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m1ckeyb3rry · 3 months ago

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The way that you actually searched up what the length of a novel is LMAO but omg…and you exceeded it by 1.6k words too…honestly this is top tier novel content (WAY better than um. Some interesting concepts. That get put out there….!!! I mean no shame ig but from a subjective standpoint I’d like to think so…)

I’m crying the inspo you get from tv shows though is actually really funny even if it is just a more minor detail LMAO no because that random reference had me laughing and cringing…it really brings more depth and engagement to the story though and I love it!

SAMEE ugh when they don’t know their own feelings and have to navigate through them >>>>> LMAOO yeah I don’t blame you from what I see even without being on like “mhatok” or whatever the fandom is uh….yeah….from what I have seen of the story it’s actually not awful though (you should look up a picture of Aoyama though just for the visual because I fr laughed a bit everytime I saw the name)

Wait you’re so right….we fr need a second egoist bible with more info because iirc that’s where we saw Isagis parents and Bachira’s mom???

Dense y/n is my fav in scenarios like these like DO YOU HEAR YOURSELF LMAOOOO

Otoya in his boxers too made me laugh too like it truly embodies his closeted loser go with the flow personality like that little detail fr just captured his character so well!!

Petition for you to change your header to be Karasu once (not if because surely we will will it into existence) we get a Karasu focused epinagi panel!!

Shshshs YOU GOT THIS!!! In Mira we trust pt. 10…sending inspiration your way LMAO just think about another loser who doesn’t understand what love is…./hj…….maybe listening to more tv osts and tiktok audios will help /j

Omgg enjoy!!! But stay cool SHSHSGS and I hope your nose doesn’t get assaulted any further by any odd odors…..

- Karasu anon

LMAOOO i had to know the truth!! i’ve def written book length stuff before (cough pomegranate ink cough) but 40k is right at the edge so i wasn’t sure if it technically counted or not FJDKJD i guess it does though!! PLSSS baby karasu solos booktok let’s be real /j

i like throwing in references to my obscure favs HAHAH especially that particular show omg i’ve love using lines from it it’s just so funny and nobody knows abt it so it’s like a little easter egg for me 😩 and adding in small stuff like that like you said makes everything just feel more engaging and real!!

HELP MEEE I JUST LOOKED UP AOYAMA FROM MHA I’M CRYING that is baby karasu’s biggest opp right there 😭😭😭 FHDKJD who would pick him over tabito fr 😵‍💫

i’m afraid a second egoist bible would not give us any more canon female characters LMAOO i lowkey think kaneshiro is allergic to women but ykw i honestly don’t mind i’d rather there be no women at all than poorly written ones which get slandered and sexualized by male fans (as we’ve discussed before)

NO LITERALLY WDYM YOU’LL DIE IF HE LEAVES YOU?? WDYM YOU’RE ALWAYS HUGGING HIM AND CLINGING TO HIS ARM?? WDYM YOU DON’T LIKE ANYONE IN THE WORLD AS MUCH AS YOU LIKE HIM?? like she was so so in love with karasu the entire time it was hilarious for her to be like “yeah i just see him as a little brother 🤩” especially because i have a little brother of my own LMAO like that is not how you treat a sibling girl!! tbh i based a lot of tabito and yayoi’s dynamic off of my brother and i’s interactions so hopefully it feels like a realistic sibling dynamic because i can’t even lie sometimes people write siblings so weird and you can tell they’re only children because it just sounds off 😰

OTOYA’S BOXERS >>> no the way he was just wandering through the apartment complex in the boxers during y/n and karasu’s emotional reunion cracked me up because it’s so unserious but so him 😓 he was fr putting in the WORK to get those two together

no because i’m so tempted to make my blog karasu themed but at the same time i love my current theme 😨 which is a surprise because normally i change my theme like once a month 😭 but given how much i love karasu and talk abt him i feel like it might be time to give him the spot of honor especially since nagi had his time as my theme a while ago 🤔

BFISJDSJ i tried listening to songs and audios and whatnot and it just made me think more abt karasu (and also nagi for the few songs i associate only with him) like EVERY song is abt him it’s so bad but i need to lock in and stop thinking abt him for a few hours so i can write for my requests 😩 although i’m seriously considering starting a long fic for him now because as much as i love hollyhock and will not be abandoning mr ninja it’s giving me sm second lead syndrome and karasu isn’t even a second lead or a lead at all he just exists in-verse 😓 i need to write smth extensive and insane for him too!!

#answered asks #best friend’s brother fic

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bonesandthebees · 2 years ago

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Ask game: 7, 15, 23, 43!

- ❄️

snowflake!! ty for these they seem so fun!! also, i'll get to your analysis asks about stars soon, i've actually been busy writing the next stars chapter for the past few days but i'll make sure to answer them before i finish and post the chapter

7. Any worldbuilding you’re particularly proud of?

literally all of the worldbuilding in stars which I think is obvious lmao. I think some of the aspects I'm most proud of for that though is just how well everything fits together? like, how the backstory for zephys iv and the antarctic empire influences the personalities of phil and techno and how the changes the entire dynamic of how sbi interacts, or the contrasts between eldingvegr and zephys iv in design and atmosphere because of these differing histories, etc etc. also just the science behind a lot of the planets, especially eldingvegr. like the way the winds work because of the temperature contrast between the night and day side of the planet is super cool to me (and although we don't know it for sure, could be hypothetically scientifically accurate!) my fixation on astronomy i had when i was 15 really helped me out there lmao

15. What’s your favorite AU that you’ve written?

this is so hard because all my aus are soooo different. like if we're going from a worldbuilding standpoint? probably either stars or the someone else's dream universe because that's some of the most unique and creative worldbuilding i've ever done. if we're going from a storyline standpoint i'd probably say stars. if we're going from a self indulgence standpoint then i'd say honey and tangerines. so it depends on the criteria for favorite au since all i write are wildly different aus lmao

23. What’s a trope, AU, or concept you’ve never written, but would like to?

well, i technically HAVE written a soulmate au before with the goose fic, but I haven't ever sat down and written a legit soulmate au before—at least not for this fandom—and i'd really like to! I actually have a one shot idea in the works for a platonic soulmate au with crimeboys, so we'll see if i end up finishing it :D i just love soulmate aus in general so idk why I don't write them that much

43. If you take/write prompts: what’s your favorite prompt fic that you’ve written?

this is a boring answer but i've never written from prompts before really. I guess I have in past fandoms when I've written for exchanges? but I've only done a few of those over my 7 years in fic writing. for one exchange years and years ago (not for dsmp) my only prompt was 'summertime' and 'it has to involve an animal' so i wrote a fic about the main ship running around a city at night trying to return a lost cat they'd found on top of a roof. it was very fun and i was super proud of the end result lol

ask game!

#snowflake anon #ask game #ask

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dukeofonions · 3 years ago

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“Because I was one of them.”

“Oh, okay cool.”

Or alternatively: Why Virgil’s confession has lost it’s impact.

Exploring the Dark Sides (Part One)

Something I realized the other day is that a lot of my current issues with this series wouldn’t exist if there was a consistent uploading schedule.

You see when there’s a steady stream of new content flowing I’m more inclined to just go with the flow and not spend so much time looking back analyzing things I’ve already floated past because why should I when there’s so much new stuff ahead?

But say that stream suddenly comes to an abrupt stop and I’m left sitting with nowhere else to go. At that point I start looking back, noticing little things that I hadn’t noticed during my initial trip down this metaphorical river. I now notice all the jagged rocks, how shallow the water actually is, etc.

And while this doesn’t necessarily ruin my experience over all, I’m left scratching my head wondering whose idea it was to come to this place anyway. Sure it’s not the worst place to go floating, but surely there’s a better place with deeper water and less hazards. Just an easier way to float along where one doesn’t have to worry about the stream suddenly ending.

I don’t know where this metaphor came from but to sum it up: since there are such long waits (years now) between actual Sanders Sides episodes and there’s a lack of new content to take in, I’m left looking back over what we have now and during my little look backs I’ve begun to notice some things that cause issues with the latest additions to the series.

Some of the more interesting things I’ve noticed revolve around the three resident “Dark Sides” and how they’re written in the series. While a lot of it is really good and I think they’ve got some of the best moments in the series, there’s also a lot of little things that pop up that, when looking at the series as a whole, don’t make a lot of sense.

Which is why I’ve begun this little series where I do a little deep dive into some of these things I’ve noticed and break them down to see if I can try and make sense of it, and this post is going to focus on Virgil.

More specifically, Virgil’s confession to being a former “Dark Side” and how it’s kinda lost it’s thunder.

As per usual, this is all my own opinion and you’re free to agree or disagree as you see fit. Of course I get pretty salty but I try to avoid getting too negative because where’s the fun in that?

Anywho, on with the show!

I’ll admit, despite my problems with the concept of “Dark Sides” as a whole, I genuinely loved the subplot of Virgil hiding that he used to be one of them from Thomas.

From a story telling standpoint they do a good job with the foreshadowing, leaving plenty of clues for the audience to find and it all pays off at the end. It’s also unclear at first whether Roman, Logan, and Patton know (Spoiler alert they do) and there’s some close calls via Janus and Remus dropping hints in front of Thomas which cause Virgil to freak out and adds some tension to the series.

It also provides a bit of a mystery around Virgil, Janus, and Remus as while it’s clear that the three have some kind of history together we’re never told or shown explicitly how their relationship was. Of course, we’re given plenty of hints, but we have yet to know what life was like when Virgil was “one of them” and it gives the audience more to look forward to and theorize about.

And of course, the actual reveal itself is amazing. The acting, the music, the complete silence after Virgil confesses and him looking like he’s about to cry as he sinks out is just *cheff’s kiss* perfect.

So what exactly is the problem here?

The foreshadowing? There’s just enough to get people theorizing but still plenty of room for people to speculate without spelling everything out.

The reveal? What can I say, I don’t have any complaints here. It’s definitely one of my favorite scenes from the series and I can’t find a single thing wrong with it from a technical stand point.

But as mentioned before, I started thinking about it more, and after taking everything we know about Virgil and "the dark sides" into account, this question suddenly came to mind:

Why is Thomas so shocked by this?

Think about it, when Virgil first appeared he was a little bitch. He was kind of the first antagonist of the series. Not evil per say, but compared to the other Sides he was a little shit who enjoyed bringing Thomas down. He was very much what one might consider a "dark side."

He wasn't ever trying to act like a "good guy" in order to earn Thomas's trust or anything, he was very open about what his role was and how it’s just who he is. So really, Thomas's reaction should have been something along the lines of, "Oh, okay. Makes sense."

Of course, we do see Virgil change over time and we learn that he isn't as bad as he seems (even though that seems questionable now) but that should have made his "past" even more obvious.

Like, Thomas, the guy had a whole acceptance arc because he was a bitch and no one liked him. You were literally there throughout his entire journey, it shouldn't surprise you that he was once part of a group you consider to be "evil."

Well okay, maybe Virgil just wanted to be honest regardless of whether or not the "dark sides" are actually evil or not. Who knows? Maybe he chose to confess when he did because he saw how horribly Remus had been affecting Thomas and seeing as he felt as though he'd failed to protect Thomas from Remus and Janus, figured he might as well try to protect Thomas from himself as well.

Which, okay, if that were the case then that could explain Thomas's reaction. He'd just met Remus, saw him at what could he his worst (we've only had one actual episode with Remus so who knows how bad he can get?) and while he learned that he's actually pretty easy to deal with and isn't as scary as he thought, who's to say the reverse couldn't happen with Virgil?

He saw that he wasn't as bad as he thought, but when you look at how nasty Virgil's been lately, who's to say that couldn't happen? It's been said that Virgil, as Thomas's anxiety, is manageable and isn't as bad as others. But we've literally seen Thomas say that he's afraid of what Virgil could do and so he just kind of has to let him do his thing in order to avoid all the "bad stuff" he could do.

According to Thomas: "There's a lot that Virgil could do that I don't want him to do. He knows exactly how to push my buttons. But he is who he is. All we can do is try to listen to him as best as we can and adapt to his needs."

(For anyone who wants to watch the clip here's the time stamp Embarrassing Phases 20:31)

Uh, yeah, that sounds super healthy there. But I'll get into my issues with that little message in another post.

Just before this though, Roman had asked Thomas if "He's (Virgil) going back to being scary can I go back to calling him names?"

Thomas responds by telling him as he's leaving that he still has to be nice to him, before Logan expresses that he's glad (or relieved) that Virgil didn't go into Thomas's "girl phase" which just hearing it being mentioned seems to stress Thomas out. Then finally after Logan leaves Patton explains that while he's trying to respect Virgil's wants and still be a good friend, he feels like he just makes things worse which is where Thomas attempts to reassure him.

Except his advice is to just, let Virgil do what he wants so he doesn't hurt them? And while he says they need to work with Virgil it doesn't seem like he's requiring Virgil to work with him as well in order to not make his life miserable?

Hm, is it possible that my answer as to why Thomas reacts so strongly to Virgil being "one of them" lies within my least favorite episode in the series?

Perhaps Thomas was already starting to be afraid of Virgil before the whole confession in DWIT, and has gotten to a point where he's forcing himself (shown by him telling the others to keep "being nice to Virgil" despite how he treats them) to just take whatever Virgil throws at him in order to spare himself from whatever worse things Virgil could do to him?

That, added with everything that happens in Dealing With Intrusive Thoughts, where Thomas witnesses a Side of himself that appears to be worse than Virgil, could have set him on edge. And if Remus, who he considers a dark side, who he openly admits to hating and is so afraid of him that he loses sleep, then just how bad could Virgil be if he was ever at his worst?

With all that in mind, yeah. It does make sense why Thomas would react the way he did and why he'd be cautious of trusting Virgil in the future.

Except, none of this has actually been confirmed within the series and is purely speculation and since we still don't have the season two finale, we really have no idea what Thomas actually feels towards the situation since he kinda brushes it off at the end of DWIT by doing the outro.

But wait... we actually do know how Thomas feels. In fact, we already know how the issue is resolved!

Looks like it's time for-

How Asides Ruins Everything!

You all remember when Asides was first announced, right? These were meant to be shorter, lighter videos that took place outside of the current series and were meant to give us content in between the long breaks for regular Sanders Sides episodes that also wouldn't get in the way of filming said episodes.

Well we all know how that little idea turned out seeing as it's now been a year since Putting Others First and they decided that we needed to have two Asides episodes before the finale that were apparently essential to the "plot" even though the current plot in Sanders Sides has nothing to do with Thomas getting a boyfriend but I digress.

But you know, I wouldn't be as upset about the Asides causing us having to wait longer for the actual story to pick up again, if the Asides episodes didn't ruin the actual series!

How did it manage this? Well, let's just look at Virgil here and the entire point of this post which is, as the title states, why his confession has lost its impact.

And the answer? Well, at some point the writer's decided that the best way to resolve the new conflict between Thomas and Virgil was to have them indirectly make amends by using some random character that is clearly just a stand in for Virgil and use this character's "confession of a past they weren't proud of" as a way to discuss the situation and Thomas's feelings on the matter just to have Thomas indirectly assure Virgil that they're still "okay" and it doesn't bother him.

So according to Asides, Thomas is just fine with Virgil despite his confession. And as we see in the following Asides episode, they're still cool with each other!

So what was the point of that dramatic confession, which was being built up towards throughout pretty much all of season two, just to have the characters indirectly discuss it and make amends like it was nothing???

Why should the audience care when it all just gets brushed aside (ha) like it's no big deal?

Everything was in place for Virgil's reveal before the Asides came into the picture. You had the build up, you had the pay off, there was the suspense when Virgil was completely absent from POF, and then you would have had him confronting Thomas and the two having to directly come to terms with this new information.

But nope! Let's just have them sit awkwardly by each other on the couch while they watch Frozen in onesies while everyone keeps talking about some random character whom the audience has never heard of before that we're supposed to figure out is meant to represent Virgil and Thomas is all "Nah we're still cool bro."

What's supposed to happen now? Janus is supposedly a "good guy" now so why would he bring up Virgil's past to get under his skin? And if he still does why would it bother Thomas since he's already come to terms with it?

Look, even though I've got my problems with the concept of "dark sides" as a whole, it wouldn't have mattered to me if they'd at least committed to telling a good story here with Virgil's past because I was genuinely interested in that.

I freaked out when he told Thomas, and initially I thought we weren't going to see those two interact again until the finale where Virgil would finally have to face Thomas and we'd get to watch how he comes to terms with it. And if Asides hadn't been a thing and we had gone straight from DWIT to POF it looks like this was the direction they were headed.

But instead we're basically told (not shown) by Thomas that he's fine with Virgil. And the reason as to why Virgil's not in POF despite being on good terms with Thomas?

"There was just no reason for him to be there."

Really? There was no reason for Virgil, who was directly part of the discussion that led to POF in the first place, to be present during the aftermath of the decision they all had helped Thomas make?

There was more reason for him to be there than Logan and he still showed up! They had the perfect explanation set up for them in DWIT: Virgil had just revealed his past to Thomas and due to being afraid of how he'd respond (or just wanting to give Thomas space and not stress him out more) chose to remain absent from the conversation.

That actually makes sense and lines up with the story but nope.

The "Dark Sides" and Virgil's past with them was one of my favorite things about the series. The mystery surrounding it all and Virgil trying to protect Thomas from them while keeping his own history with them a secret was a brilliant concept thats just kinda fallen flat on its face.

The long waits between episodes don't help, and how they're rushing through certain aspects within the series itself along with Asides coming in and muddling things up, I don't really care to be invested anymore.

Why should I when there's a chance anything interesting they come up with will just be glossed over like it's no big deal?

It's hard to make a final judgment here in regards to Virgil's current arc when we still have no conclusion in sight. But from what we've seen from Asides, which is now integral to the plot of Sanders Sides, we kinda already have our answer.

Thomas and Virgil are just fine with each other. We learned that Flirting With Social Anxiety takes place right after POF and that Virgil already knows about Janus getting on Thomas's good side so there's no suspension with him finding out about that either.

All that's really left with him is his troubling relationship with Patton but I don't even care about that anymore. They've hardly addressed it at all and given what we've been seeing I doubt the conclusion to their strained relationship won't be satisfying either.

I don't know what the finale, or the rest of the series, will hold concerning Virgil. While I hope that things will turn around and get better, at this current rate it doesn't seem likely.

Episodes are still taking years to make, and the ones we're getting are just distracting from the main plot or taking things away.

Virgil isn't the only character suffering from this, but at least he's not as worse off as others.

Which is why in the next installment of this series, we'll be taking a look at a little, yellow snake and how one of the characters with the most potential ended up being the most underwhelming parts of the series.

#dukeofcritical #exploringthedarksides

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chongoblog · 4 years ago

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Zero Time Dilemma Review/Ramble

Okay, so if you’ve been following me, you know that I’ve gotten into the Zero Escape series, famous for 999 and Virtue’s Last Reward, streaming both games. I recently took the time to experience the last game, Zero Time Dilemma by watching cutscenes rather than playing it proper mostly because A) I heard it was REALLY dark and didnt want to risk it on Twitch and B) I wanted to experience it more freely like while I’m at work.

After experiencing it. I have......feelings about it. And because there’s MASSIVE spoilers involved, I’m making it its own post under the ReadMore below.

tl;dr LOADS of bullshit, flawed execution, and stupid decisions, but still REALLY enjoyed it

Okay so a LOT of this is going to be complaining, and like I said in the tl;dr I still legit enjoyed this game, so I’m gonna make this a compliment sandwich by saying something nice now, loading up on complaints, then ending with more compliments. Carlos is good. So is Sean. Sigma being voiced by Matthew Mercer actually makes him more interesting imo. I REALLY like Phi’s new design and the way they build on the initial concepts brought up in VLR more accurately portray the ideas that started all the way back in 999, that being the idea of taking thoughts across timelines, just like the player. From the beginning, the theme/gimmick was always “what if your character remembered information when you savescummed?” In 999 that began as flashes of information, and in VLR the characters’ consciousness actually time traveled at the very end. ZTD now uses the idea of the consciousness traveling across time and space and RUNS with it. I also think that Delta has a cool design.

I’ll be nice again later, but now for the things I Did Not Like.

Emo Moody Junpei makes sense from a writing standpoint, but that doesn’t mean I have to like him. Maybe I just got spoiled since Evan Wilson did a spectacular job with his deliveries in 999 and in ZTD it seems like his soul got sucked out. Not the fault of the delivery as much as it is the writing. Eric is bad, and I feel like that statement isn’t controversial. I don’t think anyone likes Eric, and if you do, then sorry for shitting on him so much, but god I just don’t like him. And the abusive childhood thing doesn’t give me a drop of sympathy, but then again I’ve always hated the writing trick that “this person is shitty and pathetic but it’s because abuse!” (see also Mikan). Diane is boring (sorry).

But I fuuuuuckin HATE Mira. I hate Mira so much. Like, at first I thought she’d be alright, yeah she’s definitely The Boob Character™, but I liked Lotus well enough and Alice grew on me significantly, so I don’t see why Mira won’t. Then she’s like “surprise I’m a serial killer”. Now if they just made her a serial killer, it would be kinda boring so I’m glad they TRIED something new. I just think the result was bad bad bad bad bad bad bad bad bad. Like....”hmm I never felt any emotions so when my mom told me they were kept in hearts I just ripped em out of people :)” is some garbage I’d write in middle school when I felt especially edgy. Also yeah seems p ableist. I won’t go too deeper into Mira, since she’s a sociopath and I don’t know enough about the actual disorder to put a candle to the real thing, but....bleh.

I won’t touch on THIS aspect for too long because I’m aware that it had barely any budget and it wouldn’t have happened without a kickstarter (don’t know the details), but the animation is just....so stiff. It really takes away from the dramatic impact some scenes are meant to have. But even IF the animation wasn’t stiff, I still am not a big fan of the darker and moodier direction it went. Although that’s moreso down to personal preference. Final note about the presentation (which is by far the game’s weakest aspect) is that I noticed multiple points in the sound mixing got to nearly Sonic Adventure 2 levels of being unable to understand what people were saying.

Alright. Now for the moment you’ve all been waiting for. Let’s talk about Delta. This is going to make up a MAJORITY of this post so strap in.

Delta is a meme. There’s no other way to say it briefly. He’s just such a huge fucking meme. Almost everything about him, from his plan to his “complex” motives to his backstory to his powers. I mentioned liking his design, but fuck it. That’s a meme now too. Delta is the stupidest part of the game, and as much as I kind of love it, I also need to complain about it.

First let’s talk about Delta’s plan (because it starts with the nicest part of this segment). His motives are “complex” which is actually greek for “he’s probably either a liar, an idiot, or both”. I said there was nice things, so I’ll start with those. The very ending’s “ah ah ah. I never killed any of you in this timeline. If you arrested someone for crimes of another history, there would be criminals everywhere” was something I actually legitimately enjoyed. Yeah, intent was still there and he’s still a bastard (plus there was kidnapping and non-consensual drugging involved so kind of a stupid take), but I still thought it was a fun attempt. And also the “I had to make sure I was born” thing is a mindfuck, and I love those. Basically the first retort is “well I’m alive, right? So I don’t need to make sure I was born with powers because I WAS born with powers, which means it happened in another universe. So I don’t have to.” Only to then realize that we’re just in the universe where he DID do that but then the only justification is “someone had to” right? Wrong. Let’s talk about the rest of his “complex” motives

So I give a pass to “I had to make sure I was born”, but now we see why he had to do this whole deal and what he declares at the end of the game. That there’s some religious fanatic who intends to blow up the world and completely end humanity. And he released Radical-6 in the VLR timeline hoping that it would kill the terroris only killing 4 billion people instead of 6 billion people. In the timeline at the end of ZTD, he says that they had used this experience to hone the skills of the Shifters that way they could use their newly honed take down the religious fanatic WITHOUT Radical-6 and save the world.

What?

Now......before I tear into this.....I have ONE nice thing to say. The “unleash radical 6 and kill 4 billion vs let a terrorist end humanity” gambit IS cleverly foreshadowed with the radical 6 decision game with Q Team. But also wouldn’t that have made, like 1800 times more narrative sense to give that decision game to team D who KNOWS the impact of radical 6, or team C who he explains this plan to later on? Damn, even my nice thing was backhanded. Alright let’s REALLY tear into it.

FIRST of all, this is the exact same plot of Virtue’s Last Reward. Only difference is that somehow Akane and Junpei are just as skilled at this technique as Sigma and Phi despite the latter going to do Moon Training (granted the moon training was also to give them enough of a jump to go back 45 years). Speaking of Virtue’s Last Reward, this game also reveals that Delta is Brother, the leader of Free the Soul. A group of religious fanatics. So I wouldn’t be especially shocked if the religious fanatic is working with Free the Soul. But for the sake of this argument, let’s just say they aren’t with FtS. How in the Flavor-Blasted FUCK does he know this? Did somebody Shift back from that timeline and then just get Mind hacked (and we’ll fUCKING talk about Mind Hacking dont you worry)? How would that be the only piece of information known about the end of the god damn world? And if there IS more, then why the fuck wouldn’t you tell them the information? How does he know that it’s inevitable when apparently a god damn snail can unleash Radical-6?

I call bullshit on the “religious fanatic” thing. Wanna know why? Because at this point, Delta had already founded Free The Soul. He started this shit in 1938. At this point in time, he and the rest of the Free the Soul had already kidnapped Alice’s dad to create clones of his dead brother. He was pushing for a new world order and then in the VLR timeline, tried to PREVENT this whole thing from happening by sending Dio to the Moon. So if he actually gave a shit about “honing their abilities” then why would he do everything in his power to stop it? There is ONE out that there can be, but it’s something not even HINTED at (and I’ll talk about this later), but I think that "religious fanatic” is a big ol’ lie that he made up to try and save face when he was faced with a consequence, but even that explanation makes no sense since he’s like “lol shoot me if u wanna I wont mind hack you”

And let’s talk about mind hacking. Let’s fucking talk about Mind Hacking. Adding Mind Hacking was stupid, completely pointless, out of left field, and actively makes Delta a worse character. For those that don’t know, Mind Hacking is an ability that only Delta has (and I guess the player character technically but that’s a whole meta thing from VLR that doesn’t get followed up on) where you can read people’s minds and also fuckin control them. Why? Why was this necessary, ZTD? You wanna know what I thought was really neat? When I saw that different timelines produced different X-Codes. I thought “oh shit, I know this is Game Stuff, but the sheer foresight of the villain to do that? That’s some Moriarty shit.” It would require some insane explanations, but we’ve had enough sci-fi that we could imagine with enough advanced tech, you could set up systems that could use conditionals to give certain responses based on certain outcomes. Like if someone dies after the decontamination room button is pressed, then the central computer outputs a different X-Code than if it’s after the initial vote. Just make up a new tech that accounts for Shifting (plus the QUANTUM COMPUTER you have RIGHT THERE) and you could make a villain with so much calculated foresight that he’s just a god damn genius. But no. Mind hacking. None of that interesting stuff, just “lol I read ur mind idiot”. No outwitting anyone, just “lol get mindhacked eric u scrub bang bang”.

Honest to god, honest to FUCKING god, do you want to know how cool the final cutscene would have made Delta look if he walked out and just KNEW what happened in another timeline because of his plans. Like everyone recognizes him as Delta and he just goes “ohoho I see you had a fun time in my other timeline” using that deduction alone. But nah, he’s just like “yo I just mindhacked y’all, nice experience y’all had” I hate mind hacking so much. There’s no part of his plan where he NEEDED to mind hack in order to succeed that could have been written without mind hacking.

Now there’s a bit of a missed opportunity here that could both make mind hacking relevant, made his motive not shit, and also maybe even developed him into a SUPER interesting character! I know this is a bit fanfic-y, but hear me out. Make Delta a VICTIM of the stable time loop/bootstrap paradox. For those who don’t know, the bootstrap paradox is when time travel makes certain events happen seemingly out of thin air since they are their own cause. Basically it’s this clip from Milo Murphy. This is something that seems like it’s KINDA there in the subtext, but if they actually dove into it, they could have a GOLD mine.

What if we keep the mindhacking, and before he even MAKES Free the Soul, he mindhacks someone who experienced the events of the “religious fanatic”. But not just anyone. An experienced SHIFTer who made it their goal to stop this religious fanatic. After hundreds of attempts, they still fail. Delta sees this and determines it to be inevitable. So he’s having fun, cursed by the knowledge of an inevitable apocalypse. Then he meets Akane, Phi, Sigma, or Junpei after they had undergone the events of VLR and ZTD. He learns that particular timeline. A bleak future, yes, but one single future where humanity is alive. He sees two futures, one in which all of humanity dies, and one where he is the leader of a religious cult that wipes out 4 Billion People with a deadly pandemic. And the idea of being that person disgusts him. He despises it. But he’s completely resigned to fate. He knows that things must go precisely as he’s seen at the price of humanity, too frightened by such a burden to even take a toe off of the predetermined pathway. His motive is that he’s so tightly bound to fate and so afraid to let it slip that he has no choice but to commit the atrocities, despising himself for it every step of the way, but considering it better than the inevitable alternative. It would give a purpose for the mindhacking powers, it would give him a solid motive, and it would make the ending SO much stronger, showing the contrast between a group of SHIFTers confident that they can change fate and the man who is completely resigned to his own. Fuck, I might steal this character concept because I REALLY think this idea would work to make an interesting villain!

Like I mentioned, this is KINDA there in subtext (with him quite frequently saying “life truly is unfair”) and this could be an interpretation of the character, but if ZTD had explored that theme, then holy hell what an interesting character Delta would be.

But even WITH this fix, holy hell, this plan is stupid. Because guess what, dingus. You just created like 30 new timelines that all end in annihilation.

He coulda said ONE line about “even if there is only one history that ends nicely, that is solace enough”, that might have been dark, but still powerful. You know, add some depth. But instead, he’s just like “hmm hmm shoot me”

And the Q Twist? I’m honestly not as mad at it as I should be. On one hand, it does that cute thing where there are little bits of foreshadowing so when you rewatch it, you notice little bits like shadows and stuff, but on the other hand, there are PLENTY of points where either the camera just straight up lies to you and doesn’t show him when he should be there or Delta’s just been fuckin SHMOOVIN on his wheelchair around the room constantly to stay out of the camera and everyone’s just been kinda chill with it. Maybe if they had been more careful with the camera it could have delivered a TOUCH better. Like, even if the shots are a bit off, that’s noticeable enough to be part of the hint, no? I don’t have as much to say about this, mostly because this post is getting long as fuck so I’m gonna wrap it up so I can move on with my life for a bit.

So even with ALL OF THAT, I still enjoyed playing the game. That’s right, compliment sandwich time. The three wards all being one ward was a really neat reveal. The fact that you can shoot Delta in one scene is creative with its replay value. I’m glad they touched on the philosophical idea of what happens to the people who made it out from the coin flip only to get SHIFTed into the exploding lab, and exploring that idea was fun. I absolutely lost my mind at the idea of the gun to sigmas head had a random chance of firing and then seeing it elaborated on in the dice scene directly after it. Gab is a good boy.

Cant wait to play AI

#long post #zero escape #ztd #ze spoilers

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365days365movies · 4 years ago

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January 17, 2021: Atomic Blonde (Epilogue)

I genuinely really enjoyed this film! And then...about 2 minutes after it ended...I started to think. And I continued to think. I wrote those two posts, and then took a little bit more time to think.

And then...I came to my final realization.

John Wick REALLY screwed this movie. Because the perception of this movie for most, myself included, was that of a new John Wick, with a female protagonist. A lot of people referred to it as “Jane Wick.” But it’s definitely not John Wick. It’s trying to be a spy movie, especially like James Bond films.

But the problem is...it isn’t either. To be a spy movie, it tries a little too hard with a pretty standard plot. And then, it intercuts that with John Wick-caliber fight sequences, detracting from the spy movie aesthetic. And then, because you do have those fight scenes, but still need to fit in the spy stuff, it creates a distinct disparity in tone and pace throughout the movie.

In other words...let’s get to the Recap. I have some more thoughts. And don’t worry! Many of them are positive. Just...not all of them.

Recap

Cast and Acting

Let’s start, of course, with Charlize Theron. Outside of the action sequences, Theron goes well as Broughton, portraying the tough character traits we see in spy characters like her and James Bond. And with the character she’s given, Theron does wonderfully. James McAvoy, on the other hand, seems like he’s having a HELL of a lot of fun with his role. He’s an underrated actor, honestly, and it’s very cool to see him play this sort-of anarchist punk spy. Sofia Boutella also deserves a shout-out for Delphine, playing her character’s naivete well, as well as remaining likeable. Also, Bill Skarsgård deserves a shout-out! I liked Merkel a lot, even despite his shorter screentime. Goodman, Jones, Marsan all do fine in their roles. The USSR characters...eh. They aren’t really given much spotlight...which is weird, given the fact that this is a Cold War drama, but OK. Basically, we’re going with an 9/10. Great; not the best I’ve ever seen all around, but still great!

Plot and Writing

Yeah...here’s the thing. I might like this movie, but the plot’s kind of a massive mess. Writing’s fine, but the plot is both extremely cliche spy movie, while also being extremely muddled in terms of story. Remember what I said up there about this film trying to be both a spy movie and John Wick, and that not working really well? Yeah, basically that. It attempts to balance the two concepts, but also corrupts what makes those concepts work in the first place. The Bourne Identity is arguably a better version of that combination. It’s too bad, because elements of the plot really take away from the rest of the movie.

And then...there’s the tacked on ending. Because, yeah, the whole American spy thing? Wasn’t in the original graphic novel. What I genuinely think they should’ve done was end it RIGHT at the interview’s terminus. Or, at least, right as she greets Bremovych as Satchel, as is done in the original novel. And, just to be clear, I thought this BEFORE reading the book. That ending feels...pander-y, for lack of a better term. I realize that we always want our protagonists to be heroic, but how great would it have been if Lorraine actually was kind of a villain? I dunno, I think not adding that extra twist at the end makes the movie stronger and more provocative, in a good way. Sorry, Kurt Johnstad, I know you did a good job on a technical standpoint, but...5/10 here.

Directing and Action

David Leitch, Jonathan Sela, and Sam Hargrave, the director, cinematographer, and stunt coordinator/fight choreographer, respectively. Full points for the action sequences, because MAN, those were some good action sequences! Rough and gritty, but extremely well-choreographed and shot at the same time, the action deserves the praise that it’s gotten. How about the cinematography? Stylistic, and very bold colors make this film very memorable. But...they don’t have much clear tie-in to the theming, and I think there’s some missed opportunity there. And the direction overall is great, even if I don’t think it’s perfect. It is Leitch’s first film as solo director, after all. 8/10!

Production and Art Design

Changed the title of this section! Turns out that I’ve been conflating the two concepts, so let’s include them both from now on, shall we? But OK, what did I think of it? Costume design was iconic...in the case for Charlize Theron, at least. James McAvoy a little bit, too, but it’s clear that Cindy Evans focused more upon Charlize than anyone else in the film, really. Which, for a spy, isn’t the best of ideas. Still, that combined with Zsuzsa Kismarty-Lechner’s art direction for the sets and set pieces (almost all of which are splashed with graffiti, in a very 1980′s flair) do bring you back to the time period in which the film is set. This, of course, is also due to the work of David Scheunmann, the production designer who’s actually from Berlin, and whose experiences were vital into making this film look as good as it does. If you’re not sold on the set design, check out the differences, obvious and subtle, between West and East Germany in the film. While some of it is clear, some of it carries some surprisingly subtle messaging (Stalker and Tetris, for example). So, even if Charlize got most of the costume attention, a lot of credit should be given to this movie. 8/10 for this one!

Music and Editing

Maybe the most well-known aspect of this movie, outside of the dramatic lighting, is the ‘80s soundtrack. Some love it, some criticize it quite a bit for overwhelming the film. And honestly...I think they’re both right? Here’s the thing, the music is great, and some of it is used in unexpectedly creative ways that critics didn’t seem to pick up on. Biggest and best example of this is Nena’s 99 Luftballons. That song if you didn’t know, is inspired by the separation between East and West Berlin. It’s literally a song about the cost of political strife, leading to war between countries over something as trivial as a red balloon. And when do they play it during the movie? When Bremovych is waging interrogating young East Berliners celebrating the culture of the west. It’s surprisingly profound! However...using Flock of Seagulls’ I Ran during a chase scene is...less so. That’s one’s a little on the nose, let’s be honest here. And that basically sums up the music for the movie. It’s all good music, but it’s either used well, or it just isn’t. Also, there actually is music composed for this movie, by Tyler Bates, and it is good...but I had to listen to the soundtrack to remember that it was even in the movie. So, yeah, not fantastic.

OK, how about the editing? The flashback sequence intercuts as part of the movie have been criticized by some for interfering with the pace and tone. And...eh. Wasn’t too much of a problem for me, to be honest. And other than that, it didn’t stand out too much to me. I’m finding that editing is the hardest thing to judge in these movies, but who knows? I think this little project might improve my film judgment skills. Also, those long shots? Not true long shots, as they were edited in post. So, good job to Elísabet Ronaldsdóttir! Overall, though, this category’s getting a 7/10 from me.

That’d be a...68% Really?

I’m legitimately surprised, because I do like this movie! Really, I do! But breaking it up piece by piece...it’s only really OK. My personal preference doesn’t necessarily dictate my score, and vice verse. So, I like this movie...even if it’s not as good as it can be. It’s a distinctive and stylish film with great action, and if you wanna see Charlize Theron be cool and kick ass, then WATCH THIS MOVIE!

And by the way, I didn’t touch too much upon the fact that this is the rare bisexual protagonist, and this is Tumblr, so I know that that’s something you guys know. And honestly...eh. Fact of the matter is that it’s a part of her character, but...we don’t really get to know the real her throughout the entire movie, so...is it? I’m honestly not sure. But, representation is representation, I get it. Also, fun fact, Delphine actually is in the graphic novel, but as a guy. So, interesting change, that!

OK, I think we’re done with the spy movies for a bit, now. Let’s switch subgenres a day. Let’s inject a little more adventure into this month, and let’s trade fists...with swords. It’s swashbuckler time.

January 18, 2021: The Mask of Zorro

#Atomic Blonde #David Leitch #Charlize Theron #Lorraine Broughton #James McAvoy #David Percival #Eddie Marsan #John Goodman #Toby Jones #sofia boutella #Bill Skarsgård #roland møller #365 movie challenge #365 movies 365 days #365 Days 365 Movies #365 movies a year #user365 #movie challenge #action january

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crusherthedoctor · 4 years ago

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Crusher Elaborations #1: Thoughts on the Aesthetic of Sonic’s World

If someone came up to me and asked “Which do you prefer, Classic Sonic or Modern Sonic?”, my answer would start off with “Well, technically Classic Sonic because...”, and then I'd get cut off by the other person immediately lecturing me on why I'm wrong and why I'm the worst kind of fan imaginable. Should they finish their rant, I would then explain to them in the midst of them basking in their flock of easy Twitter likes that I didn't necessarily mean it in the way they predicted.

If we were talking about the games, the characters, or the character design, I'd be fairly neutral, since I like both halves equally for the most part. In fact, when it comes to characters, Modern might actually have the edge believe it or not, since the sheer number of characters introduced from SA1 onwards naturally means a lot of my favourites were introduced from that point on, such as Tikal, Rouge, Gamma, Omega, Blaze... But then again, Classic introduced Eggman and Tails, and the Hard-Boiled Heavies are technically Classic as well despite being relatively new...

Anyway, the point is, I'm not talking about any of that today. I'm talking about the world that Sonic and his multicolored chums live in. Or rather, the aesthetic of it.

NOTE: This is purely about the game universe. While I do have my thoughts on Sonic’s world as presented in other continuities, that won’t be the focus here.

If you're familiar with my blog, you'll know that as a general rule of thumb, I much prefer colorful and creative worlds in my Sonic universe, and that rings true for my reasoning here. And I know what you're gonna say: “But Crusher, isn't there plenty of that in the Modern games as well?” Yes, there is, and I appreciate them very much. But this is why I feel the need to make a post of this sort to begin with, because I'm NOT saying “Classic cool, Modern boring” and calling it a day. There's a little more nuance to my tastes here.

When I say I prefer the Classic aesthetic for Sonic's world, I don't mean it in the literal sense of disregarding everything about the Modern aesthetic. Let's put it like this: when you're asked to paint a picture of these two sides of Sonic's universe in your head, a specific image will likely come to mind. When you think of Classic, you'll probably think of Green Hill first and foremost, whereas with Modern, you'll probably think of something like City Escape or Rooftop Run before anything else. In other words, when you think Modern Sonic, you're probably imagining the more realistic kind of locations first. And between the two mental images that come to mind, I personally prefer the Classic image. Shock, horror.

I wish I could swim in a sea that’s probably radioactive.

Now keep in mind, I'm not saying that City Escape, Rooftop Run, and all similar environments in the series look bad, because they don't. Unless they're painted with the '06 brush, they generally look fine, and the locations in Unleashed in particular are undeniably beautiful from an graphical standpoint. The problem is that although I can picture this as a world that Sonic could be in, I can't necessarily picture it as Sonic's world specifically. Because when it comes to the more realistic environments, I feel there's not much of an attempt to let it branch out as its own thing.

I know that might seem harsh, especially for Unleashed, since the real world angle was the deliberate theme of that game. And Sonic taking cues from real places is a fine concept, there's no issue there. I'm not gonna complain if there's a France Zone with an Eiffel Tower in the background. In fact, Sandopolis Act 1 has one of my favourite aesthetics in a Classic zone (mainly because the background is really pleasant to look at), and that zone is essentially Egypt Zone. But if you're making a Real World Zone, there needs to be more to it than that, otherwise you don't truly get a Sonic interpretation of our world... you instead have our world as it is with Sonic characters awkwardly stapled on.

When I look at City Escape, it may not be completely unfitting for Sonic (the posters and billboards in particular are actually a really nice touch), but when I look at it, I don't see Sonic's interpretation of San Francisco. I see San Francisco with Sonic shoved in. When they morph these places to Sonic's liking, they'll add rings, loops... and that's it. They rarely take the concept any further, which is a huge shame, particularly in the case of Rooftop Run, where I otherwise do like its visuals a lot, but it just doesn't go far enough with the concept for my liking.

At least you get to murder car owners, and give G.U.N. a legitimate reason to arrest you.

So which Modern games do I feel did the best job at making Sonic's world... er, Sonic's world? Well the truth is, most of them actually do a decent job in this area, regardless of the level design quality or the game’s quality period. SA2 has Pumpkin Hill, Eggman's Pyramid Base, and... SOME levels aboard the A.R.K (mainly the “outside” ones, like Final Rush). Shadow the Hedgehog, a game that reveled in how brown and gritty it was, still had highlights like Circus Park and Digital Circuit. Even '06 of all games had Aquatic Base, which was pretty cool from a conceptual standpoint. And although Unleashed as a whole might be a touch too vanilla in the creativity scale, it still had the glorious Eggmanland at the very end. But if I had to say which of the Modern installments did the best job overall...

- For starters, I'm gonna give a shoutout to SA1, because even though it was the first Modern game, and thus it was technically responsible for the more focused angle of realism in Sonic's world in the first place, it didn't take it quite as far as later games would, and although it may not be a perfect 1-to-1 representation of the world we saw in the Classic games, it does well enough with what it brings to the table that I can still accept it without any issue at all. Some of that has to do with the fact that you still have wilder areas like Windy Valley and Red Mountain to balance things out, but even with the other half, the game's use of colour is enough for it to go a long way, oddly enough. Take the At Dawn section of Speed Highway for instance:

From innocent times, when the radar wasn’t a piece of shit.

Technically, it's really not that different to the urban environments you see in SA2 or Unleashed. But something about the sleepy morning approach gives it a subtle, almost dream-like edge to it that I really dig, and despite it being pretty similar to the likes of City Escape, somehow I have an easier time buying into the idea of this place being part of the same world as zones like Sky Sanctuary.

And seeing how I already mentioned Red Mountain, let me compare it to Flame Core:

Yes, I know bringing '06 into this discussion at all is inherently and hilariously unfair, but let's put aside the game that Flame Core comes from for a moment. Aside from maybe the purple crystal caves indoors (and that's assuming you can even see where the fuck you're going in there), Flame Core is pretty boring to look at as far as Sonic levels go. Red Mountain is vastly more interesting, even though it's basically the exact same concept, and a lot of that has to do with - you guessed it - colour. Sure, it's day time, that's one thing, but you'll also notice that for a lava/mountain stage, it surprisingly has a few grassier sections, sort of like Hill Top in that regard. A little bit of green among the brown and red, and a great contrast to the volcanic nightmare you'll experience when you head inside.

Now this might seem like a fairly minor detail... and yeah, it is, but the thing that SA1 does so well is that it combines so many of those small details to make a complete, well-rounded package. This is why SA1 meshes well with the Classic style despite not being an exact replica, because just as the Classics excelled at, it wasn't afraid to use colour in interesting ways. It understood that a fire level could have more than just red and orange, in the same way that a grassy level could have more than just green and blue.

But of course, as I mentioned, SA1 is not an exception. There are other Modern games that did a great job on the whole...

- Heroes is an obvious answer, since it's translation of Genesis-style environments to 3D is probably one of the most recurring praises the game receives, and rightly so. Not much to say here, except that Hang Castle is still cool as hell.

And plenty of opportunity to admire the not-broken-in-half moon.

- Colours is another obvious one, though something of an ironic one given that the premise of the game involved going to other worlds, and those worlds were all converted against their will by Eggman. Yet, they did an equally superb job at creating fun, unique locales, and Aquarium Park in particular remains a favourite of mine.

Gotta love that red/blue contrast.

- The Riders series has a more futuristic bend compared to the rest of the series, but even when it's not all high-tech, it's got some pretty cool environments of its own, and I feel they even do well at mixing the real world side of things on top of that. Gigan Rocks comes to mind, as does Aquatic Capital.

Reminds me of when Perfect Chaos peacefully protested against Station Square.

- Regardless of my thoughts on the game itself, Secret Rings had some undeniable winners in this depertment. You tell me with a straight face that Night Palace doesn't look amazing.

A wonderful palace for a domestic abuser.

- And lastly, they might have had an early advantage since they're already 2D, but the Advance trilogy and Rush duology deserve a mention. They had some fantastic ideas for zones, like Planet Sonata Music Plant, and they did great with the colours as well. Hell, throughout these five games, the sky was practically every shade of the rainbow at one point or another.

Oh look, another completely whole moon.

Also, quick shoutout to another minor detail akin to the grassy sections of Red Mountain: these pink tunnel sections in Ice Mountain. No elaborate point to make here, just another perfect example of how much I adore these games' use of colour and contrast.

Seriously, I could go on for hours about good contrast.

Although I do bring up these small details for another reason, and in turn, another layer to my more nuanced take on Sonic aesthetics. By this point, we get the basic jist: Crusher likey when Sonic levels unique and pretty. But this can - and has - lead to a couple of misconceptions, so I'd like to address those and then laugh at them.

“So you want Sonic's world to be exactly like Mario?”

A common complaint that Lost World received was that it was too much like Mario, in more ways than one, and part of this was to do with the game's visual style. The zones may have been upbeat, but they often consisted of a bunch of things floating in the air and not much else, ala 2D Mario. While I didn't outright hate it, it’s definitely not what I have in mind for Sonic.

Of course, all complaints about being too much like Mario suddenly turn into praise when Eggette gets brought up...

And why is that? Because yes, I like my Sonic locations to be fun and lively... but I also want them to be firmly established within the context of this universe. The Lost World approach is fine with Special Stages and the sort, but outside of that... well, Studiopolis is a perfect example of what I'm talking about:

On one hand, it's very unique when compared to other cities in this franchise, and it's full of quirkiness, great use of colour, and all that good stuff I've went on about. But at the same time, it's grounded just enough so that it still feels like an actual city that the people of Sonic's world could feasibly live in, rather than a basic and empty video game level with a tacked on city background. Studiopolis may be a level from a video game, but you can totally believe it's a fully fleshed out place from its own perspective.

Naturally, this praise also rings true with the Modern games I listed earlier, and is yet another reason for why I approve of their settings.

“So you think Sonic can't have darker locations?”

It might be easy to take my compliments at face value, and assume that I'm immediately opposed to a zone that's not brightly colored. This is... very obviously false, as even the Classic games have their share of less-than-cheery areas, such as Scrap Brain and the Bad Futures in Sonic CD.

However, when you're making a grittier location in Sonic's world, regardless of the context, it still needs to be interesting. The problem with a lot of them in Modern installments is that they're boring. Crisis City is a generic city on fire. Westopolis is a generic city with aliens firing lasers from above. The prison levels in SA2 - and the indoor ARK levels not named Cannon's Core - are just grey hallways for the most part. That shit isn't exciting, and it doesn't get my mind speculating. It just makes me want to move on.

Let the eggsperts take care of this.

By contrast, Eggmanland is a prime example of how to do it right. Eggmanland is a magnificent theme park as envisioned by the good doctor, but it's also, at its core, a giant metal hellscape fueled by the energy of a dark entity, and it only gets more ominous the further you go through it or try to before you give up because it’s too fucking long and you died at the end. So it sets the mood to be sure, but it's still visually compelling to look at, and interesting to think about.

And since Eggman is apparently the only one who can show us how it's done, here's a shoutout to Titanic Monarch as well:

Like Heavy King, but Heavier and Kingier.

When comparing the final zones in Sonic games, I especially love this zone's visual approach, because it manages to be dark and colorful at the same time, and in a strangly organic way. It's got a spooky atmosphere, with a moody moonlight backdrop to match, and the titular robot is foreboding as hell as you climb up it and traverse through it... all the while having red floors, green and yellow wires, blue and pink buildings, and stained glass windows of Eggman and the Heavies for you to marvel at. So even putting aside the unique scenario of climbing up and then through a Kaiju-sized mech, the mood of the zone alone manages to be extremely memorable.

So what have we learned from all this? Aside from the fact that I’m way too interested in this subject? We now know that when I say I prefer the Classic “style” over Modern when it comes to the way that Sonic's world is presented:

- I don't mean that literally.

- There are certain qualities that although both of them possess, they tend to be more immediately associated with Classic in the collective consciousness, even within the fandom.

- The environments that I love the most in Modern games are often the ones that would also fit perfectly in the Classic style.

So whenever I express the basic nature of this opinion in the future... just imagine a small asterisk at the end of my sentence.

#Crusher Elaborations #Opinion #Sonic the Hedgehog

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bladekindeyewear · 4 years ago

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HS^2 bloggin’ mainline 2020-08-23

More homestuuuuuck

I’m a little tired today so I don’t expect much intelligent analysis out of myself, but if anything classpecty happens I doubt I’ll be able to help myself regardless.

oh, always

(EDITS: added note on horn colors, link to ask on potential Blood powers reference)

> CHAPTER 12. Really Convoluted Metaphorical Horseshit

cuuute

In the bowels of a different ship, at a moment in time that is not pinpointable in either direction from the previous interaction, another Dave raps quietly to himself.

another dave raps quietly to himself. i am glad that phrase exists it brings me joy

(LATER EDIT: A friend on Discord pointed out that throughout this entire update, Karkat's horns are #FF0000 red. They were normal candy-corn colors in previous glimpses at the ship crew, though they used a dark single-color shortcut typical of old Homestuck at one point... but THIS time it stays STARK red even when we zoom in close later. Is this just artistic liberty? Did Karkat color his horns for fashion? Does this happen to red-bloods like the Sufferer after a certain age? Just how much time has actually passed, here? We might have to wait for the commentary for this one.)

KARKAT: I WAS SAYING I THOUGHT WE MIGHT GO, I DUNNO, ANYWHERE ELSE ON THE ENTIRE SHIP WHILE THE CLOTHES WERE WASHING. KARKAT: SEEING AS THIS DECREPIT MACHINE WE WERE SO BLESSEDLY PROVIDED WITH MAKES A WHIRRING SOUND SO PANCHAFINGLY ARHYTHMIC THAT IT THREATENS TO ERADICATE THE ENTIRE CONCEPT OF TEMPO FROM THE UNIVERSE.

Karkat really has chilled out hasnt he? like this is surprisingly level for him, and that fact is hilarious.

KARKAT: AND YET SOMEHOW BASICALLY ALL THAT HAS HAPPENED SINCE WE STARTED THE LOAD IS THAT YOU’VE BEEN USING IT AS A FUCKED UP BEAT TO WHISPER TO YOURSELF ABOUT FLOWERS TO.

oh gosh that’s why he’s rapping

> ==>

DAVE: kanaya was telling me this kids story the other day about this dude who didnt cherish a flower enough until it peaced out to do flower stuff idk its not pertinent to the story DAVE: except the flower was a person DAVE: because it was a metaphor

Oh right, coming back to the Little Prince stuff I was too lazy to metaphor-deep-dive into, and literally asking the same questions we were asking about who the Little Prince’s story applies to mapped here if anyone at all, like Dirk and such, or what biases were in the retelling of it and the way Kanaya phrased it. So now we’re practically mocking it by deep diving it here, hence the last page’s “DAVE: i was just thinking through some really convoluted metaphorical horseshit”, which means we’re both about to further explore AND shit all over the existence of this story metaphor until it doesn’t mean anything and most of the meaning we drew from it earlier is made a joke~

well, not “we”, cause I was too lazy, so... y’all

DAVE: anyway what goes down in the story is that once the flower lady is out of the picture DAVE: the main character goes around making all these connections between her and everything else in the universe until every damn thing feels like a symbol for how much he fucked up and how much he will never see her again KARKAT: THIS SEEMS PRETTY FUCKING INTENSE FOR A KID'S STORY DAVE: yea thats pretty much what i said

Oh holy shit. That’s yet another way to put it. Are we doing a whole moral takedown of the Light aspect today? cause it sounds like we’re taking a dump on the Light aspect and RoboRose getting too obsessed and immersed in it, which would be excellent

DAVE: but i guess its not so much what the story was technically textually about but more like the version of it kanaya internalized and then told me when we were talkin about how she misses rose

exactly

DAVE: so like now im taking the story she told me she was projecting her feelings onto and projecting my feelings on top of that

yes absolutely, you just rephrased it a different way with that exact same bias

DAVE: this is just one big game of emotional projection telephone so feel free to go paraphrase it to roxy later and make it about whatever fuckin thing youre currently missing

perfect. i need an emoji for that Italian thing for when you pinch your thumb and forefinger together and kiss it

ah this’ll do:

its like the expression “choice” but in nonverbal form

[...] whatever fuckin thing youre currently missing KARKAT: YOUR ABILITY TO GET TO THE POINT DAVE: gotem DAVE: anyway you’re not gonna have to miss that skill of mine for long DAVE: get ready for this shit because i am about to slap you with the point so hard youll fall ass first into the washer DAVE: just scrambling around in there getting all sudsy DAVE: but your brain is gonna be so blasted from the mindfreak of a point im about to make that there wont be anything left to clean

Anytime dave is told to get to the point he is contractually obligated to spend at least 20 seconds talking about how he’ll get to the point in a way that is not getting to the point

DAVE: so its genuinely cool that kanaya can go around creating meaning that may or may not be actually present in every little thing DAVE: connecting every feeling she has to the idea of her wife existing out there DAVE: so i told her she should keep that shit up DAVE: but im having the opposite issue where im struggling to find anything to be that kind of tether because every single thing i could possibly consider about what it is were doing just reminds me of yet another thing to be afraid about

Great examples of Light being good and bad! Attaching strands of connective meaning to everything. --though, in Dave’s case AND Kanaya’s case you could argue it’s both bad in terms of effects. That it’s great for Kanaya to care, but that she should be able to divest herself and live on her own terms without idealizing Rose literally everywhere she looks, personal growth which would be useful in helping bring Rose back to her in the first place. The struggle they’re looking forward to is largely philosophical, not just physical, and until Rosebot acknowledges that she was wrong it’s not over.

DAVE: everything fuckin sucks huge cosmic donkey sack and im terrified KARKAT: OK, SO I FEEL LIKE YOU SKIPPED A COUPLE NECESSARY STEPS IN YOUR POINT CLARIFICATION PROCESS.

Pretty sure Dave was on the same page as most Epilogue and start-of-HS2 readers. This situation is pretty bleak to dump our heroes into, no matter how much we believe will be resolved in the long run.

DAVE: ok but were you going with sweet or savory please give me that much at least KARKAT: YEAH IT WAS GOING TO BE SUNDAE-BASED. DAVE: nice KARKAT: YEAH. KARKAT: DO YOU WANNA WATCH MORE GBBO AFTER THIS? DAVE: absolutely

--ah, Great British Bake-Off, can’t say I’ve indulged

do they still have that?? did they save it from old Earth? or did they go where unflooded Britain used to be and say hey, new show reboot

KARKAT: GREAT. ANYWAY, LIKE I WAS SAYING, FOR THE LOVE OF SWEET HUMAN CHRIST, PLEASE BACK UP TO WHATEVER THE FUCK YOU’RE ACTUALLY SCARED OF. KARKAT: ALSO COME HERE, IDIOT.

That last line is like, exactly as fucking sweet and awesome as we imagined their relationship to be. :)

> ==>

OH MY GOD THAT’S ADORABLE

DAVE: ok yeah this is a better position to unleash all my inner fears n anxieties from

indisputably.

DAVE: those times its like my mouth was saying words about the situation wherein our friends are AWOL and maybe dead but my brain wasnt fully letting me experience the emotion that goes along with them DAVE: man its like i cant even start genuinely thinking about how afraid i actually am for rose and john without my brain flippin its wad and whiting out DAVE: like haha fuck i hope theyre ok DAVE: now i better make a fuckin joke before i succumb to the gaping mouth of despair waiting for me to fall in it as soon as i look down and acknowledge that its there ogling how juicy my ass looks as it trembles with terror

I really hope that the writers of HS2 know full well that this feeling? the one Dave is describing here? is what many of us who got way overinvested in the well-being of Homestuck’s surviving characters felt reading the Epilogues and Homestuck^2. So I really hope they’re working through it in a way that will result in a preponderance of GOOD THINGS happening and hope-filled situations. Cause that “can’t even think about X” feeling is too familiar, and if they understand it as well as it LOOKS like they’re getting to, I’d really like them to give us a helping hand healing.

I think that’s what they’re going for? Seems hopeful for me to think so, but they HAVE been doing better as HS2 has been going forward, from an emotional standpoint anyway; definitely better than the Epilogues. And I’ve worked through some of that stuff with the help of that, because it’s MUCH easier nowadays to think about Homestuck without my gut clenching.

DAVE: i guess im just fucked up about how to worry about dirk and be angry at him at the same time DAVE: because if i get as unholy pissed at him as i sometimes wanna be i also gotta admit to myself that maybe i coulda done something different there

Mhmm, Karkat’s potentially a pretty good person to speak with here since he’s done so much work trying not to feel responsible for everything that’s ever gone wrong.

DAVE: also like DAVE: and this by the way adds a whole other layer of guilt on there that i dont really know how to fuckin reckon with but DAVE: even with all the shit hes pulled and the fact that we are more or less heading toward having to take him down DAVE: whatever that is gonna mean and whether or not he planned it like that DAVE: i just DAVE: me and him had come so far with each other and it was really cool for a while to have him and i DAVE: ugh DAVE: i dont WANT to hate him

Yeah, Dirk and Jane’s heel-turns were really shitty for anyone who was a fan of them in the fanbase, as well.

KARKAT: WELL THEN QUIT FUCKING PICKING AT THE SEAM ON MY SHORTS AND SPIT IT OUT. THEY'RE BARELY HANGING ON TO THE DEFINITION OF "SHORTS" AS IT IS.

That is an adorably real boyfriend-laying-in-boyfriend’s-lap thing to do

DAVE: the part i mentioned before about how we really have no goddamn clue how long this trip is even gonna take DAVE: i cant help but feel like its barely getting revved up DAVE: and for me and roxy and jade and callie and kan thats normal shit at best and boring at worst but we all have our immortality to thank for that DAVE: we can just dick around in space for near-eternity waiting to catch up to our friends who may or may not be our enemies now and itll be fine DAVE: i mean no itll be categorically miserable DAVE: but well survive it KARKAT: HOLD THE FUCK ON. DAVE: but you KARKAT: DAVE. DAVE: no lemme say this

Oh god damnit. Karkat’s limited lifespan. As if we hadn’t ALREADY covered a nauseatingly extensive gamut of disheartening topics of conversation. We really have to confront every shred of misery in their past, present and future one after the other after the other in the Epilogues and HS2, don’t we? >:(

I guess it had to be discussed, though.

DAVE: we dont talk about it much and i got shit to say about it DAVE: its not like i never thought about how youre mortal before but i just thought wed be able to figure it out before it mattered DAVE: come up with some kind of plan DAVE: i was just distracted being happy with you i fucking guess and so i didnt think up a way to fix it DAVE: and now thanks to dirk we have to work it out right the fuck now DAVE: because i cant spend this trip just sitting around watching you get old and die

Jesus. I mean, WE know(?) that it’s not gonna be THAT many years, but THEY don’t know that.

Unless it really IS going to be that many years and HS2 is going to shamelessly take a fucking sledgehammer to our feelings for no goddamn good reason. Which it won’t! Right??? >:T

> ==>

Dishwasher ding

> Dave: Grapple with the clean, soggy consequences of the passage of time.

Hey, don’t make it a metaphor here. --though, fuck. I suppose we are dealing with everyones dirty laundry. God damnit. SURE, deal with it all story but then GET IT OUT OF THE WAY AND PUT SOME SERIOUS FUN AND LAUGHS IN HERE so we don’t feel like we’re wading through an entire garbage dump!!! *click*

Karkat’s eyebrows-only mouthless frown is really cute.

> ==>

okay Karkat explain the nope you’re lodging

> ==>

*put*

> ==>

*foot*

> ==>

DAVE: ok go on

I mean I at least appreciate the time investment in adorable boyfriends. That’s definitely something of SOME good value they’re giving us in exchange for this misery

> ==>

That Karkat image makes me wanna do that red-shaky-gif-thing with it

KARKAT: IT'S NOT LIKE I'M NEW TO THE PARTICULAR MOOBEAST WRANGLING EVENT OF SOMEONE I PREVIOUSLY LOVED BRUTALLY TURNING ON ME AND LEAVING ME TO TRY AND CRAM MY FEELINGS ABOUT THE SITUATION BACK TOGETHER ALL ON MY OWN.

True

KARKAT: HE DID THAT ON HIS OWN. AND WE MADE THE CHOICE TO GO AFTER HIM ON OUR OWN.

Yes, and you’ll possibly convince him more of that over time, though not in this short conversation

KARKAT: I WAS FOLLOWING YOUR LITTLE TRAIL OF COOKIE CRUMB FEARS UNTIL IT LEAD TO THE BIG SNACK FINALE OF WORRY ABOUT MY FRAGILE MORTAL MEATSACK. KARKAT: IF I HAVE SOMEHOW NOT BEEN CLEAR ABOUT THIS WITH YOU YET, LET ME GO AHEAD AND RECTIFY THE SITUATION RIGHT THE FUCK NOW. KARKAT: HANGING OUT WITH YOU ON THIS LONG TRIP TO WHO THE SHITTING FUCK KNOWS WHERE IS QUITE LITERALLY THE HAPPIEST I HAVE EVER BEEN IN MY ENTIRE MEAGER EXISTENCE. KARKAT: I'M SO ABSOLUTELY BLISSED THE FUCK OUT OF MY MIND TO BE ABLE TO LOOK AT YOUR STUPID IMMORTALLY SMOOTH HUMAN FACE SKIN EVERY DAY AND NOT HAVE A COMPLEX ABOUT IT.

D’AWWW

And with that darkly angry expression too, that’s PERFECT

I mean it’s true. What exactly would they be doing DIFFERENTLY on Earth C other than enjoying each other like this? It’s pretty fucking great.

...hm. Isn’t this journey-not-the-destination stuff pretty Breathy? Karkat’s proving more balanced by the moment.

KARKAT: AND I'LL BE STRAIGHT WITH YOU. IT'S NOT LIKE I HAVEN'T BEEN EXPERIENCING SOME COMPLICATED GUILT, MYSELF. KARKAT: THE FACT THAT I'M HAVING THE TIME OF MY LIFE JUST FUCKING CHILLAXING AND BEING IN LOVE IN SPACE IS A CLEARLY INCONGRUOUS WITH THE REASON I'M ACTUALLY HERE CHILLAXING TO BEGIN WITH, AND I'M NOT LETTING MYSELF FORGET THAT, EITHER.

Pff. He feels guilty for ENJOYING IT so much. <3

KARKAT: BUT I RESENT THE IMPLICATION THAT MY HAPPINESS IS REGISTERING FOR YOU AS YOU HAVING TO JUST "SIT AROUND AND WATCH ME GET OLD," BECAUSE I KNOW YOU KNOW IT'S MORE THAN THAT.

I’m glad Karkat knows that DAVE knows somewhere in him that it’s more than that, because yeah, if Karkat thought he DIDN’T know that at some level that’d be a reason to take MUCH MORE SERIOUS offense.

KARKAT: LIKE, JESUS, DAVE. YOU KNOW I'M AFRAID FOR YOU, TOO, RIGHT? KARKAT: OR DID YOU FORGET THE WHOLE HEROIC DEATH THING? KARKAT: I WORRY ABOUT LOSING YOU FAIRLY FUCKING REGULARLY.

Hah!!! Point taken. Karkat must view Dave as practically more fragile than HIM.

KARKAT: ONE: WE'VE BEEN THROUGH SO MUCH HELLACIOUS PANWARPING TRAUMA THAT I REFUSE TO NOT ENJOY THIS SHIT WHEN I FINALLY FUCKING GET IT, NO MATTER HOW LONG IT MAY OR MAY NOT LAST. KARKAT: TWO: IT'S NOT LIKE WE'RE DOING NOTHING. WE’RE MOVING. WE’RE WORKING. WE’RE HEADED SPECIFICALLY TO A PLACE WHERE WE WILL UNDOUBTLEDLY ENDURE YET MORE FUCKING HELLACIOUS PANWARPING TRAUMA. KARKAT: AND THREE: WE'RE DOING THAT BECAUSE WE HAVE FRIENDS WHO WE CARE ABOUT THAT NEED US. THAT IS OUR FOCUS, HERE. NOT OUR FEAR. IT'S ABOUT THE PEOPLE WE HAVE TO SAVE. KARKAT: SO DON'T FUCKING WORRY ABOUT ME, DAVE. I'M FINE.

Okay, this is great and wholesome. I am now retroactively GLAD that this topic got brought up. :)

> ==>

Dave is still afraid. There is a part of him that will always be, he thinks. He has accepted this about himself. There is another feeling coursing through him too, though. It’s something he's felt before, though never quite so intensely. He looks up at Karkat and understands, viscerally, the simple power his words have. They pump through Dave’s own body, alive and warm and true.

He wonders if Karkat realizes it, or if he’s just, as always, saying what he feels as he feels it. Dave doesn’t attempt to dissect it further. There will be time for that later.

Every really loving moment like this is sort of undercut by the fact that it’s also, in some senses, part of alt!Calliope’s narration and, by extension, her fanfiction.

EDIT 2: There's also either a hint to potential Blood powers or even an explicit Blood power use here that I didn't recognize. I'm leaning towards it's-laying-the-groundwork-for-future-use-of-Blood-powers-but-isnt-magical-in-this-case.

> ==>

Smooooch!

That was nice. Still gonna wait on doing any commentary til next time or a Bonus update or two, cause I’m beat. See y’all next time!

#Homestuck #hs2 #Homestuck Liveblog #upd8 #Homestuck^2 #spoiler #spoilers #Breath and Blood #Light and Void

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rwby-redux · 4 years ago

Text

Deconstruction

Worldbuilding: Genetics

If any of my Deconstruction posts were going to turn heads, I had a hunch it would be this one. You’ll probably find this topic incongruous with the others simply because—unlike Aura, Semblances, Dust, and Grimm—genetics isn’t one of RWBY’s unique gimmicks. If I’m being entirely honest, part of why this post exists is because I still had some miscellaneous talking points to address, but lacked a proper heading to file them under. Call it what it is: a dumping ground for wayward thoughts.

But there’s a bit more to it than just that. The reason why I want to talk about this is because, much like the other mechanical aspects, genetics does have a bearing on RWBY’s worldbuilding, and the stories that were subsequently built around it. It has an undeniable impact on the sociopolitical human-Faunus schism that set the stage for Remnant’s immediate past, and the present-day terrorist acts committed by the White Fang. Genetics is also an extension of RWBY’s adherence to color theory, reflected in the hair and eye color choices of the ensemble cast.

Before we can finally conclude Part 1 of the Worldbuilding posts, we need to discuss this topic from both a narrative and a production standpoint. Genetics is firmly rooted in the development and design choices of the writers—choices which, as you’ll quickly see, had long-lasting consequences for the show.

Today we’re going to be dividing this topic into two sections. Since I’m sure it’s already on your mind, let’s get the obvious one out of the way first:

The Genetics of the Faunus

The Faunus are going to have an entire post dedicated just to them, but it’s impossible to talk about genetics without at least a passing mention of one of Remnant’s two main species.

Subspecies.

Races?

Yeah. You can quickly see where this is going.

Before I get ahead of myself, let me provide some context. Just like the conception of the Maidens, the Faunus can trace their developmental history to a rather impulsive design choice:

“Monty really wanted a character with cat ears,” admits Miles Luna. Shawcross expands on how Blake Belladonna’s look resulted in a cornerstone of the show’s lore. “So if Blake has cat ears, does that mean anyone can have cat ears? Could they have other animal traits? It’d be cool to see someone with scales or a fox tail…” [1]

Let me clarify by saying that there’s nothing wrong with basing a decision on aesthetics (in principle, anyway). And RWBY isn’t the only franchise guilty of doing this. It only takes a few seconds of consulting TV Tropes to see that zoomorphism is extremely pervasive. And while I have a tendency to complain a lot on this blog, I’m not such a kvetch that I’ll deny that animal-people with lion tails and ram horns look fucking sweet.

The problem I have with Faunus (from a genetic standpoint) is the way they’re inconsistently described in relation to humans. While Qrow unambiguously refers to them as a separate species, [2] we have Faunus characters that contradict him by describing themselves as a race. [3] This leads to the inevitable issue of whose account do we trust? On one hand, the information provided to us by Qrow is through World of Remnant, a spin-off series whose entire purpose is to clarify information and teach the audience about core worldbuilding concepts. On the other hand, what we’re told about the Faunus being a race comes directly from Ghira Belladonna. In this context, who would you expect to be the better authority on Faunus—a human, or a Faunus?

Even if we set aside the complicated implications of an outgroup member talking over a minority, we’re still left with the issue of well, which is it? Are they a race or a species? And why does it even matter?

Before we can answer any of those questions, let’s quickly define both terms:

A species is a taxonomic rank used for classifying groups of organisms together on the basis of being able to participate in genetic interchange via sexual reproduction, to produce fertile offspring.

A race (in biology) is an informal/unrecognized taxonomic rank below subspecies, defined as unique subgroups with either geographic, physiological, or genetic distinctions from other subgroups within their species. In anthropology, however, a race is typically regarded as a social construct. In this case, it refers to an identity held by members of a population that share physical or social qualities that are seen as categorically distinct.

The answer, if we’re being objective, is probably something along the lines of “RWBY’s writers thought that the two terms were interchangeable, or they didn’t think the distinction mattered enough to do the research and settle on a definition.” Unless someone specifically reached out to a Rooster Teeth employee and asked, we’ll never truly know. Speculation will only get us so far, and where this blog is concerned, we need a definitive answer—or at the very least, we need to talk about why the distinction matters to us.

So, are Faunus their own race? Meaning, are they a self-identifying ethnic group with a common language, ancestry, history, culture, nation, or social treatment within their residing area?

Common language: That’s a definite no. RWBY still hasn’t managed to explain how everyone across the four kingdoms speaks the same language, let alone develop any conlangs.

Ancestry: We actually don’t have a canon answer for this. The show has yet to tell us where the Faunus came from, so we can’t make any assumptions about how related they are to one another.

History: Technically, yes. But the series has a gross tendency to homogenize the experience of Faunus across Remnant, so the history of Faunus in Vale is virtually identical to that of Mistral. This trend results in storytelling discrepancies, like the Faunus in culturally-unprejudiced Vacuo [4] being equally threatened by and involved with the Faunus Rights Revolution, when there shouldn’t have been an in-world basis for this scenario.

Culture: Don’t make me laugh. RWBY couldn’t even be bothered to give any of its four kingdoms distinct cultures. Apart from a few scenes in Menagerie where you see a bunch of background characters hanging out in the Shallow Sea district of Kuo Kuana, there really isn’t anything culturally unique to the Faunus.

Nation: I guess? I personally wouldn’t consider Menagerie a nation, simply because it’s not one the Faunus originated from, but were rather given in the aftermath of the Great War. As far as we know, Faunus have always been just as widespread across Remnant as humans.

Social treatment: We’re told that social treatment for the Faunus as a whole is shitty, but that the degree of shittiness varies from place to place. Forgive me if I don’t buy that. Not after we’ve seen students in Vale physically harass a Faunus, [5] shops in Mistral refuse service to Faunus, [6] and companies in Atlas extract labor from Faunus. [7] If social treatment is contingent on shared experiences, then why are we told that these experiences change depending on the kingdom? And if the kingdoms vary in levels of racial acceptance, then why are we repeatedly shown the exact opposite?

Based on the aforementioned criteria, I’m inclined to say that Faunus don’t fit the definition of race.

So, are the Faunus a separate species from humans?

“History gets a little fuzzy past a certain point, but we do know that their kind and ours are completely compatible, from a—a biological standpoint.” | Source: World of Remnant, Volume 4, Episode 6: “Faunus.”

That’s a resounding no.

As much as the taxonomist in me wants to talk about things like the multiple competing species concepts, or the fact that plants frequently violate the definition of species by producing fertile hybrids through polyploidy (chromosomal doubling), I have to restrain myself. For simplicity’s sake, we’re accepting that Faunus and humans are members of the same species on the basis that they’re not reproductively isolated.

The reason why genetics matters in regards to the race-species discourse is because we have yet to learn what the Faunus truly are. If we ignore the fact that they exist because Monty Oum wanted to stick cat ears on a girl, then we have to figure out what their existence means to Remnant’s past: Did the Brother Gods intervene in the early evolution of Humanity v2.0, by creating a subset of people with animal traits that would sow discord, for the sole purpose of giving Ozma another obstacle to overcome? Did Salem (who watched Humanity v2.0 evolve) try to influence their evolution, and somehow managed to bestow animalistic traits upon select groups of early hominids? Is Dust like a magically-radioactive fossil fuel that by pure chance mutated early people through exposure, resulting in their animalistic traits? Are the Faunus’ animal traits completely irrelevant to the plot, and are only there for the sake of style?

That’s why the Faunus’ genetic background matters—because as the story progresses, it’s going to inform what questions the audience asks.

There’s a good chance that all of this will end up being nitpicky conjecture, and there won’t be any storytelling payoff. But I think it’s still important to address, if for no other reason than to illustrate why pre-production worldbuilding is essential for telling a coherent story. But I digress.

Genetics, and Its Relationship with Color Theory

It goes without saying that RWBY is defined by color. It’s reflected in nearly every facet of the franchise—team names, wardrobe, Dust color, Aura color, emblems, characters’ names, even the show’s title—and it’s just as important from a worldbuilding standpoint as it is from a narrative one. [8]

Where color theory and genetics cross paths is in the field of character appearance—specifically, hair and eye color. For the moment, let’s set aside eye color as a visual device for foiling and paralleling characters (like Yang Xiao Long’s purple eyes compared to Blake Belladonna’s yellow eyes). Instead, we’re going to talk about these phenotypes from a hereditary perspective.

We’re going to streamline this discussion a bit by focusing on hair for the moment, and picking three colors that would be considered unnatural by our world’s standards. Let’s go with blue, green, and pink. Here’s a handful of characters who have these traits:

Blue hair: Neptune Vasilias, Ciel Soleil, Henry Marigold, May Marigold, Nebula Violette, Sky Lark, Trifa

Green hair: Emerald Sustrai, Marrow Amin, Bartholomew Oobleck, Reese Chloris, Russel Thrush, Sage Ayana

Pink hair: An Ren, May Zedong, Nadir Shiko

Now we’re going to take those lists and swap out the characters’ names for their inferred country of origin:

Blue hair: Mistral, Atlas, Atlas, Atlas, Vacuo, Vale, Menagerie

Green hair: Vale, Atlas, Vale, Mistral, Vale, Mistral

Pink hair: Mistral, Vacuo, Mistral

We can conclude that these hair colors are natural on the basis that we never see characters dying their hair, and that similarly unusual eye colors (red, pink, purple, yellow) would also be natural in Remnant. Unless we’re assuming that everyone is wearing custom contact lenses, then it’s safe to say they’re legit. With the example of hair color, you’ll notice that they’re distributed across a wide number of nationalities, with little hint of consistency among them.

At the end of the day, it’s easy to write this off as “the writers wanted to have cool character designs and not have to think too hard about the worldbuilding implications behind them.” But there is a worldbuilding implication behind them, and it’s one that I’ll be focusing on in later Deconstruction and Amendment posts, so I want to make sure we talk about it now:

RWBY has repeatedly shown us that people are fairly geographically isolated from each other, and travel between kingdoms has always been difficult due to the Grimm. It wasn’t until eighty years ago, when the Great War ended, that a combo of international political cooperation and technological advancements made travel safer and more commonplace. Keep in mind that when populations of humans are geographically isolated from each other over prolonged periods of time, it results in those populations evolving specific anatomical traits.

Let me give you a few real world examples. Epicanthic folds are predominantly found in East Asian, Polynesian, and North Asian ethnic groups. Red hair, while not exclusive to any one nationality, is statistically highest in people of Northwestern European ancestry. Darker complexion is most common in equatorial populations, where high melanin production (especially eumelanin) protects against UVR exposure.

RWBY has every reason under the sun to ascribe certain phenotypes to the ethnicities of each kingdom, and for some reason it just doesn’t. Like, why not make green hair a trait common to people with Sanus ancestry? How about red eyes originating from Anima?

Avatar: The Last Airbender pulled this off by making dark skin, brown hair, and blue/gray eyes features of the Water Tribes. The Fire Nation, to reflect its broader geographic distribution, has a much wider range of phenotypes, with both light and dark skin tones and black or brown hair. However, it still retained golden, amber, and bronze eyes as a distinguishing characteristic of people descended from this ancestry. Frankly, I love that the show took the time to establish those traits among its ethnic groups. Not only was it a great way to visually communicate to the audience the ethnicity of the characters, but those traits took on entirely new meanings in the sequel Avatar: The Legend of Korra. When we meet the brothers Mako and Bolin for the first time and see their respective eye colors—amber and green—we’re immediately able to deduce that they’re the products of successful multiculturalism, something that would’ve seemed impossible seventy years ago when the world was gripped by war. It’s a powerful statement that was conveyed through careful attention to detail and excellent worldbuilding. Given that RWBY also takes place several decades after a global war, the writers had the opportunity to pull off a similar feat. And I don’t think it ever occurred to them once.

At the end of the day, it’s not the worst thing RWBY could’ve done. I think I’m just disappointed by the missed opportunities. The show already has so little going for it when it comes to shaping the identities of its four main kingdoms, so with color being such a vital motif for the show, this feels like it should have been a natural progression of those ideas.

On a more positive note, we’ve finally reached the end of Worldbuilding (Part I) - Mechanical Aspects! Next time, we’ll get to introduce the second section of worldbuilding topics: history.

[1] Wallace, Daniel. The World of RWBY: The Official Companion. VIZ Media LLC, 2019, page 42.

[2] World of Remnant, Volume 4, Episode 6: “Faunus.”

[3] Volume 5, Episode 3: “Unforeseen Complications.” Ghira Belladonna: “[Adam’s] actions not only tarnished the reputation of an organization originally created to bring peace and equality to all, but to our entire race.”

[4] World of Remnant, Volume 4, Episode 4: “Vacuo.”

[5] Volume 1, Episode 11: “Jaunedice - Part 1.”

[6] Volume 5, Episode 6: “Known by Its Song.”

[7] Volume 7, Episode 1: “The Greatest Kingdom.”

[8] Wallace, Daniel. The World of RWBY: The Official Companion. VIZ Media LLC, 2019, page 44.

#deconstruction #worldbuilding #writing #genetics #oh thank god it's done #time to go slither off to bed

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littlemisssquiggles · 5 years ago

Note

Hey little miss I have a question, when ever I go into to Oscar or rosegarden tag a lot of people talk about the merge with Oscar and Oz but I rewatched the 5th and 6th volume and I can’t find a single mention about it. And didn’t the god of light say that Oz would always have a person to talk and bounce ideas off of? And with the mental state both of them are in would Oz take over again and would Oscar let that happen. I also had a mini headcanon that Oscar will show Oz the person he used to be

Hello Dark. You can say that the Merge was firstly mentioned back in V5 C3after Oz revealed himself to be paired with Oscar to the RNJR squad.

During that moment Ozpin, when Jaune questioned Oz on the nature of what he was, the old wizard described himself as a culmination of men who have sacrificed their lives for protecting human as designated to them by the Gods as part of their eternal curse for failing to stop Salem.

This was later confirmed and slightly retconned in V6, for lack of a better term. Not sure if to call it that. Funnily enough, when Oz told RNJR about his curse, he described it as it being inflicted on him for failing to stop Salem.

But as revealed in V6, the Gods never cursed Ozpin for failing to stop Salem. The reincarnation cycle was placed on Ozma because the God of Lightchose him to try and save what was left of humanity in the afterlife. The whole bit with Salem was basically Ozma’s own mistake since in fairness to the Brother Gods, the God of Light did warn him of the type of woman Salem had become during his absence. Light did more or less tell Ozma to not return to Salem but he did it anyways due to his ties to her. So I guess you can say that not only did Ozpin—Ozma lie

about his curse but he also withheld the truth about his original connection toSalem. I guess out of shame since his relationship with her did lead to possibly one of his biggest mistakes—the one he’s most ashamed off even till now.

Anyways, where the Merge comes in is when Oz started describing his cycle to RNJR and Qrow. He said that with every rebirth, his soul is eventually merged with another and Oz is changed but his memories (all the memories he has culminated over the years throughout all of his lifetimes) remain with him after the change.

When Oz first talked about the Merge, he said ‘I am changed’. I as in him—Ozpin or whoever he is supposed to be since he is the current version of what I dubbed the Wizard—the persona representing all the Wizards combined into one soul.

He never said ‘we are changed’ alluding to both himself and Oscar being affected by the Merge. Oscar was never ever mentioned as part of the Merge prcoess. It was always Oz destined to change with it.

But I think where and why fans and RWBY theorists started to get the impression about Oscar possibly losing himself to the Merge was the whole call back to the Man with Two Souls.

Remember back in V1, when Ruby asked Blake about the story of the Man with Two Souls, she said it was basically two souls sharing one body and fighting each other for control. This statement was then brought to life between V5 and V6 where on two occasions; we saw Oz and Oscar fight each other for control of the body.

We saw Oz pilfer control from Oscar during the Hazel fight and we even saw Oscar literally fight to restrain Ozpin when he was plotting to, I assume, forcefully take the Relic of Knowledge away from Ruby, possibly harming her in the process. Why else would Oscar make an attempt to mentallyrestrain Oz in such an intense manner if he didn’t sense that his desperate intentions might harm Ruby? At least, that’s my assumption.

I’ve been hearing talk about the Merging of the Two Souls as early as V5 ever since it was canonically confirmed that Oz and Oscar could switch control of Oscar’s body. But in the past, the common assumption of the Merge was that Oz would ultimately fade away and become a part of Oscar leaving him to carry on the mantle of Wizard with all of his memories and abilities at his behest.

I myself used to share a similar headcanon of the Merge leading to Oscar and Ozpin becoming one mind with their new combined persona being a perfect fusion of either soul but with Oscar, as the current incarnation of the Wizard as the more dominant personality, just with quirks and mannerisms inherited from Ozpin passed down from their first life as Ozma.

Even now, I’m still kind of holding onto that headcanon. It’s just that I’ve also gone on to embellish this Pinhead headcanon of mine with the additional titbit of Oscar being revealed as the rightful true reincarnation of Ozma as the embodiment of his original form that he never got back reborn in Modern Remnant.

I personally have never liked any of the theories that described Ozpin completely taking over Oscar’s body with Oscar disappearing. As a matter of fact, the more I pondered on it the more I realized that it wouldn’t make sense for Ozpin to take over Oscar’s body.

From a writing standpoint, it’s nonsensical to me because then I’d have to ask why would the CRWBY Writers go through the hassle of creating an entirely new character with his own individual personality and backstory (that many Pineheads are still waiting for them to dive into) just for the sake of having him be replaced by a character you made the choice to kill off.

If the CRWBY Writers honestly wanted to make a child version of the original Ozpin, they should have just have him come back as a young boy but still be the same character instead of being a different person. That’s what some fans keep forgetting.

Oscar is his own person.

Or at least he’s supposed to be. So looking at that, I’m going to assume that it’s not Miles and Kerry’s intention to get rid of Oscar. They already killed off Ozpin.Essentially the character of Ozpin is technically dead. His sole purpose now isto guide his next successor who is Oscar Pine.

Oscar is destined to take Ozpin’s place in this war against Salem. He is destined for greatness. And because of this, I don’t think Oscar is going to disappear.

This is why I love my Pinehead headcanon of Oscar being the true Ozma. The way how I see it, when Ozma was reincarnated, he never regained his original body. His cycle involved ONLY his soul being paired with the souls of others, sharing their bodies instead until eventually whoever that person was, Ozma becomes a part of him and so the cycle follows.

This is why I also have a small peeve about fans treating Ozpin or any of the Wizards for that matter as Ozma and Ozma alone. If Oscar is his own person then so were the others.

Technically it isn’t just Ozma in there. It’s all of them. All the souls together to become one soul that embodies them all.

The way how I’m looking at the Wizards and the way in which their cycle works now, it’s no different than what happens when you update or upgrade a piece of software. You have the first version that you get to use and familiarize yourself with but when it’s time to change to the new update, you get the newer version with all the fancy perks that come with it but you still get to retain the original settings left behind by the previous version. And in some cases, the new version is generally no different from the old one.

It’s still the same old interface you’re accustomed to just more fully functional. This is how I see the Merge in a way. I don’t see it killing off Oscar. I see the Merge making Oscar whole. This ties into my belief that Oscar is Ozma’s original body reborn in Modern Remnant. My theory is that Oscar is meant to be the end. In V6, Oscar asked Ruby if he was just going to be another one of Ozma’s lives.

“…I’m just gonna be another one of his lives, aren’t I?”

That quote still rings in my head till now. I don’t think this will be Oscar’s fate. I refuse to believe it, as a matter of fact. This squiggle meister’s stance is that Oscar is meant to be the last life. The last in the cycle. And it is for this reason why I like the sound of Ozma’s Cycle ending where it all began. The Wizard ofLight lineage started with Ozma so for me, it would be more fitting it ended with him as well.

I like the sound of Oscar being revealed as Ozma—the real Ozma or…at least the other half of him the Gods never permitted him to get back when this all started. I like the idea of Oscar being Ozma’s original self—his former body, now given new life in a new time in Remnant’s history.

I like this concept better than any other Pinehead headcanon I’ve seen and shared myself since I like the thought of here we have Oscar being concerned that he’s about to lose his entire life to the burdens and responsibilities of this person (i.e. Ozma) when in actuality he isn’t going to lose himself. He’d be made whole again.

My stance is that the Merge is meant to reunite the two halves ofOzma—the current version of his soul (i.e. Ozpin) and the current version of his original body (i.e. Oscar) and make him complete again, thus fully reviving Ozma as Oscar since the two are one and the same person.

And from there, knowing the truth of who he is truly is, Oscar can then make the conscious choice of his own accord to be whoever he wants to be moving forward. He can be his first self as Ozma or his new self as Oscar. It’s his choice to make this time so therefore, he chooses to remain as Oscar whilepromising to stop Salem once and for all, not just for humanity but for the sakeof the men who gave their lives for his mistakes.

Oscar would fight to honour his fellow Wizard brothers and ensure that his last life as Oscar is indeed his last so that the cycle can finally stop and his brothers can be allowed to rest in peace (or like Ozma, gain a second chance at life and be reborn in Modern Remnant too according to a cool theory by @miki-13).

Oscar won’t make the same detrimental mistake twice over. That’s my theory as far as the Merge is concerned and by golly, I’m sticking with it firmly till theCRWBY Writers tell me otherwise even if I’m the cheese that stands alone in support of this Pinehead headcanon.

There is definitely something unique about Oscar that sets him apart from his past incarnates. Seriously, how can folks believe that Oscar’s experience with the Merge is going to be the same as his predecessors when all aspects point to him being different.

Even the nature of how Oz reincarnated into Oscar seemed different. If you were to compare Oscar to all the past Wizards, you’d clearly see one key differentiating factor about him. He is by far the youngest of Ozma’s successors. While all the other Wizards have been adult men, possibly even middle-aged to elderly men, Oscar is a teenager. He’s still just a boy—a child on the cusp of manhood.

That’s one fact. The other one is how everyone kept acting so surprised about Ozpin being reincarnated so soon. As if there is meant to be some kind of huge time gap between when one wizard dies and his soul is reincarnated in a new body.

My fan theory is that there is a gap of at least 50 years or more between eachWizard rebirth. Reason being is when the God of Light first met with Ozma in the Realm Between Realms, he told him that Remnant was gone but in time humanity would soon walk the Earth again. So when Light spoke to Ozma, this was after all of mankind had been killed off except for Salem.

But when Ozma was first reincarnated as Diggs, humanity was already back in full swing. Civilizations were already constructed.

So I’d like to think that Ozma was first brought back a good 50 odd years or more into the future when Remnant was already restored and since then, every time Ozma dies, he comes back in a new time period in Remnant’s history—a solid half a century or more in the future. Possibly. That’s my theory.

This is what makes Oscar’s predicament so unique. I’d like to believe that Oscar is the first time Oz has ever reincarnated so prematurely and I’m hoping that the series either confirms this or not. At least touch more on it.

This is why Atlas is the perfect setting to delve into the whole Ozma Cycle and the nature of the Wizard’s Soul. Once upon a time I wrote a Pinehead headcanon ( in the form of my longest RWBY Musing ever) about Ironwood proposing to Oscar to use Atlas’ aura experimental technology to possibly separate him and Ozpin’s souls. Of course this idea fails and even leads to a subplot where Ironwood tricks and double crosses Oscar, forcing him to undergo the experiment against his will, revealing that it was never meant to help Oscar but control him and the Ozma Cycle in general. This makes me wonder if Ozpin and the nature of the Man with Two Souls was what sparked Ironwood’s innovation to study aura in the first place. It wouldn’t surprise me if it was.

Although an old theory, this is still an idea I wish for the show to delve into in thecanon, possibly for V7 as part of Oscar’s side of things.

If Atlas has the technology to study aura then I can see Oscar volunteering himself to become a guinea pig test subject for Ironwood to study his soul. This could prompt Ironwood to revisit some of his old theories on aura and study how the soul works through Oscar. And for Oscar himself, he would be looking to Ironwood as a beacon in the night, seeing him as his one and only chance at freeing him of his impending fate. Even if it’s just a small possibility.

In Oscar’s eyes, perhaps Ironwood might be smart enough to figure out a way to actually stop the Merge from happening. Oh! I can even picture a case where Ironwood probably wanted to experiment on Ozpin in the past; invited him to become a test subject however Ozpin always refused. Thus, for the sake of their long-standing friendship, Ironwood never pushed the idea with Oz again since a) he respected Ozpin and b) he knew fully well he could never ever get Oz to bend to his whim so easily.

However…Oscar isn’t Ozpin. He’s an impressionable fourteen-year-old boy who’s been left without Ozpin’s proper guidance who Ironwood might find easier to twist at the arm.

Especially if he paints it in a way that more appeals to the young farm boy’s favour and doesn’t necessarily tell him the true intent of his actions. So basically picture Ironwood emotionally manipulating Oscar into undergoing his aura experiments.

Heck I can even picture this being another issue that forces the two souls to fight again with Oz, sensing what Ironwood is trying to do with Oscar, trying to warn him but Oscar refuses to listen to Ozpin since…well…

What if…once our heroes have settled down in Atlas Kingdom, Oscar tries reaching out to Oz.

But even though Oz helped him out in the plane, he still refuses to meet Oscar half way for them to talk and it becomes a frustrating thing where Oscar feels abandoned by Oz. This leaves Ironwood to come swooping in to easily fill that whole role of mentor and guide to Oscar left behind by Ozpin that he was supposed to fulfil and Oscar grows close to Ironwood��looking up to him. Trusting him.

Possibly even seeing him as a dad figure. Maybe Ironwood might remind Oscar of one of his parents or parental figures. However Ironwood is only manipulating Oscar to get him to sign off on undergoing his aura experiments. Something he knew Oz didn’t approve of but he tries to make it happen anyways through Oscar. I mean, it wouldn’t be the first time Ironwood went behind Ozpin’s back to get what he wants, right?

But Oscar doesn’t quite catch o to Ironwood’s intentions but Oz does and he immediately tries to pull reigns on him. Even go so far as to probably pull the same stunt he did at Haven.

However by the time Oz tries this again, Oscar is already mentally strong enough to resist him from forcefully relinquishing control. Let’s just say that Oscar becomes a bit resentful towards Oz for leaving him (and everyone else) behind the way he did and it basically becomes this whole thing where Ironwood drives a wedge between the two souls and uses that to his advantage to get what he ultimately wants.

Perhaps….Ironwood might even invent and implant a sort of chip device on Oscar—like a small doohickey that fits perfectly on his neck that he tells him has a function to suppress the influence of Ozpin’s soul whenever Oscar fears he might try to forcefully take control.

So whenever Oscar felt Ozpin trying to take control, he could mentally tap into the device and use it to prevent this from happening. Of course, the device has a secret secondary function that would instantly turn Oscar into a puppet under Ironwoods command when necessary but…I’ll stop this headcanon right here.

I know this is making Ironwood out to be the bad guy and it’s sad since I kind of like General Dimples. Nonetheless, given the kind of metallic grey character Ironwood is, I think this can be a possibility for his side of the story in Atlas. But we’ll see what the Writers have in store for us with him.

Getting back on track with the Merge, I believe I’ve pretty much summed up all that I had to say on that. Hopefully I was able to answer your in some shape or form. Emphasis on hopefully.

As for your mini headcanon—funny enough it reminds me of another old Pinehead theory I shared in a musing where Oscar would deep dive into his mind to bring Ozpin back. In V6, Oscar described Oz locking himself away deep inside his head. That being said, for V7, I was hoping us Pineheads could get a small subplot involving Oscar possibly entering a deep sleep, going on a journey inside of his mind to find Oz and bring him back. I called it ‘Oscar’s Journey to Oz’. Get it.

Just as how Dorothy Gale went on a journey to the Emerald City to find the Wizard in hopes of him possibly sending her back home to Kansas, I figured the CRWBY Writers could do something like that with Oscar where he must go on a journey inside of his own mind to reconnect with the soul of the old wizard locked away inside him.

In one version of this headcanon, I envisioned Oscar reliving the most important memories of some of the previous Wizards leading up to Ozpin’s and in Ozpin’s memory, it’s the nigh he was fell in combat with Cinder and was left for dead before connecting with Oscar.

In the next version of the Oscar’s Journey to Oz headcanon—my favourite of the two— it was Oscar reliving his most cherished memories from his past to current day; meeting the souls of some of the other Wizards (like Diggs, Henkle and Norman for example) who arrived to help him on his journey to finding Oz.

Since viewers never got to see more of Oscar’s past, I figured this could’ve been a neat way to see what Oscar’s backstory was like through his eyes by reliving his past with him in his mind. That’s the concept I had.

But regarding of either version of this theory, it concluded the same way with Oscar finding Oz locked behind a memory that belonged to him—a key defining memory in Oscar’s life that was so painful to him that he repressed it, burying it deep within his mind.

It’s the memory of the day Oscar lost his family explaining how he came to stay with his aunt and it is this memory that Oscar must face yet again in order to find Oz; dealing with the grief he forced himself to ignore before.

I’d like to think that Oz isn’t the only one who chose to hide the painful memories of his past. I’d like to think Oscar has done this too with his own past with his family and it’s something he and Oz can relate to.

It’s also a nice way for me to justify why I had Oz hide behind Oscar’s most painful memory. You could say It’s a place where the Wizard ironically found himself most at home and it’s also a place he figured Oscar would never find him.

By Ozpin’s impression, he figured Oscar wouldn’t face this pain. But to Ozpin’s surprise, Oscar would face this pain. He’d relive one of the most traumatizing memories for him because he was determined to find him.

And once Oscar finds Oz, the two souls sit and have a nice long chat that finally builds more upon their growing dynamic and Oscar as a person. His own person.

Since RWBY has a habit of having young children impart wisdom on adults, I’d love to see Oscar council Ozpin. Show the old soul that despite everything that’s happened and despite everything he’s learnt about his past, Oscar understands where Oz and Ozma were coming from and why he made the choice to do things the way he did.

I don’t wish for Oscar to scold Ozpin for his and the others’ past mistakes but extend him an olive branch—not one of compromise. But one that clearly says ‘I understand’ and ‘It’s not your fault’.

It’s a feat where Oscar shows Oz who he’s supposed to be, as you put it. This then then ends with Oscar taking Ozpin’s hand and becoming the guiding light that takes the two of them home so that Oz may reconcile with everyone else who were waiting on the other side for Oscar to regain consciousness.

Then, with Ozpin back,through Oscar’s guidance, he aids everyone—the group as well as Oz, towards the path of forgiveness on both sides. It’s not Oz apologizing for his actions for the billionth time while the JNR_QROWBY get off scotch free for what they did too.

It’s everyone apologizing and coming clean for the mistakes they made. A promise for a new leaf involving no more lies. No more half-truths. A promise for a clean slate for all including Ozpin. And Oscar is the instigator in all of it as the glue that helped mend the bonds between the team and Ozpin when it was needed to be done. Thus officially solidifying Oscar as a prominent and important member of the hero team in a much more meaningful and convincing way than what was done in V6.

At least, that’s how I saw it. Not sure if this also ties into your theory too. Hopefully you can let me know. For now, I think I’ve jibberjabbed long enough. Believe it or not, I had more to say but I think I’ll spare you more paragraphs of reading through my long response.

In the meantime, thank you for the question and I hope to hear your thoughts on my thoughts and theories shared here.

~LittleMissSquiggles (2019)

#darkangel93rar #oscar pine #professor ozpin #oscar and ozpin #rwby theories #general ironwood #rwby volume 7 theories #pinehead headcanons #squiggles pinehead headcanons #squiggles answers: rwby

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rpgmgames · 6 years ago

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November’s Featured Game: Shooty and the Catfish

DEVELOPER(S): Daniel ENGINE: RPGMaker MV GENRE: Adventure, RPG WARNINGS: Course Language, Gore SUMMARY: Shooty and the Zaat are a dynamic duo solving monstrous mysteries!

Play the demo here!

Our Interview With The Dev Team Below The Cut!

Introduce yourself! Sure! So my name is Daniel, I guess technically I am an animator. I started out making flash cartoons around 2000 just for fun and became a professional animator in the advertising space around 2007. I have been working in media ever since, both in studios and as a contractor working under the Visitors From Dreams label which is also the label I use for my game development. I started dabbling with RPG Maker in around 2002 but I never got very far. Once I got into the media industry I wanted to pick it up again but with Mac being what almost all my work was done on, at home and in studio I didnt get the chance to actually get into it properly again until MV released, infact I was so excited that I purchased MV the day it dropped and immediately begun development on my first title Flatwoods. Ironically Shooty and the Catfish was developed on a PC, but I digress.

What is your project about? What inspired you to create your game initially? *Daniel: Shooty and the Catfish is set up pretty simply. The 2 lead characters, Shooty and Zaat run a sort of monster investigation unit out of their home. They get calls to different desitinations to deal with different monster problems. I really wanted it to feel like it was set up in a similar way to a lot of cartoons from the 80s, where every episode had a pretty similar but still managed to feel like a little self contained adventure. I have thrown in some little elements of an larger narrative but they are light until the final episode. Originally the series was pitched to Frederator for Cartoon Hangover, it got a little ways into early development but then Youtube changed its algorythm and animation on the platform became a struggle and the project was dropped. I didnt want to waste all the work I had done on the concepts and so I eventually tried to find a way to work them into a game, its taken me quite a few years to get as far as I have with development, but I would be even further back if I had tried to animate it all alone. I created Flatwoods to try and get a small project out, you know, to get some experience with the engine, little did I know how much more I had to learn!

How long have you been working on your project? *Daniel: I pitched Shooty and the Catfish back in 2013 from memory, but it didn't start to take shape as the project you currently see until the last 12 months. In that sense I am incredibly happy with how quickly the game has come together.

Did any other games or media influence aspects of your project? *Daniel: So many things have influenced my work its not funny... Where do I even start? Shooty and Zaat have a bit of a Finn and Jake thing going since when the project was originally pitched to Frederator and thats what they were looking for at the time. Resident Evil 4 (the closest any game has ever come to perfection imo) was the inspiration for the games ammo based combat system. Demons Souls originally derailed the project when I tried to emulate its non linear hub based design (you will notice the demo takes place on a single island instead), that created all kinds of balancing issues though so thats all been stripped back and is what lead to the decision to make the game episodic instead. One element from Demons Souls that remains in the game is a diverse mix of linear and looping level designs when it comes to mapping. The game also features towns that have layouts based on unused maps from the Pokemon GS 97 Spaceworld demo since they never made it into any of the actual games in the series. Pokemon GS also influenced the games visuals. I'm not a big RPG guy, but I played a hell of a lot of Pokemon growing up and Gen 2 is still my favorite. Trying to get MV to emulate the limitations of the Game Boy Color was quite the hurdle, I still cant believe I got it working as well as it is. I also have a lot of cameos from other peoples RPGM games, so there's that. Its a big ol' mixing pot of ideas and inspirations.

Have you come across any challenges during development? How have you overcome or worked around them? *Daniel: Countless, the biggest challenge is always scope though. I originally wanted the game to be like 3 hours long tops, now its well in excess of that and that's before I have even put in meaningful NPC interactions. That's why I have decided to break the game up into episodes, each one should be around an hour which is much more my jam. I don't have a lot of free time so I tend to gravitate towards games that are tight and short, I think that's why I am so determined to keep this game in nice manageable chunks. Now that the game is shorter I don't need levelling so I am starting to tone down the RPG elements. One change always leads to another, but episode one is getting damn close to completion. I say this before I have even had the chance to announce the game's going to be episode on my own blog, ha ha. Episode 1 January, The Great Spore Chore! Keep your eyes out for it!

Have any aspects of your project changed over time? How does your current project differ from your initial concept? *Daniel: As mentioned above a lot has changed, I feel the biggest change was when I tried to move the game from being episodic into one adventure after playing through a bunch of other RPGM games for ideas, it all started to feel a bit aimless and the storytelling techniques I had planned when it was episodic weren't translating well as the game progressed. So I guess now the game is episodic again we have come full circle! So many ideas seemed good on paper but ended up not really being fun or adding anything in practice. Oh yeah, and the transition from Game Boy green to color was a big one based on feedback from the demo. Some people were finding it hard to tell what elements were interactable, doors in particular, I hope that color has helped minimize that issue. Key items will also have an animation on them so they are hard to miss. I'm not a fan of hunting for items in big maps, it's certainly not something I want to subject people too in my own projects.

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? *Daniel: This project has had a few key people involved. Outside of myself I have worked with 2 musicians. One is an old school friend who did music for my animations back in the early 2000's. He has contributed a bunch of really cool EDM which makes up most of the games OST. On top of that there is also a number of optional bosses (one per episode) that have music composed by Secret Agent Ape who worked on Soma Spirits and a bunch of other upcoming games. I have been really lucky to get to work with such rad dudes.

What is the best part of developing the game? *Daniel: I love designing enemy battlers, my process usually involves me drawing a weird shape, sticking some eyes and a big goofy nose on it and trying to come up with a stupid pun to use for a name while listening to bands like Yes or Klaatu. It's bliss. I have a lot of people ask me why I have limited myself in terms of resolution and color palette, and it comes down to one of the important things I told myself when I got into game making as a hobby was that I would stop if it ever started to feel like work. I spend my days doing heavy visual effects and compositing, sometimes doing complex character animation. I want to keep that stuff as far away from my game development as possible. Ironically working within the incredibly restrictive limitations of the Game Boy has ended up being incredibly liberating and keeps things feeling fun as opposed to feeling like more of what I do all day to pay the bills.

Do you find yourself playing other RPG Maker games to see what you can do with the engine, or do you prefer to do your own thing? *Daniel: I always enjoy checking out demo's of upcoming games. Both Heartbeat and Virgo and the Zodiac's demos blew me away from a technical standpoint on the MV front. I still find it hard to believe those demos were made with the same engine I'm using. I guess it really shows what can be done when the engine is in capable hands. I wish I had more time to play actual full releases, I mean Jimmy and the Pulsating Mass just came out and I have no idea when, if ever I will have the free time to play it because its such a commitment. I feel like I am missing out on some great stuff.

Which character in your game do you relate to the most and why? (Alternatively: Who is your favorite character and why?) *Daniel: I guess I relate to different characters in different ways. Slim Grim is the one who hands out assignments to Shooty and Zaat, he is pretty much done with life, over people and the world itself, I think thats something we all have a bit of inside of us. Shooty is a very positive individual, his solutions to most problems is a bullet with a smile, and I think theres a bit of that in all of us as well. Zaats a bit of a cheeky smart arse, so I guess in a lot of ways I am most like her as a person. One of the episodes also features Gerkinman who is and has been a sort of self insert in my work since 2001 so I guess technically I relate to him most... ha ha, but thats cheating!

Looking back now, is there anything that regret/wish you had done differently? *Daniel: I wish I had done a better job keeping the project focused. I feel like a good few months were spent making the game bigger in ways it didnt need to be.

Once you finish your project, do you plan to explore the game’s universe and characters further in subsequent projects, or leave it as-is? *Daniel: All of my games are loosely connected, taking place in the same world. None of them tie directly into each other, im not big on the cinematic universe concept that seems so popular right now, but events in my previous 2 releases and the 5 planned episodes of Shooty and the Catfish are loosely connected in ways people who take the time to look can find. They are also tied into around 17 years worth of animated shorts I have released. I have no plans on stopping now!

What do you look most forward to upon/after release? *Daniel: Well, theres quite a few things... Mapping for all 5 episodes (outside of towns) is complete, so when Episode 1 is done I will be immediately rolling into Episode 2. I am aiming to have an episode out every 2 months which should be doable with so much of the game already finished. I also have a couple of short films I am looking forward to being able to invest some time into, things have slowed down in recent months due to freelance but I am eager to get to animate some of my own work again. I am also eager to see the comments sections on Lets Plays. Both Flatwoods and Hazmat got a bit of Lets Play action and a couple of those have some pretty substantial comment sections. The amount of theories people try to put together for these projects is staggering. I could never write something as entertaining as what the speculations in these comment sections contain in terms of what my games mean, it cracks me up and I find it quite flattering that random people have put more thought into elements of my stories then I have. Makes me want to keep things deliberately vague just to encourage more of it. Lastly I will be releasing all the build files for the project so if anyone wants to make fangames or whatever they have direct access to all of the core files used to build the games. Im a big fan of the concept of a mod community, and while RPGM doesnt exactly allow for that, id love to see people do similar things to my work as whats been done with a lot of LISA fan games.

Is there something you’re afraid of concerning the development or the release of your game? *Daniel: I don't know about being afraid exactly. I am curious about how my business model for the episodic releases will go over. I was planning on releasing them at $1 an episode and $4 for the bundle when it's all complete. I know some people think thats still charging too much, but some people have also told me im not charging enough and that it lowers price standards accross the board for RPGM content. The way I see it if I can cover the costs of Steam and the music I commissioned then I've done alright since this project was for fun, but that's just me.

Do you have any advice for upcoming devs? *Daniel: Just keep at it and set yourself small goals. If your working on a big project break it up into manageable sections. Take things one map at a time, ya know what I mean?

Question from last month's featured dev @overcast-rpg: If you could choose an RPG Maker gamedev to release another game; which one would you choose and why? *Daniel: Oh that's an easy one, The Catamites. I love Space Funeral, it's easily my favorite game made in the engine, and while The Catamites has developed countless games since its release, they have all been in other engines. It would be fun to see them return to the engine after all they have learned about game design since Space Funeral's release and to see what they would do.

We mods would like to thank Daniel 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 Shooty and the Catfish if you haven’t already! See you next month!

- Mods Gold & Platinum

#rpg maker #rpg maker games #indie games #free games #pixel games #shooty and the catfish #games #gotm #game of the month #november #november 2018 #inktober 2018 #gotm 2018 #game making #game development

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timeagainreviews · 5 years ago

Text

The Doctor with a Thousand Faces

Art by Paul Hanley

When I say the words "Fourteenth Doctor," what springs to mind? Perhaps you may say "Peter Capaldi," if you want to get super technical. Or perhaps, you may be thinking about Jodie Whittaker’s future successor. And to that point, you may already have someone in mind. Whoever he, or she, or they may be, there are key traits that you tend to expect. The Doctor may look and dress different, but they must also possess a certain "Doctoryness," about them.

Doctor Who is unique. Very few live-action shows have the ability to change their lead actor while maintaining the same character. Sure, they did it on "Bewtiched," but it never became part of the narrative. You could argue that Twin Peaks achieves this with characters like Laura Palmer returning in the form of Madeline Ferguson and Carrie Page. Or even more recently, American Gods with Media and New Media. But what about before that? What about a time before foreign Gods came to America, or certain Time Lords came to British television? What if the undying hero is part of our fabric as a species?

Within its title, Doctor Who has dared its viewers to ponder the question- "Who is this mysterious stranger?" I would venture to say the answer lies somewhere within the culture of the era. Our concept for who the Doctor is, and what they represent has changed throughout the years. As we change as a culture, our expectations of the hero change. The new gods of our pop culture mythology are still fallible, and therefore, subject to change.

It's a fairly popular fan theory that every one of the Doctors is a response to his or her predecessor. And there are even real-world moments when you can see the showrunners course-correcting a bit of bad writing. The Sixth Doctor was so loathed within the higher ranks at the BBC, that the Seventh Doctor is clearly a conscious response. Where Six was brash, Seven was quiet. While Mel was a screamer, Ace was fierce and brooding. On an even deeper level, because Doctor Who is so unique, you can also apply these course corrections narratively.

The Doctor's incarnations act more as avatars of an overarching hero of great power and intelligence. It would seem as though every regeneration is an opportunity for the Doctor, and us as an audience to ponder the identity of the Doctor. Christianity has God the Father, Jesus the Son, and the Holy Spirit, all aspects of the same one God. What does each of them imply about the other? Is each Doctor informed by an overarching consciousness? Is every aspect made in its image, or is the Doctor the sum of their parts? After all, the Doctor is still alive. We are actively watching the Doctor’s lifetime, which as of yet, is still ongoing.

In the Hindu pantheon, we get gods like Vishnu and Shiva who also take up corporeal form as avatars on earth. Much like the Doctor, these avatars are usually direct responses to their predecessor. Take Vishnu, for example. Vishnu incarnates in several different eras, usually as a response to some great imbalance in the world. But often times, their personalities explore a different aspect of Vishnu overall. As the avatar Rama, he lived so lawfully that, depending on which version of the Ramayana you prefer, cost him the love of his life. In his next incarnation as Krishna, he corrects this by being more anarchic, more bohemian, and much more free-loving. On the other hand, he was also more authoritative, as compared to Rama's gentler nature.

You could compare these two characterisations to the Third and Fourth Doctors. The Third Doctor literally worked with the military while the Fourth Doctor flew in the face of the Brigadier, hanging his feet out of the Jeep like a petulant teenager. While both Doctors have the same authoritarian streak, they're usually found in opposite directions. The Third Doctor's officiousness melts away into warmth, while the Fourth Doctor's charm burns away with his fury. All the while, each of them demands we as viewers continue to ponder the nature of our terrifying friend.

We’ll spend the entirety of the show pondering that nature. Because, as I stated before, the Doctor’s life is ongoing. Much like Vishnu sustaining the universe, Shiva’s dance has not yet ended, Brahma has not yet awakened. The dance of life continues. We can live in the past or the future, but we can never escape the present. Each Doctor stares down the barrel of their own demise. Even we as an audience see each successive Doctor as temporary. Their days are numbered, and no matter how many times you change your hair, your wardrobe, your gender, we all fear the reaper. So we focus on the now, when we’re alive. We focus on our own unique challenges.

Every son of God, it would seem, has their own cross to bear. Each hero meets a greater burden that speaks to the culture of a time. As Jodie Whittaker's Doctor is yoked with the incumbrance of sexism, so too was Colin Baker yoked with censorship. Conservative backlash has often times landed Doctor Who in the hot seat. "The Trial of a Time Lord," is a story arc that directly addressed the real-world accusations of the show's violence. In "Rosa," the Doctor goes toe-to-toe with the embodiment of a nasty internet troll in the form of Krasko.

It's funny then, to view how this response to popular culture has changed throughout the years. Ben and Polly were practically Bible thumpers compared to the real world culture of hippies that were capturing the hearts and minds of people everywhere in the '60s. In their own way, they're a couple of squares that fly in the face of what was actually "cool," at the time. Even this goes against the mercurial trickster that was the First Doctor, who bit his thumb at your fuddy-duddy schoolmaster in the form of Ian Chesterton. Doctor Who of the '80s seemed like more of a "2000 AD" comic book world, which makes sense when you consider who was Prime Minister at the time.

Not only is the Doctor's personality explored throughout these incarnations, but the symbolism surrounding the Doctor as well. The name "Doctor," itself has been explored to some depth within the show. What does being a doctor mean to the Doctor? A doctor is a person who can bring us hope. They can also bring us dreadful news. Some of us don't like seeing the doctor because death seems to follow them around. The Doctor also carries a tool as opposed to a weapon. We're given the impression that the Doctor is a person who wants to fix things. Even psychic paper is a symbol for the Doctor's anarchic streak. "Badges? Badges? We don't need no stinking badges!" Psychic paper plays to that devilish side in all of us that wants backstage access and lies on our résumé. The symbolism of the TARDIS has also changed over the years. Modern perceptions of the police may taint the image of a police box in the same way modern perceptions of America may taint the image of Captain America. However, I would like to think that both Cap and the Doctor represent the potential of what these things could become. The Doctor is what a good cop should be.

People say Doctor Who shouldn't be political, but from a historical standpoint, that's impossible. It's always had the same character, fighting for freedom from unjust capitalism, to totalitarianism, to unimaginable callousness. The Doctor has never asked what a person's sexuality was before saving their life because the Doctor is an actual hero. The Doctor doesn't have to agree with your lifestyle to agree that life is precious. What kind of Doctor would they be if they went around allowing someone to die? That's no kind of Doctor at all. This is why Doctors sometimes need people around to kick them in the ass when they're being total kumquats.

Whether we call them assistants, or companions, or friends, the Doctor's fellow travellers remain cyphers for the audience, though some more than others. While on the other hand, it would seem as though the Doctor represents something deeper, something more conceptual. Like a doctrine passed from leader to leader. "Never cowardly, never cruel." Keeping humans around to keep the leader in check. We the viewer have this abstraction of our greater self, playing companion to the strangeness that is this existence. We love these stories because they’re our history, our world, and our trajectory. Past, present, and future. They're embedded in our religions and in our myths. So we keep the tradition of storytelling alive so that we might never forget these elements within ourselves. And to remember that no matter how bad things get, to appreciate being alive now.

Hello friends! For those of you who may be wondering, yes I have posted this article already. However, I wasn't completely happy with it, so I retooled it a bit. Sometimes you gotta do that! I've been up to rather a lot since we last talked. I went to see Andrew Cartmell speak in Leeds a few weeks ago, and that was great fun. He had so many wonderful insights into his era. We're still working on K9, but things have been a bit slow because of my pal's schedule. I've still got plans to write an Eighth Doctor article, but I decided to put it off for the time being. I'd like to go a little deeper into his audios and books now that I've finished his comics. I've also got articles planned for Doctor Who in video games, Doctor Who canon, and I might start doing profiles for villains I love.Speaking of profiles, I may also start interviewing some of my favourite Whovians. I know so many avid fans of the show with their own wonderful perspectives, that I wanted to incorporate them somehow! On the Twin Peaks front, I was thinking about sharing a series of comics I've been working on. Each comic explores a different theme in the show. I've also been toying with the idea of writing about other shows. Speaking of which, who all watched Good Omens? I loved it. What did you think?

#doctor who #vishnu #rama #krishna #bbc #tardis #Thirteenth Doctor #seventh doctor #sixth doctor #trial of a timelord #rosa #third doctor #fourth doctor

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superoddgaming · 5 years ago

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My Top 10 Games For E3 2019

E3 2019 is on the horizon and you know what that means; endless predictions and guesses and what the hell is gunna be going down from the 8th to the 13th apparently.

A bunch of companies are having their own showcases and conferences except for Sonyand I believe EA this year but I’m not really gunna run through all of the different conferences I’m more so just gunna run through the games that I am most excited about.

10// Session

It’s been almost a decade since we have seen a good skateboarding game on console or PC. Skate 3 released in 2010 and since then nothing has been able to dethrone it as the last well executed skateboarding game.

Tony Hawks Pro Skater sure as hell didn’t even come close. If anything that game made us have even less hope for the genre. But then along came Session, announced at 2018’s E3 slated for a late 2019 release on PC and Xbox.

I hope that we get to see more of Session during Xbox’s conference along with a look into a campaign for the game as well as a final release date.

9// Animal Crossing

I am the most excited about this one mostly because of the Switch’s portability and this will be the perfect drop in drop out game to have on the go with you.

I’m really hoping for an Island or vacation themed one this time around, I think that would be so cool.

8// Control

Control looks all kinds of bizarre, creepy, fun and holy shit the physics they have in this game is just absolutely crazy.

Destructible environments, almost everything is interact-able and they really showcased it at the end of their trailer and where she picks up the projector and shoots it at the wall and each of the boxes and papers all act independently.

I am amazed with this game both technically and from a story standpoint, it looks like a descent into madness mixed with a little government conspiracy.

I’m really excited to see where this one goes and it does look like it will be another PS4 exclusive. Sony is KILLIN IT with the single player experiences.

7// Biomutant

I have had my sights on Biomutant for what it feels like years now. I have eagerly been watching and awaiting more news and insider looks for it. It looks like so much fun, it’s got style, zany humor, really funny narration and the game play looks really promising.

Not only that but the world that your creature exists in is really fascinating with all of these spliced creatures all over the place and interacting with each of them to find out how the world went to a over-polluted corrosive wasteland is sparkin’ some interest in me.

I have a feeling we will get another gameplay demonstration as well as a release date but I’m honestly not expecting this one to come out until 2020 or 21.

This is one of those games that I’m fine with if it takes forever to come out just because I really want it to succeed.

6// Outer Worlds

Space is yours to explore, for a price. Impossibly cool looking monster combinations, beautiful unearthly landscapes and a crazy cast of characters on top of that and you got yourself a new favourite to sink only what I can assume will be over a hundred hours.

They showcased some game play for it and the writing is just awesome. The fact that they has the crowd and myself laughing without and voice acting done in the game yet is a testament to their comedic writing.

What I love most about this game is there’s no real good and evil. You play the game how you want to play it. If that means going along with the story and being a boring upstanding citizen you can do that.

If that means literally murdering actors because of a terrible performance and then disintegrating the director you can do that. Either way you are still rewarded in some fashion for your quests and I just think that is so cool paired with all the other face swapping goodness.

5// Pokemon: Sword & Shield

This will be my first Pokemon game in probably a decade. The last one I played was I think was Ruby and Sapphire.

I’m hoping that Pokemon gets some love during the E3 Direct and we get to see a little bit more of the Region and possibly a look at the starter evolutions.

Y’all know I’m #grookeygang for life. Doesn’t matter what it’s final evolution is look at that little bastard.

They look like they are introducing more RPG elements and the Pokemon franchise could use a refreshing new implication of their pattented Pokemon formula. Hence the reason I haven’t gotten a Pokemon up until this release.

Here is to hoping that they showcase more of the technical improvements beyond just content. I do have a feeling some of the millions of Pokemon IP’ currently being released might get talked about instead though.

4// Cyberpunk 2077

This will come as no surprise it’s in my top 5.

It’s in everybody’s top 5.

It’d be doing this game a dis-service to not have it in your top 5.

CD Project Red, the people who made the Witcher 3, have been working on this game for a millennia now and last year it was showcased and said to be playable from start to finish at that point.

I think we will get a final showcase of all the polishing and finishing touches they’ve put on the game and set it up for a release window.

And I mean what’s not to love about this game?

The concept of cyberpunk the style alone is already badass but a whole dystopian world set around that and knowing that Project Red can do with world building, questing, dynamic abilities and interactions.

If you ask me I don’t think it’s going to be coming until late 2020. This is a game that NEEDS to be perfected. It needs to have a good release. People have been anticipating this game for years, including myself.

My wallet is going to be so empty...

3// Astral Chain

This is what I want to see from Nintendo!

No more Sequelitis, finally an interesting fully developed IP and it looks absolutely badass.

The world, the intricate fighting system, badass robo-cop persona’s on leashes, being a cool ass detective.

This game just looks amazing. We need to see more of it. We know almost nothing about the story so far or even how expansive this game is shaping up to be.

YOU GET TO RIDE ROBO-DOG MECHS! whats not to love?

But hey it’s directed by the dude who did Nier Autmoata and that game was a hidden gem for a while. I’m really hoping this game get to bask in the spotlight a little bit more.

I want this game to be successful so bad. As fun as the Mario and Zelda games can be I know that the Switch can have some serious independent releases like this one.

Astral Chain my just be the trendsetter the Switch needs to prove that it’s not just the Mario console, it’s something that can hold it’s own up against the Xbox and Playstation.

2// The Evil Within 3

This is my wildcard.

I know next to no one is anticipating this game but I LOVE THIS FRANCHISE.

I love the world they have created, the resident evil vibes, the terrifying distorted monsters, the twisted visuals that send a chill down your spine.

The ever looming threat of always being hunted, watched or taunted. The Evil Within masters the atmosphere of never feeling truly safe. You are always on guard and that makes for very interesting game play in a horror narrative.

There was worlds of improvements made between the first and second game and I loved each of them dearly. We were left with a couple unanswered questions at the end of the second game and I really want to see the story come to a close and finish off the trilogy.

I’m not expecting and game play or even a release window but at some point during Bethesda’s conference I really really want to see this pop up. We know they’re not announcing the new Elder Scrolls so there is definitely room there for a surprise release.

This is just me being really really desperate for a third game, the second game had such an incredible world and we saw the characters grow so much it would be a shame to see all of that get stuck in just the second game.

Not to mention that this is the most fun I’ve had playing an actually scary game in a long time. Let’s make it happen Bethesda

1// Square Enix: Avenger’s Project

The long awaited and incredibly mysterious Avenger’s project form Square Enix is the cherry on the cake of this E3.

Square Enix is hosting their own panel and while I know majority of it is going towards the 7 remake and possibly a new final fantasy announcement they would be just plain dumb to not have this ready to announce.

With the MCU concluding it’s current phase with Endgame now is the perfect time to showcase this project. It has been two years since we had the teaser and people were going bat-shit then, imagine what would happen now.

The crazy thing is that this will be the first part of a multi-game deal between marvel and Square Enix which means that this game will just serve as the starting block.

We have seen Marvel make an incredible comeback into the gaming universe and they may be doing exactly that. Creating a gaming universe to pair along side their cinematic universe. This one just might surpass PS4 spidey though. It’s got some serious hype going behind it and we might just finally get to see it at E3 this year.

The Wrap-Up

Anyways that is my top 10 list for this years E3. Are they the biggest announcements or releases? Not by a long shot!

But they are the ones that as of right now I am the most excited about!

Are there anything that you think I’ve missed or forgot about? Are you one of the only other Evil Within fans that want a third instalment?

There’s gotta be someone else out there wanting this as bad as I do!!

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