc. And then comes Gege and adds another new plot in the point of Nobara's mother to the mix.

We have not seen Megumi's completed domain expansion.

There are things missing in the story that deserve their own post and some complaints I have might actually be dismissed when the manga in a new Part continues. And with every new chapter that gets released until we come to the end that gets more and more likely...

[hopepaigeturner]

I an going to jump on this--altho I must say I have no link with either Vietnam or Japan, so please correct me if I misstep.

But in my speculation posts about Benophie (An Offer From an Avid Reader) I had an idea of Sophie and Benedict secretly communicating by having a poetry game when they are back in London that starts off as a game but becomes a way for them to express themselves to each other.

GALAXY BRAIN IDEA:

Scrap the poetry game. Sophie and Benedict communicating banter/flirtations and feelings through Japanese couplets style is a much better, more romantic situation, for all the reasons you guys have stated above. Bring on the secret codes! Bring on the poetic duelling/banter!

And as you said @orangepeelshortbreadcookies, it could be a really good way to show the depth and journey of their relationship. Also, Benedict learning this part of her culture really shows his care for her and can be a signal to the audience of a sign of commitment from him.

Also! The visual of the 'tying the jewellery around the waist' is so something Benedict would do without realising. Because, unlike gifting a necklace, tying something around the waist might be a bit more subtle. And Benedict does it and Sophie is just frozen utterly befuddled that Benedict has literally given her a token of love. Being like; How did he know?

Can you guys give me some reference for those visual symbols in media that you were talking about? I'd love to check them out and research them so I can incorporate them into my Benophie ideas.

Also let me know if I've applied stuff wrong here--I am always open to learn!

Some of my lovely mutuals might know this, but I was born and raised in an East Asian culture, where there is a the strict code of respect and curtesy. Words, conversation can be high-text, and there is alot of reading between the lines.

Although the social codes and the indirectness can be suffocating at times, there is a beauty in the formality.

And I would love to introduce one example.

There is one very famous translation of the phrase, “I love you.” By the Japanese author, Nastume Soseki (1867-1916)

When a young student translated “I love you.” into 君のことを愛しています。(Direct translation of I love you in Japanese) Soseki rejected this translation.

Instead, Soseki translated “I love you,” to

“The moon is quite beautiful tonight,”

Even though this is a product of his time and the culture in the Meji period, it is an incredibly subtle, nuanced translation I can’t help loving.

So when the two couples confess their feeling towards one another, they don’t look at each other but they look up at the same night sky and say,

“The moon is quite beautiful tonight,”

And you are supposed to respond,

“I’ve never seen such a brighter moon than this,”

Which means, “I love you more.”

＊Although now in Japan, this phrase is soooo overused that is becoming a cliche. And really corny. So I definitely do not recommend using this when you are flirting with someone from Japan. Unless you want to impress him/her.

＊Also the rhetorics become increasingly difficult when in comes to rejection.

“Stars are more beautiful than the moon,” means “I’ve got someone else in my mind,”

“The moon is too bright tonight.” would be “Thank you, but you can aim much higher than me,”

“It’s beautiful because you see it from far away,” means “I really don’t have interest in your affections.”

“But the moon isn’t blue,” would be “yeah, you an me? Never going to happen between us.”

I’m rambling on too much.

Anyway, I just really want to see this kind of subtlety on the Benophie season. Benedict can’t straight up declare his love all and mighty back in London at No.5, so it would be lovely if there is a secret code of telling Sophie that he loves her.

A poem, or a certain phase, that makes Sophie blush and tell how ardently Benedict loves her without saying “I love you.”

Just my little thoughts for the season🥰

[purrpickle]

Okay, okay, I have too many disjointed thoughts in my head, so I am going to compile them here instead of posting smattering of posts here and there:

Pin throwing stones into the pond after stating she was heading to the kitchens... Icon. Iconic. So relatable.

Then Anil angrily picking up a stone and throwing one into the pond before stalking away because her kiss was interrupted and her archenemy was there? Peak cinema. Such good parallels, too, with how Anil treats and acts her feelings for and about Pin versus how Pin treats and acts her feelings for and about Anil. A+!

That little Pin flashback. I stated it already, but it made me tear up. So good, so painful. Wow.

That night at the Pine Palace, from Anil comforting Pin to through the puzzle scene, truly felt to me the first time that Anil and Pin fell back into their old friendship and rapport. They were finally comfortable with each other, and you could see the friendship and closeness they grew up with still there! That intimacy. Sure, Anil was still flirting, but I think demonstrating to Pin that the girl who truly cared for her was still there and not just taken over by this new flirt monster (who seemed to be flirting with everyone else too, mind you), it really made Pin relax and be open and welcome to Anil again. And they needed that.

Speaking of that night at the Pine Palace. Pin wearing purple, a mix of pink and blue, showing how open and accepting of what's going to happen. And Anil, wearing her blue checkered dress with the pink lines? Spoke to me of being in control but also allowing Pin back in and welcoming her. Ugh, from someone only peripherally aware of color coordination and theory and all that, I still picked up on the significance of their colors and cheered! The visual storytelling!

And... Yeah. That kissing game. Unlike a lot of Anil's previous flirting which always felt to me like Anil doing it to Pin, this truly felt like Anil doing this with Pin, and that distinction truly makes all the difference. It was the perfect time for that to happen with the two of them - Pin still feeling a little vulnerable from being terrified in front of Anil but also feeling reassured from that vulnerability because she knows Anil will be there for her like she always used to be, and Anil feeling accepted by Pin because, without even a single thought, Pin still turned to her and buried herself into her arms when she got terrified, seeking her out, seeking what only Anil could give her, out. This episode really maneuvered both girls into exactly where they needed to be to make this happen and feel real and right, and it was perfect. So perfect.

Their chemistry and intimacy. 'Nuff said.

[renthony]

Animation (specifically 2D animation) is my preferred TV/film medium. A piece of live-action has to go above and beyond to get over my personal bias of, "most things would be better if they were animated," but it's taken me a long time to figure out what, exactly, makes a piece of live-action really do it for me.

I think what it really comes down to, for me, is the little details. If your live-action doesn't have some level of nuanced physical acting, intense detailing in costuming and set design, a strong sense of visual storytelling, or kickass practical effects, I'm pretty much always going to come away thinking, "I'd like it better as a cartoon."

I think some of this is due to my issues with face blindness--I need characters to have distinct silhouette and costuming, or they will all blur together in my head. Animation tends to stress the importance of silhouette, so I have an easier time telling everyone apart and following who's who. That's not to say that this problem doesn't happen in animation, or that it always happens in live action, but I do think it contributes to my personal preferences.

Anyway, just for fun, a random shortlist of some live-action that I think uses its medium well:

Child's Play/Chucky. Half the appeal of Chucky (IMHO) is the incredible showcase of practical effects and animatronics. Each incarnation of the Chucky doll incorporates incredible advances in animatronic and puppeteering technology. I have on multiple occasions compared the Chucky puppeteer team to Muppet performers. That shit is its own art form, and it's incredible. The current Chucky show makes some use of CGI, but it's all to enhance the practical effects, and the puppeteers are all given the spotlight in the show's credits. I love that.

Killjoys. The incredible nuance to the actors' body and facial acting is mind-blowing. The set design and costuming are gorgeous, and there's a lot of very good detail worked into the visual space that would be hard to animate. They use their CGI well when they do use it, but a significant amount of the show seems to be practical effects and props. Additionally, Hannah John-Kamen's ability to flawlessly portray multiple characters is so good it's uncanny and makes you forget they're literally being played by the same woman. She changes her entire body language, and it's phenomenal.

Jordan Peele's entire body of horror. His films pack in so much symbolism and subtlety that I could probably watch them all a million times and still find new details. The nuance in the acting, the sheer detail packed into the costuming and set design, the use of color...god. It's unreal.

Crimson Peak, because the set design for that film...holy fuck. The costuming and set design in that film are pure gold. The acting is also phenomenal, but I could probably talk about the set design for hours. The house is a character in its own right.

Galavant and Our Flag Means Death, both for the same reason: both shows feel like I'm hanging out at a ren faire being goofy with my friends. They feel like I'm watching a LARP. They feel like they could easily exist in the same setting as Muppet Treasure Island, and at any second Kermit is going to show up and start singing, and it wouldn't be out of place at all. I think I'd also include Dungeons and Dragons: Honor Among Thieves in this category, along with The Princess Bride and Labyrinth--all of which also include kickass practical effects, choreography, and costuming.

This isn't some sort of objective truth or anything. I just like that I've finally been able to nail down some reasons why I prefer animation, beyond just, "idk, cartoons are fun."

[vibe-stash]

Red, white, black & blue in Twin Peaks: Fire Walk with Me (1992)

[grifonecoronato]

The Olega Padawan

I love this guy and I wanna talk about him.

In The Acolyte, in Episode 2 "Revenge/Justice", we briefly meet this Jedi Padawan (played by Ed Kear).

He’s a big guy, and he seems eager to prove himself useful; he manhandles a kid, and explains how there was a break-in at the local Jedi Temple where he’s stationed.

He has one or two lines of dialogue, and the story quickly moves on from him. He mainly exists for two (2) reasons in the story:

To give a lived-in feel to the setting: that during the High Republic, Jedi are plentiful and ubiquitous, in direct contrast to every other Star Wars time period we’ve seen in film and TV (and yes, I’m including the Prequels era, which explicitly stated that while there were lots of Jedi, they were stretched very thin, which carries a different tone than the era of The Acolyte)

To contrast against Osha, who flunked out of the Jedi Order (more on that below).

I mean he doesn’t even have a name; he's just credited as the "Olega Padawan", his role is so small!

And the fandom menace H A T E S him. They lament that the Jedi are supposed to be physically and mentally disciplined, and being fat is antithetical to that.

I call horseshit. The Olega Padawan makes complete sense, and his inclusion is a perfect addition to Star Wars.

Visual Storytelling of The Acolyte

For now, let's leave aside the undisputed fact that there are many, many biological factors that contribute to a person's weight beyond how much food they eat. And let's be clear that a person's fitness or fatness is not an indication of their moral character or their value to the world.

So let's just say, for the sake of argument, that the Olega Padawan really is just out-of-shape.

In an era where the Jedi are plentiful, have the confidence of the people, recruit new members easily, and have known peace for generations, is it really so inconceivable that a Jedi who’s not at peak physical condition could exist?

In The Acolyte, we see that Jedi take on a peacekeeping / police roles, sure…

...but we also see them doing scientific research…

…and other non-combat, non-adventurous duties.

The temple on Olega is so tiny, so peaceful, so sleepy that its master -- Master Torbin -- took a vow of solitude, penitence, and disengagement, and the Temple was able to continue on, business as usual.

These are the conditions that the Olega Padawan finds himself in. And we're surprised that he would have other things motivating him besides commitment to physical perfection?

Headcanon: the Daily Life of the Olega Padawan

As of September 2024, nothing has been written about the Olega Padawan's story, but I can see his whole life through the context clues that were presented on screen.

The Olega Padawan was probably not a great physical student at the Jedi Temple on Coruscant. Unlike Jecki, his lightsaber forms are sloppy and half-hearted, but he was good enough to eek by a passing grade for his trials.

He then was sent to learn under the tutelage of the Olega Knight, where his master taught him to manage the affairs of the local temple.

He probably spent his days worrying about building repairs, negotiating with mechanics when the droids malfunctioned, arguing with incense and candle wholesalers to keep the temple well-stocked, and taking point on charity or community outreach programs. Occasionally, his master would show him how to make requisitions for additional funds from the Coruscant Temple, or how to phrase their weekly reports in such a way that they go largely ignored.

If his master asked him to do anything physical, like move something into storage, the Olega Padawan would have a choice to make: physically lift it, or just move it with the Force... and I'm pretty sure he'd just opt to do it with the Force once his master left the room.

Occasionally the neighbourhood kids would hassle him, because there's nothing funnier than watching a Jedi lose his temper, so the Olega Padawan probably developed a sharp tongue. He'd likely have zero tolerance for bullies.

If he ever finished his work early, he'd find a way to entertain himself rather than go seek more work. After all, what's really so important that it can't wait when you live in a quiet temple in a sleepy town? Adventure. Excitement. A Jedi craves not these things!

What This Means for Osha

There's one more role in the story that the Olega Padawan plays, and that's as a contrast to Osha.

Osha flunked out of the Jedi Order. Get it?

She flunked out.

She flunked out.

And we saw risk her life to selflessly save the life of a prisoner aboard a ship that was about to crash!

She flunked out of the Jedi Order!

The Olega Padawan, who lives a sleepy life in a quiet temple, did not.

So at this stage in the story, the presence of the Olega Padawan conjures questions like "if he could make it as a Jedi... what the hell did Osha do to fail?"

How much "worse" of a student must she have been?

By the end of the series this is made clear, but by episode 2, the Olega Padawan's mere presence invites us to ask these questions.

[assumptionprime]

I adore your take on DS2 and wanted to know what ur thoughts were on Elden Ring and/or DS 3!

(also I have been loving ur comics!!!)

First off: Thank you! Glad you like my comics! <3

I mentioned it briefly in the DS2 post, and it's been said by others, but Dark Souls 3 is about ending Dark Souls. And it does that very well. The "time and space is falling apart and that's why the geography is like that" that people sometimes say about DS2 is literally, textually true in 3. The Dreg Heap is a pile of other, older Dark Souls areas collapsing in on each other. This world has been going on and on, repeating and prolonging the Age of Fire that should have ended long ago, and it's just breaking down. You can't keep the same thing going forever, that's true in the universe of the story, and of a franchise of dark fantasy action RPGs.

It's kind of funny and also impressive that Miyazaki and the team hit that point, saying if they keep doing this it's going to fall apart, on game three of the franchise. There's so many series out there that will pump out game after game of the same stuff, to the point they stop numbering them and give them subtitles to hide the fact that they're on game 23 of this thing, and FromSoft said "three's our limit for this one" and gave us the greatest hits final bow before moving on to new different takes on their subgenre of games.

Enter Elden Ring! The game that got me into FromSoft games. Every time people talked about Dark Souls it was always about how hard they were, and the whole "git gud" mentality, which made them seem like they would 100% be not my kind of thing. But I am an absolute sucker for a fantasy open world, so I dipped my toes into Elden Ring, and really enjoyed it! Being able to just go exploring and do something else whenever I got stuck was a huge plus, as are spirit ash summons. The game is hard, for sure, but there's also a lot of ways to ease that difficulty (not eliminate it, but ease it (also there's no excuse to not have a pause button, that's stupid, don't @ me))

As far as lore and storytelling, Elden Ring has a lot of cool stuff (that's my wife Ranni, my cool witch wife Ranni) but I don't know that I have so definite a "take" on its story. It goes back to the Dark Souls 1 and 3 well of "some important shit happened, go kill this list of bosses about it" but I appreciate that you have a lot more choice in regards to your ending. It's not "link the fire or don't" it's "you're creating a new age, what do you want that age to be like?" with a few compelling choices and some evil bastard ones for fun.

Assorted side thoughts:

FP is better than spell uses. More convenient, more flexible, lets you focus on Mind to allow yourself to cast more spells.

All of my first playthroughs were sword and board, both because of caution going in and because I like the "knight with a sword and shield" aesthetic.

Related to the last point, Guard Counters are a great addition in ER, and the "Sekiro style block" crystal tear for the Physick in the DLC should have been a talisman or something permanent, to just make that a play style people can use.

The Alva Armor rules, 10/10 best fit in Dark Souls

I really like Shadow of the Erdtree, but it is the absolute limit on the current version of Souls-game mechanics. Not everyone is Let Me Solo Her, and between both the extremely punishing difficulty and the becoming more repetitive nature of a lot of the boss design, they need to change up the combat to keep things going. Sekiro seems to be a step in that direction from what I hear?

No boss fight in any video game has ever made me feel as cool as Slave Knight Gael in the DS3 DLC. It just worked for me on pretty much every level. The story, the music, the visuals, the difficulty. I can beat him, and it's hard but not a kind of hard that makes me angry at the game. Dodging in and out of his attacks, getting my own hits in, it felt like a kick ass dance of fantasy combat. It's peak.

[xamiipholia]

okay y'all seemed to like the last one so here's a few more Horizon 3 thoughts:

Aloy won’t die. It would completely upend the series’ themes and just be really nihilistic.

Since Nemesis is a gestalt entity I think it’s a safe bet that we’ll see Sam Witwer, Carrie-Anne Moss, etc again. I’m curious how they’re going to do it because at least structurally, it’s basically a reaper. Maybe it’ll use different Avatars when communicating like the Leviathan in ME3. 

It's gonna take some work to make a flashback/dream/vision not contrived but I would love to see Varl and Rost again. I think we deserve that.

Minerva is gonna have its work cut out for it blocking access to both the dormant Faro Swarm and the ZD terraforming system. 

I wouldn’t be surprised if Nemesis has some sort of corruption function that becomes the equivalent of the corruption in HZD. It would be a really fun tech showcase if GG uses Zenith nanotech for machine corruption and leans into mechanical body horror.

If we’re going to Ban-Ur I really really hope they do the work to make the Banuk less problematic and more fleshed out as a culture. A quasi-Spartan society absolutely would not survive in an extreme environment, *especially* without megafauna to hunt. The Banuk characters are lovely and well-written; they deserve a society as well thought out as the Utaru or Carja. I’m honestly fine if there’s retcons or revamps to the cultural lore because the whole “outsider barges in and becomes chief” is rooted in racist, colonial tropes and we just don’t really need that imo.

The most recent footage of Death Stranding 2 (also running on Decima) has me SO excited for the visuals. GG’s gonna knock it out. The facial rendering and animation that Kojima Productions are doing looks industry-peak and I’m sure GG’s gonna match that. Aloy’s Gay Panic™️ scene on the beach in HBS is already top-tier nonverbal storytelling through animation. Digital Foundry actually just posted a really cool tech breakdown of the current Decima engine. I’m especially excited about the environmental stuff. The ocean simulations in HFW are already incredible and I hope they increase verticality in the world. I can’t wait to see the Sacred Lands in current gen graphics. 

I really love Kotallo’s DIY arm and it’s so so important to his development but Beta and Gaia now have access to Zenith nanotech, maybe give your buddy a sick upgrade hmm?

Speaking of, I can’t wait to see Beta come into her own. She’s one of the best parts of HFW and Aloy’s character absolutely shines in a sibling dynamic. 

I wouldn’t get your hopes up for a romance mechanic. Everyone’s feelings on that aside, it would be really odd from a game development perspective to just overhaul part of how the narrative develops Aloy’s character in the last act of the story. Yeah, there are flashpoints but I would argue that the presence of choice in Horizon is smoke and mirrors- cosmetic at best. Kentucky Route Zero (which you should play) does something similar where the player is given a certain amount of control over the substance of individual conversations and scenarios and it does absolutely nothing to alter the plot, by design. I think it’s the same here - this isn’t really a choice-based RPG, the flashpoints don’t really affect anything plot-wise or for Aloy’s character development. Olin is still out of the story, Nil lives, Regalla still dies one way or another. Aloy’s character development is pretty firmly on rails (think Jin Sakai, not Shepard - you get to guide some momentary character reactions but that’s it). I don’t think HBS is a testing ground either - If they were gonna introduce a romance mechanic I think they’d just do it, and not spend two years making a direct continuation of HFW’s main quest and establishing a specific romance hard-baked into the plot, complete with multiple leitmotifs for the character relationship (which is something they haven’t done before afaik) just to introduce a side quest mechanic coming in 5 years. I genuinely can’t think of any game or dev that has beta tested a major alteration to upcoming game mechanics that way - it doesn’t really make any sense in terms of developer resources, and these games are extremely time-consuming to make. I know this is a thing a bunch of people want and I can totally empathize with that! I just think it’s probably not on the table. 

I would bet money the series will bookend itself and the epilogue will involve a) the naming of Zo and Varl’s kid and b) Lis’ pendant. 

Mostly I'm just looking forward to being surprised. One of my favorite things that Horizon does is use carefully established elements in the world to pull the plot in unexpected directions and keeping the world grounded while they lean into speculative science fiction. I can't wait to see what Guerrilla is cooking up

[journalofanoldsoul]

Spooky Night Movie Club (Moon Edition)

⚙️ Moon in Aries - "The Texas Chain Saw Massacre" (1974): This movie is a high-octane, action-packed horror classic that perfectly complements the impulsive and adventurous spirit of individuals with Moon in Aries. With its fast-paced narrative and intense scenes, it mirrors the high-energy and daring nature of Aries Moon individuals who thrive on excitement and adrenaline.

🪄 Moon in Taurus - "Practical Magic" (1998): "Practical Magic" is a delightful and enchanting film that delves into themes of love, family, and the mystical. It's an ideal choice for those with Moon in Taurus, as it revolves around strong family bonds, a touch of romance, and a cozy, aesthetically pleasing backdrop. The movie weaves together elements of romance, witchcraft, and sisterhood, creating a visually appealing and heartwarming experience for Taurus Moon individuals who cherish comfort and emotional connection.

💀 Moon in Gemini - "Scream" (1996): The clever and communicative nature of "Scream" resonates with the inquisitive and chatty qualities of Moon in Gemini individuals. This iconic slasher film keeps the audience engaged with its witty dialogues and intricate plot, making it a fitting choice for those with a Gemini Moon who appreciate intellectual stimulation and quick-witted storytelling.

🏚️ Moon in Cancer - "The Conjuring" (2013): "The Conjuring" is a classic horror movie that explores the theme of protecting one's home and family, aligning with the nurturing and protective instincts of Moon in Cancer individuals. Based on the real-life paranormal investigations of Ed and Lorraine Warren, the film delivers spine-chilling and emotionally engaging experiences. It dives into the dynamics of family bonds and the profound lengths people go to shield their loved ones from supernatural threats, making it a compelling choice for those with a Cancer Moon who deeply value family connections and security.

🪓 Moon in Leo - "The Shining" (1980): "The Shining" is a visually stunning and emotionally intense horror masterpiece, which harmonizes with the dramatic and attention-seeking traits of Moon in Leo individuals. Directed by Stanley Kubrick, the film combines breathtaking visuals with a gripping narrative, creating a sensory experience that resonates with the theatrical and expressive nature of Leo Moon. It delves into themes of isolation, madness, and the eerie, making it a captivating choice for those who relish grand, emotionally charged storytelling.

👻 Moon in Virgo - "The Sixth Sense" (1999): "The Sixth Sense" is a film that meticulously delves into details and intricacies, mirroring the analytical and critical nature of Moon in Virgo individuals. Directed by M. Night Shyamalan, this psychological thriller centers around a troubled child who sees and communicates with the dead. Its focus on observation and unraveling mysteries aligns with the Moon in Virgo's penchant for scrutinizing and paying attention to the finer points of life.

🕯️ Moon in Libra - "Crimson Peak" (2015): As previously recommended, "Crimson Peak" is an exquisitely visual gothic romance horror film that appeals to the romantic sensibilities of Moon in Libra individuals. Directed by Guillermo del Toro, it combines romantic and haunting elements in a visually captivating narrative. The movie explores love, deception, and the eerie, making it a poignant choice for those with a Libra Moon who appreciate themes of beauty, love, and relationships.

😈 Moon in Scorpio - "Black Swan" (2010): "Black Swan" is an intense psychological thriller that aligns with the depth and intensity of Moon in Scorpio individuals. Directed by Darren Aronofsky, it explores themes of obsession and personal transformation through the story of a ballerina's descent into madness. The film's dark and enigmatic atmosphere and its focus on emotional depth make it a compelling choice for Scorpio Moon individuals who seek profound and psychologically complex narratives.

🍂 Moon in Sagittarius - "The Cabin in the Woods" (2012): "The Cabin in the Woods" is a thrilling and adventurous horror-comedy that resonates with the adventurous and exploratory nature of Moon in Sagittarius individuals. Directed by Joss Whedon, the film offers a unique twist on the conventional cabin-in-the-woods horror genre, adding elements of humor and surprise. It provides an entertaining and adventurous experience for those with a Sagittarius Moon who love a blend of thrills and comedy in their horror movies.

🔪 Moon in Capricorn - "Psycho" (1960): As previously recommended, "Psycho" is a classic psychological thriller directed by Alfred Hitchcock. It explores psychological depth and themes of control and power, which reflect the practical and disciplined nature of Moon in Capricorn individuals.

👹 Moon in Aquarius - "Donnie Darko" (2001): As previously recommended, "Donnie Darko" is a surreal and thought-provoking film that aligns with the unconventional and intellectually oriented qualities of Moon in Aquarius individuals. Directed by Richard Kelly, it delves into themes of time travel, alternate realities, and the human psyche.

💧 Moon in Pisces - "The Shape of Water" (2017): "The Shape of Water," directed by Guillermo del Toro, is a visually stunning and emotionally engaging fantasy film that appeals to the imaginative and empathetic nature of Moon in Pisces individuals. The movie offers a unique love story with elements of mystery and the supernatural, making it a captivating choice for those with a Pisces Moon who appreciate themes of romance, fantasy, and emotional connection.

I hope you've enjoyed this selection.

Stay tune for more astro posts.

xoxo J.