#there is a reason it became so popular its a fucking MASTERPIECE

[we-were-starss]

Yall need to remember that no matter how popular a fic gets (even if it’s literally the most popular fic on ao3) it still goes against fandom etiquette to publicly hate on it or say that it’s bad. Those opinions belong in private conversations or in your private bookmarks, nowhere else. Fanfics are gifts that we aren’t entitled to, and we have to treat them as such.

[myrmyrtheorca]

give me your favorite manga or anime of all time. NOW. like, the ones who changed you as a person. if you are okay with questions like that!

HELLO HI I RISE FROM THE GRAVE FOR THIS INCREDIBLE YAPPING OPPORTUNITY

fr tho thank you Lottie for asking me too despite my death apparent, this will be long, I'll put the honorable mentions first as to make it a little more interesting and KHR will be at the bottom for the same reason-

Honorable mentions!

Sailor Moon - love myself some female friendship and magical girls. And women who could kick my ass like Pluto.

Black Rock Shooter - as above, plus vague setting and cool transformations.

Fate series - ok hear me out. I haven't watched the anime and just started the VN, I mostly play the mobile game, but it's about history and there's cute girls in it. Peak.

The Vision of Escaflowne - COOL MECHAS (hasn't finished it)

Yuru Camp - CUTE GIRLS FRIENDHIP AND COZYNESS also relaxing music (hasn't finished it)

Serial Experiments Lain - what the fuck was that

Violet Evergarden - tears? tears in my eyes? stop???

Dungeon Food - I'd have put this above if I wasn't just at the second volume of it, holy shit this is so fun but I feel it will crush my soul soon

Neon Genesis Evangelion

Ah. Lord, NGE. The vagueness of its worldbuilding, the psychological aspects, the occult and religious simbology, and the GODDAMN MUSIC. If you like classical, epic and otherwordly music, I beg you to check out NGE's score even if you're not interested in the anime itself because Shiro Sagisu is a gift from the gods and one of the best composers of our time. The series is a masterpiece. People despise the movies but IMO they do exactly what a movie should do: entertain. Anno embraced the "I'll be cringe, but I'll be free" and went all out on them, as he should have. Also, there's Kaworu Nagisa. Look at him!

Steins;Gate

PLEASE. PLEASE DO AND DON'T DO THIS TO YOURSELF AT THE SAME TIME. I WAS NOT READY. This anime will take your heart, embrace it, warm it up, GRIP IT IN ITS HANDS, CHEW IT AND SPIT IT OUT. Admittedly I played the VN because I wanted to experience all endings and OH MY GOD. It's terrifying and emotionally damaging. I started playing the sequel (Steins;Gate 0) and I had to STOP because it's so gut-wrenching in all the good ways that I need to be in the right spot for it.

Bleach

talk about recent experiences. I live under a rock when it comes to popular anime most times, and I never had the occasion to watch Bleach until recently (still haven't technically finished it because I'm waiting for TYBW to finish releasing to watch it). I... don't know what it is about Bleach that I like so much, but it got me in a similar way to KHR, as in I think about it often against my will and I'm even considering creating an OC for it. I think it's the characters, because the story is pretty straightforward... yeah, yeah it's the fictional men again. Kubo makes handsome men who fight with swords and transformation and everyone has their own powerups and...hhhngh. Look at this batch of cookies.

Ah no, wait, there's Shiro Sagisu again as composer. Almost forgot. *dances aggessively to spanish guitars*

Dr. Stone

I'm not a science brain, totally the opposite. Math doesn't math, geometry is evil and chemistry is wizardry. BUT, I love things that TRY to teach me those things in a funny and accessible way. I still won't understand them, but it was fun trying! And Dr. Stone has that, it's the moment I realize I like it when things are explained to me in that way, especially through media. Plus, fun characters, emotional moments, and cool plot.

Katekyo Hitman Reborn

Fortunately or unfortunately depending on your opinion on the show, KHR was the first ever japanese piece of media (excluding videogames) I've ever consumed. Being a lonely and socially awkward human being, it soon became my personality. It was these fuckers who made me get into manga altogether, I started buying the volumes (but only up to Varia Arc because 1. I didn't have an allowance, everything was done with Christmas/Easter/birthday money and 2. I was so obsessed with the Varia that my goldfish brain lost interest mid Future Arc.) and from there I discovered the pleasure of physical copies. The show has never aired in Italy, so nobody knew what the fuck I was talking about. It was, as many others were for me, a very lonely experience. But it was also the first time I felt... unique? Like, "this is my special little treasure and nobody can take it from me" kinda thing. I was emotionally invested in this show and every small piece of merch I could find like my Varia character songs CD became some of my most prized possessions (UNTIL I STARTED GIFTING AWAY MY SET OF VONGOLA RINGS BECAUSE I WANTED TO BRIBE PEOPLE INTO LIKING THE SHOW) (YEAH THAT WAS. STUPID. BECAUSE IT OBVIOUSLY DIDN'T WORK. AND ONLY MADE ME FEEL MORE LONELY AND RINGLESS) Then, the falling off. I started playing an MMO that also shaped part of my personality and as you often do with things that remind you of lonelier times, I sold my volumes and stopped thinking of KHR... until recently, when I joined this fandom and the spark came back because fuck it I'll be cringe but I'll be free. I got my fair share of flack for hyperfixating on an old anime at 24 years old, but it's one of the best experiences I've ever had. So yeah. KHR was ultimately good for me.

[ofdemonsandangels]

What's the best adaptation of Berserk? Looking at the content, not the visuals. It's been a while since I watched the 2016 film adaptation and I could be wrong, but isn't this the most accurate film adaptation of the arc? Yes, there is a changed third episode, but the script for this episode was written by Miura. I've heard many times people complain not only about the visuals, but also about the story. They say he's boring, but isn't that because Berserk himself became a little… boring after the Golden Age? Many people praise the plot of the 1997 anime, although it is essentially fan fiction and not an accurate adaptation. They usually say that the 1997 anime comes first, the movies come second, and the 2016 anime comes third. I think it's exactly the opposite (anime 2016-movies-anime 1997) because isn't the 2016 film adaptation the most accurate adaptation of some Berserk arc? Why is the 2016 anime so bad apart from the visuals? I'm interested to hear your opinion <3

Thanks for the ask anon! It's been a while since I've gotten some asks in my inbox so I'm very happy to answer this.

Truth be told, I'm not really a fan of any of the adaptations. I don't like how the word 'masterpiece' is thrown around when it comes to praising the series, but when talking about its adaptations, I've referred to it as an "unadaptable masterpiece" more than once. I don't think that any of the Berserk adaptations have truly and decently adapted the girth that is the Golden Age, and by extension, the Conviction arc.

With the 1997 anime, it's the most accurate in regards to its adaptation to the Golden Age but I find the pacing to be extremely slow at times. With that being said, I applaud it for adapting all of the important Griffith scenes (such as the Genon flashback and the Tombstone of Flames) because those are some of my favorite parts of the Golden Age and it's unfortunately the only adaptation to contain those scenes. The soundtrack is great, the 90's nostalgia is there, and it was a good first crack at such a heavy arc. Decent, but not good.

It gets complicated for me with the ova trilogy because I do think they're good when it comes to portraying Guts and Griffith's relationship as a heart-wrenching, avoidable tragedy. The iconic "Do I need a reason?" line? The way that Guts and Griffith's eyes just absolutely soften when they see each other from across the ballroom? I fold every time. Which is why I get so angry when I remember that SO MUCH had been cut. These movies were the introduction to Berserk for a whole lot of people and more often than not, the only adaptation of Berserk they'll ever watch. So many uninformed and brain cell melting takes and opinions come out of this and it makes me so upset because so much of what was cut is incredibly important to understanding Griffith. But the important Griffith scenes aside, Charlotte's presence was cut down significantly too. Granted it would've been super uncomfortable and downright disturbing to watch her father assault her, but the lodestone scene was a very nice moment between her and Casca. And it would've at least given her character a lot more depth. Also speaking of Casca, why the fuck is she whitewashed??? Don't give me that shit about "the lighting" either. She's clearly lighter, appearing much more tan than brown. I've already voiced my criticisms about Casca's character before but her being whitewashed in the most popular and well known adaption doesn't sit right with me.

And lastly, the 2016 anime. Frankly, I don't like it at all. I find the animation to be way too off-putting for me to even make it through a single episode, and just like the ova trilogy, a lot has been cut. It left out the Lost Children arc for God's sake! That's my second favorite arc in the entire series. Although maybe it's good that Jill and Rosine weren't subjected to an adaptation unworthy of them. The 2016 anime feels like a very hasty summary of the Conviction arc instead of an actual adaptation, which is a shame because Conviction is an arc that's detrimental to how everyone's post-Eclipse arcs are established. You asked if it's the most accurate adaptation of a Berserk arc, but it's not. Far from it. It's the least accurate by a long shot. If you're going into it after watching the 1997 anime and the ova trilogy, you're going to be extremely confused.

Overall, my ranking of the three adaptations goes like this: the ova trilogy, the 1997 anime, and then the 2016 anime. This isn't to say that anyone's preference for one adaptation is valid. We all love this dark and crazy world created by Miura afterall.

[fayesdiary]

Top 5 video games (any variety, not just Fire Emblem)!

Honorable mentions include The Binding of Isaac: Rebirth, Kingdom Hearts 358/2 Days (or the KH series in general, really), Portal 2, Kirby Planet Robobot, Dark Souls 1 & 3.

5) The Legend of Zelda: Majora's Mask

I played both Ocarina of Time and Majora's Mask last year on my 3DS (with a QoL mod for Majora installed), and while I kinda liked Ocarina and mainly respect it for its legacy, I absolutely adored Majora.

I couldn't put the game down, I 100%'d it, I adore the three days mechanic, I fucking love Termina and its atmosphere and just the whole creepy-melanchonic-odd tones the whole game has. Especially with the masks.

Not to mention facing quite literally impossible odds while everything is working against you over, and over, and over trying to stop the moon from destroying the world, with Link never getting any recognition for his deeds. It just hits a lot harder than the usual fated battle against Ganon because if anything, this game is a desperate struggle against Termina's fate.

Also I just found the game a lot of fun and is currently my favorite 3D Zelda game.

4) Fire Emblem Echoes: Shadows of Valentia

Well, of course Echoes is here!

It's my favorite FE and the direction I'd love for the series to go, it's simple yet so fun and Valentia and its characters are wonderful. Definitely the game in the series that's most dear to my heart.

3) CrossCode

I only played it a few months ago, but CrossCode quickly became one of my favorite games and my absolute favorite of the games I played in 2022 and I am begging everyone to go play it

It's an incredibly polished Action RPG with Zelda-like dungeons set in a futuristic MMO (although the game itself is single-player), the gameplay is incredibly fun and the story is even better, it kept me absolutely hooked for months and the characters are wonderful, especially the protagonist Lea, who's both canonically mute and arguably the best character of the entire game. Also she's my newest blorbo.

Also the themes almost seem tailor-made for me to obsess over and just AAAAGH GO PLAY CROSSCODE ALREADY

2) Undertale

...I mean. Does this game need any introductions? I feel everything that could be said about Undertale has already been said.

I played this game in 2016/2017 and it stuck with me hard, and after these many years the attachment has only gotten higher thanks to Deltarune, obsessing over theories and details with my UTDR mutuals and etching some of my favorite tropes (like symbiotic posession) into my heart. I even made some new friends because of it!

I have a huge feeling Deltarune is gonna dethrone it once the full game comes out if Ch2 is any indication, but Undertale will always be special to me. 1) Mother 3

Ah, Mother 3.

This game is very much in a Majora's Mask situation where its predecessor is more popular and beloved but while I respect the legacy it left behind I loved the sequel far more.

Gameplay-wise the game fixes almost every issue I had play Earthbound and makes it a lot more fast-paced and fun, but the story is very much what makes Mother 3 the masterpiece it is.

Beside the themes sadly becoming more and more relevant by the day, Mother 3 has often been described as one of the most heartwrenching videogames of all time and for good reason.

I almost never cry but the ending left me about to sob, and that was with me getting spoiled.

I can't recommend this game enough. Sure, it's not been localized, but grab a ROM and the unofficial translation patch and you're good to go. Just play Earthbound first.

[jayjaysocks]

Listing my favorite animes (because I’m jumping on the bandwagon)

❗️⚠️ *spoilers!! (Duh)* ❗️⚠️

5. Deadman Wonderland

I was really really sad when I found out this anime got cancelled. The music was fantastic, the animation was really good, and the voice acting was incredible. Even the fucking dubbed version (I loved the voice they chose for Senji. God he was hilarious). I binged this show so fucking fast it wasn’t even funny. I loved watching the characters go through their own struggles and grow as people in the very small amount of episodes provided. There was a lot of development within the snippet that we actually saw, and I was thoroughly impressed with how well it was done. I wanted to scream or something when I found out there wouldn’t be a second season.

Sigh. Oh well. At least we got some of the manga’s masterpiece translated into a show, even if we were missing some fucking awesome characters.

4. Guilty Crown

Ugh, don’t even get me started. This anime was beautiful and I got so invested so freaking quickly. I literally go back every few years to rewatch it because I get ship starved.

Shu and Inori’s story was so beautifully done; between Shu uncovering his courage and Inori’s journey of self-discovery, I was continuously awe-struck and filled with feelings—I mean, I had never felt such raw emotion while watching something and I was completely blown away by the affect it had on me. Anger, hatred, sadness, it was all there (even for the main character lmao) and it was one of the first times I had ever felt a ship so heavily that I literally cried at the end. It was one of the very first Animes I’d ever seen and was one of the reasons I got such a taste for them. Thanks for throwing me down that rabbit hole, GC.

3. Soul Eater

This was literally the first Anime I’d ever seen, and my god I couldn’t have asked for a better starter. What I like about this one is that it’s style is so unique and different. It’s very punk and grunge, something I admired and appreciated in a genre that is normally the opposite (like Guilty Crown, for example). Also the fight scenes were badass, like holy shit just look at that gif ??? Freaking amazing.

I loved the way the show transitioned from light hearted to intense and adrenaline pumping so effortlessly. That can be said about a lot of shows, but this one went from *haha cute show* to *holy shit, like they’re actually gonna die ohmygod howaretheygoingtosurvivethis* so smoothly I was genuinely surprised. They made one of the main villains actually cool and each character had their own beautifully done arc. I loved and adored how the show solidified and expanded on the different friendships/relationships that were involved—specifically Soul and Maka’s (also, holy shit, Stein’s arc? Fucking prime, dude). There was a lot of growth in each and every friendship (CRONA!!!), and that really pushed the viewer to invest in the individual characters.

I am fucking delighted that this was my first anime, and (though the ending was a little anticlimactic) it remains one of my top favorites to this day. It set the bar pretty fucking high, and for that I am extremely greatful.

No one asked for Soul Eater: Not! It is the unspoken sin of the Soul Eater world (then again, it is called Soul Eater: Not!)

2. Fullmetal Alchemist: Brotherhood

If you have been following me for a while, then you are no stranger to my love of FMAB. Some of my most popular posts are about this anime, and for good reason.

Unfortunately, I was late to the party. I actually didn’t watch this until last year, but got invested really damn quick. I have a tendency to be extremely picky about the animes that I watch/like (which is why NONE of these shows are that recent), to the point that I will literally research them before I start watching (a bad habit, do not copy me). I have an incomparably hard time finishing a show when I start, because I get bored really quickly, but this was an exception. I started watching and I just... didn’t stop. I spent a straight week watching FMAB, gobbling it up during any small amount free time I could manage, and finished it before I even knew what happened. I wasn’t picky about it, I didn’t research it, I just dove right in and gosh, I was not disappointed.

The subtle romance that was alluded throughout the entire show was super cute, the devotion the brothers had for each other was to die for, and the struggles that each person went through was more than moving. I never once found myself bored while watching, and that’s saying a lot for my adhd ass. I was invested in each and every second of that damn anime and I was never, ever left underwhelmed. That probably had to do with the fact that every. Single. Character. Had a purpose. I’m not even kidding. Every single person contributed to the big fight at the end and that alone is fucking fantastic.

Not to mention ALL the women, every female character, was a badass bitch. None of them were reduced to sex appeal or romantic subplot, they all had real feelings, real arcs and real, unadulterated badassery that I thoroughly admired and appreciated. I could watch this anime over and over again every single month and I wouldn’t get bored. Between the emotional struggle, self discovery, and personal development of each character, I promise you will not see a lack of plot or meaning here. The more you watch, the more you discover and that is not a lie. There are so many layers to its story, which only makes me wish I had watched this sooner.

There is nothing I have to offer in the ways of criticism, and for that I couldn’t be happier. Thank you, Hiromu Arakawa, for such an incredible piece of art. You deserve every bit of love that this manga/anime gets. You go girl.

1. Cowboy Bepop

Holy shit holy shit holy shit this anime is so fucking good and it has been my favorite for so damn long. I have been watching anime for years, and while some of the shows in my list have moved around, this one has yet to be bumped down from the top (and I doubt it ever will). There’s a reason it became such a cult classic.

For starters, the animation. I mean, just look at Spike and the way they animate his fighting (yes I am aware that this gif is from the movie, but that still doesn’t change my point). The sequences in the show/film have been reused in many other shows and for good reason. It’s good, incredible, actually and they make him look so badass with just a few hand movements. I was consistently impressed with the way the fight scenes were portrayed and wasn’t ever left underwhelmed or disappointed (or, for that matter, feeling like they completely over exaggerated/overcompensated the scene with huge close-ups and tons of debris and lights). I loved watching this and my heart was always pounding with every intense interaction. I didn’t feel bored during any of the episodes and always found myself laughing when they cracked a joke—pretty much all of their funny lines hit and that’s saying something, dude.

The show, while having a lighthearted surface, has a heavy meaning that you don’t see at first glance. It’s about dealing with grief and loss, and how the characters themselves accomplished that in different ways. The most prominent quote is the biggest indication of its moral “you’re gonna carry that weight”. Basically: ‘You’ve gotta pick up your baggage, because the world moves on, with or without you’. Or ‘You’re going to carry that weight whether you like it or not, because life keeps going’. When I figured out the show’s actual message, while staring at my ceiling in the long hours of the night, I almost cried. This realization brought something entirely different to the table, a new understanding of the show’s characters and overall essence.

The main characters, all of them, had depth. They had real, palpable depth, and even if you didn’t want to care you found yourself seriously interested in their lives. Each of them had relatively shitty pasts. Faye with her lost memories, Spike with Julia and the people who fucked him over, Jet with his old flame and the ISSP, Ed and her/his father... throughout the entire show we got to see how all of them dealt with these things, whether they wanted to continue on with life or not. The way they portrayed it was engaging, because the characters individual, contrasting journeys weren’t repetitive or one note. The beauty that the show holds so achinging close to its core, the layers of grief that the characters are wrapped in so delicately is almost suffocatingly real—because they’re all different. It’s something you discover when you think on the subject in a deeper light, which is another reason why I enjoy it so much. It has both a surface story and a deeper one. You can either take the show at face value or choose to understand the underlying moral.

This show inspired my very first, thoroughly fleshed out OC, and continues to inspire me to this day. It has contributed to my own personal growth, and has helped push me to continue my art and writing. It is beautifully written, beautifully executed and even though some of the episodes seem like filler, it has never disappointed me. I rewatch it all the time because there’s something so infinitely refreshing about the beauty of this anime, whether it be the way we watch the characters develop or the overall moral it portrays. This show has given us a message that is essentially timeless, it can be ‘carried’ through generation after generation, and still have the same impact—something I absolutely fucking adore.

I owe so much to this anime, including my very own artistic development. I discovered it during a really shitty time in my life and I couldn’t have asked for better timing. I will never tire of the bittersweet message or the thoroughly fucking fantastic animation. Everyone who contributed to this masterpiece deserves love, because it’s seriously fucking gold.

[randomvarious]

The Sugarhill Gang - “Rapper’s Delight” The Best Rap Album of All Time Song released in 1979. Compilation released in 1999. Hip Hop

“Rapper’s Delight” by The Sugarhill Gang is the most important song in the history of hip hop music. Period. It was the genre’s first commercial record and it sold millions of copies around the world. It suddenly introduced white people and everyone outside of the tri-state area, as well as countless people in other countries, to a Bronx-born, organic subculture whose popularity had previously grown through mostly word-of-mouth. It’s not the first hip hop song ever recorded (that honor belongs to “King Tim III (Personality Jock)” by The Fatback Band), but historians unanimously agree that it is indeed the genre’s runner-up record. And without its commercial success, hip hop might have only become a late 70s-early 80s New York fad, only to be cherished by its small set of original participants and Pitchfork-reading hipster types who wax nostalgic about those halcyon CBGB’s and Max’s Kansas City days where the city’s various strains of new wave, glam rock, punk, art punk, no wave, and the like all converged.

But I’m here to tell you that this iconic song, the one that made hip hop a viable commercial enterprise and enabled it to eventually become the biggest music genre on the planet, is actually a total fraud. And that’s for a couple reasons. Now, before you go all Rocko lavender hippo lady on me, let me just say that “Rapper’s Delight” is by no means a bad song. In fact, it’s one of the greatest songs ever made. But it was a total fucking cash grab, too; an absolute sellout record. And that’s ironic because, for a genre that’s had so many insufferable purists who bristle at the idea of inauthenticity (full disclosure: I was one of those people), they have no problem with calling this song an indispensable piece of “real” and “true” hip hop music.

Let me explain some hip hop history, first though.

Hip hop culture began in the south Bronx in the summer of 1973, about a full six years before “Rapper’s Delight” came out. It was started by a DJ from Jamaica named Kool Herc. Herc is the genius who figured out how to isolate the instrumental break on a record and extend it by having two copies of the record and lining up the second one to start after the break from the first one finished. This allowed people to dance to the same beat for extended periods of time, which gave birth to breakdancing and dance battles. Another thing the extension of the break enabled was rapping. Rapping came out of toasting, a Jamaican DJ tradition in which the DJ would bust out a nifty and rhythmic, spoken-word rhyme, often shouting out someone of note who was in attendance. But then that eventually morphed into an extended series of rhymes, which gave way to the MC.

Rapping at that point was largely a poetic, improvised stream-of-consciousness. MCs would rap for minutes on end, displaying their mental dexterity as they would do their best to keep on beat and try to make sense while rhyming the last word of each line with the next.

That’s where Sylvia Robinson comes into this story. Robinson was an R&B / soul / funk / disco artist and producer who had appeared plenty of times on the R&B charts and landed a top-three national hit with “Pillow Talk” in 1973. In 1979, she started her own label, Sugar Hill Records, which would become the most important hip hop label in the early part of the next decade. Robinson’s first interaction with rapping didn’t come inside a Bronx club or at a Bronx block party though. It was instead at her niece’s birthday party in Harlem, where DJ Lovebug Starski was doing a bit of call-and-response with his audience. 

From The Independent:

"The DJ [was talking] over the music, and the kids were going crazy. He would say something like, 'Throw your hands [up in] the air' and they'd do it," she recalled. "All of a sudden, something said [to me]: 'Put something like that on a record, and it will be the biggest thing you ever had'. I didn't even know you called it rap."

At first, Robinson had no takers. No rapper or DJ she approached thought making a hip hop record was a good idea. It was just a fun thing people did at parties. It wasn’t something that would ever end up being profitable. According to cultural critic Harry Allen, when Chuck D of Public Enemy first heard that rap was going to be put on records, he asked, “'How are you going to put three hours on a record?' Because that's the way MCs used to rhyme. They'd just rhyme and rhyme and rhyme for hours."

But Robinson would eventually find some people to rap on a record. It’s unclear whether or not it was her son or her herself who initially found the first member of her rap group, but it happened at a pizza shop in Englewood, New Jersey, where Big Bank Hank was spotted rapping while working his shift. Robinson then brought Hank out in front of the parlor to audition. The next member, Master Gee, would then audition in her car, followed by Wonder Mike. Robinson couldn’t decide which rapper she liked most, so she decided to sign all of them. And thus, the Sugarhill Gang was born.

However, it should be noted that Big Bank Hank, Master Gee, and Wonder Mike were absolute nobodies at the time. They weren’t serious MCs or DJs. The guys who had been putting it down since hip hop’s inception like Kool Herc, Afrika Bambaataa, Grandmaster Flash, and Kool DJ AJ had never had these guys rap on their stages before. They were total amateurs.

But Robinson didn’t care and not long after she signed them, “Rapper’s Delight” came to fruition. The #1 song in the country at the time happened to be Chic’s “Good Times,” and coincidentally, it was also a superb beat for rapping over. Robinson probably thought that using an uber popular instrumental for her rap record would move units, too, and ultimately, she would be proven right. She enlisted a funk band called Positive Force to recreate the “Good Times” instrumental, and,  incredibly, they and the Sugarhill Gang pumped out “Rapper’s Delight” in a single nineteen-minute take. There were no lyrical flubs and no mistakes by any of the players. It was an amazingly efficient use of studio time.

That nineteen minutes was then pared down to 14:30 and the recording was pressed to wax and then went to sale. However, “Rapper’s Delight” failed to catch on at first. Radio DJs were reticent to play such a ridiculously long song and hip hop party DJs had no idea who the Sugarhill Gang was. But once a radio version was cut, which is the version I’ve posted today, the record got radio play, which then translated to immense record sales. It made the Billboard Hot 100, peaking at #36, while hitting #4 on the R&B chart. And it became an even bigger hit outside of the U.S., reaching the top-five all across Europe, Canada, and South Africa. It also sold literally millions of records. The second hip hop song to ever be recorded for commercial purposes was a suddenly and completely unexpected global phenomenon. Hip hop had hit the big time.

But outside of the fact that this monstrous song was clearly a mere ploy to make money and was actually not an organic piece of Bronx-bred hip hop culture, there was even more fraudulence to it. Big Bank Hank, the second MC to grace the track, actually stole all of his verses from another rapper, the legend Grandmaster Caz. Caz was a member of a foundational hip hop group called The Cold Crush Brothers, who were known to rap at parties in the Bronx. Hank offered to become Caz’s manager and took out a loan to upgrade Cold Crush’s soundsystem. Then, to pay off that loan, he got a job at the pizza shop that he was eventually discovered in. But when he was seen rapping while working and was quickly auditioned afterwards, he used Caz’s lyrics. So, when Hank introduces himself on “Rapper’s Delight” with, “I’m the C-A-S-A, the N-O-V-A, and the rest is F-L-Y,” know he is spelling out one of Grandmaster Caz’s nicknames, and without his permission. And to this day, Caz hasn’t seen a single dime from “Rapper’s Delight”’s sales. Criminal shit.

But in the grand scheme of things, despite that bad sleight on Caz and the ultimate motive to record the song, “Rapper’s Delight” is still, by absolute happenstance, a masterpiece. It’s not just one of the first hip hop records, but it’s just so infectiously fun. But because of how fun it is, another thing that apparently pissed off other rappers at the time was that the song wasn’t about anything important. A lot of rappers were angry at the conditions in which they lived and they thought it was lame that a bunch of outsiders had cashed in on their artform while not even channeling any of the south Bronx’s inner rage. But a few years later, Grandmaster Flash and The Furious Five would release hip hop’s second unmitigated classic, “The Message,” a socially conscious-painted picture of the South Bronx. And it was released on, funnily enough, Sugar Hill Records.

There’s a moral or something to this story somewhere. Without the selling out and without Big Bank Hank’s lyrical theft, who knows where hip hop culture would be today? “Rapper’s Delight” sure wasn’t made for the purest of reasons, but it exposed hip hop music, and then eventually the actual authentic Bronx culture, to the entire world. Had Sylvia Robinson not seen dollar signs in this fun and unique party gimmick, would Grandmaster Flash & The Furious Five or Afrika Bambaataa or Kurtis Blow become household names? Would hip hop ever be sold commercially? Would the following, more lyrical Def Jam wave with acts like Run-D.M.C. and LL Cool J ever happen? And then would N.W.A happen or the Native Tongues posse with A Tribe Called Quest, De La Soul, Busta Rhymes, Queen Latifah, and Black Sheep? I could go on, but you get the picture.

[xavierpak]

Self-para 001; When things get fucked up, the fucked up get going.

Alright, fine, he’ll admit it - perhaps the exposing got to him more than he initially led on. He claimed there to be no motives behind the reckless outbursts of tweets, that he was just exercising his right to defend himself, the whole ordeal nothing but some online banter people would soon forget. After all, somebody literally got exposed for murder a week ago and it seemed as though nobody even remembered his name anymore. So, that was that, some rumors, a couple of mean-spirited messages, and wandering eyes following him as he walked down the hall - in a day or two, everything would go back to normal.

Besides, all he did was crack a few jokes - changing your twitter handle to fit the narrative you’re being accused of? C'mon, that's hilarious. And even if it's not, all it is is going along with the joke. With no receipts to support the claims, no secret confessions or account numbers linking the two together, no one had any reason to believe the whole Kapu thing was meant to be taken seriously anyway, there wasn't as much as a picture of Xavier in the same room as one of Kapu’s paintings, nor an acknowledgment that he's ever even heard of the artist at all. The only connection the two shared in the public eye was Mrs. Imogen Park. The same Imogen Park that has not spoken to her son in years.

Though he’d never admit it, not even to himself, somewhere deep, deep down - way down, buried underneath a pile of empty liquor bottles and cigarette buds - Kapu stood as a bridge between his family and him; an excuse to send an email to his mom, even though it boasted a stranger’s name. A hope that maybe, just maybe, creating a fake persona could stand to become a successful attempt at gaining his parents' respect. At the end of the day, did it matter if their letters of praise sung about one mysterious Kapu, an artist they relished and poured hours of support and appreciation into, unbeknownst to them that the words of love were read by no other than a boy who longed for them all his life? Did their words not hold the same kind of recognition?

No, no they didn’t.

And yet, as it turned out, his intentions behind the project didn't matter at all. It was a fraud, so they said, a quick crash grab. Another empty soul trying to reach stardom - a scam. As though the paintings weren't the same as they were, as though it wasn't his hand that traced the lines, his disdain for the corrupt world of art-trade that fueled the stories behind it. As though his face alone was enough to strip an art piece of its value. Sure, he was the first to claim the paintings held no meaning in the first place, but that's beside the point. Nobody cared about the real value of art anyway, he felt like a fool for having believed anyone would stop and take the time to listen to his message at all.

Truthfully, he’s never felt heard before, and he wasn’t sure whether that stood as the cause or the result of his struggle to express himself. One of the very reasons he fell in love with art was just that, its ability to transcend words, deliver a message through color, shape and atmosphere, fill the air with a feeling, rather than a saying. Ironically, he found himself utterly useless at that as well, countless unfinished poems, smashed figurines and torn-up sketches ridiculing the incoherent strings of thoughts whirling in his mind. He never thought to put them aside and revisit them after the heat of the moment had passed - no, if it wasn't perfect the first time round, it would never be perfect at all.

If it couldn't make the family proud, it was time to chuck it aside, pop out a new one, and make that the sole recipient of all the cultivated love and support. The old one had already been deemed a lost cause anyway.

Anyway. Another shot of whiskey and all was well again. Another one, and the distant cries for help echoing within no longer reached his ears.

What exactly did they want him to do? Pick up a phone? Call a friend? What friend? The only friend he has just might be well on his way towards becoming the only friend he had - just as it usually went. Even those who stuck around after the first signs of trouble had to admit defeat sooner or later, forced to realize there’s no honor in fighting somebody else’s demons when they won’t even put up a fight themselves.

He was one of the most popular kids in high school, but hey, fuck it, with a big-shot football scholarship and an off-campus apartment at UCLA, he didn’t need those high school losers anyway. A semester into the first school year, alcohol convinced him he didn’t need the scholarship either. Well - it wasn’t the alcohol that drove his decisions, not at first, it was merely a distraction from the deep-rooted issues he wasn’t quite ready to deal with yet, a convenient scapegoat to unload all of his problems onto. Until it became the very center of his battleground, leaving him without a family, without a girlfriend, without a scholarship, and, after his friends had realized weekend-long parties were only holding them back, without his status of a party god as well.

He went from living in a Manhattan mansion to crashing on strangers couches within the span of four years, burning every bridge along the way. Who did he have to call? That guy whose bathroom he threw up in four months ago, and was then allowed to spend the day on his couch out of sheer pity? That girl who, bless her heart, recognized him at one of the parties as ‘that guy she used to take a business class with’, wanted to help him get home safely, only to realize he had no home to get to? He managed to spend the better part of two weeks in her bed - it’s crazy what all people will do for a pretty smile and a touch. At one point in time, he even got involved with a group of local artists and convinced them to let him drag an old mattress into their art studio, and so he lived somewhere between a sketch and a masterpiece, paint fumes helping him color in the edges of reality.

Long drags of flavored cigarettes, his nude body draped across the bed, sprawled all over the floor a moment after, his trembling fingers drowning in buckets of paint, indulging in the sensation, just to splatter a bright colorful mess all over the big white sheet hung across the wall, first yellow, then orange, then green, topped off with a flood of black.

The moment he realized art wasn’t real.

The story behind it didn’t matter, no title deserved its praise of a cathartic cleaning - there was no cathartic cleaning. There were empty buckets of paint on the ground, holes in the canvas, and tension within.

A day before mother’s day, he plastered the word HYP OCR ITE onto a blank canvas and sent it off to his parents' house. As his friend had later described it, the last thing they did was open google translate, typed in ‘buffoon’, and chose a random language to translate the word into - and so Banksy’s newest rival was born.

Oh, the days when people cared enough to stick around and fill him in on parts of the night he didn’t remember. Back when getting kicked out of his apartment seemed like the start of an adventure, albeit a solo one. 

He used to think people intentionally tied his feet down onto the pier, chaining him in place while boats came and went, mocking him with the wind in their sails; he used to think everybody wanted to slow him down, just so they could soar. He was never able to see the ropes around his feet for what they were; safety nets, keeping him from going adrift and losing himself out on the open sea, alone. He still couldn't. 

With great haste, he swung at anyone who tried to tie him down, failing to realize time and time again it didn't have to be just him against the world.

But it was. And if it took a secret of his getting exposed to remind him of that, then so be it.

Caught up in the whirlwind of asperity, he almost thought to force out a tear, even if just for the theatrics of it, even if just to prove the cold-hearted man walking the halls of Masters remained nothing but a mask - Instead, his body was as lifeless amidst the dirty sheets, the joint in his hands having burned out a long time ago, his face as unhinged as ever.

[grimelords]

The hits just don’t stop coming!

My May playlist is finished and it’s only almost one month late! Everything you want and nothing you don’t from Nicki Minaj, the band that did the OC theme song and Italian Adele. What more could you ask for! 

Listen here!

Curious - Amerie: Amerie, who sang the world's greatest song 1 Thing and unfortunately never had any other good songs, surprise released a 22 minute album called 4AM Mulholland and a companion EP that was 20 minutes long called After 4AM last year. I don't know why she didn't just release one normal length album but anyway, because she's Amerie people weren't exactly eagerly awaiting a surprise release album from her so it came and went pretty quickly. This song though is really very good and sets a really nice midnight smoky tone that the whole rest of the album/EP unfortunately fails to really live up to. I also found out in my research that Amerie is also apparently a semi-influential book vlogger 'BookTuber' and last year edited a book of YA short stories where other BookTubers 'reimagined fairy tales from the oft-misunderstood villains' points of view. She's got heaps going on.

Vipers Follow You - Amon Tobin: Amon Tobin has lost his damn mind yet again. His last album was 8 years ago and it sounded like a hardware test for a new kind of million dollar sound system. Every single type of sound and frequency was crammed into it and it felt like a sound sculture that could physically attack you rather than an album that you listened to for fun. Now his new album sounds like the direct opposite. There's no drums on it at all and it's all stripped back thick and smooth acoustic-modelled textures and it's very nice. This song is a good example of the album feel overall: not exactly ambient or laid-back, but definite night music from a guy who has gone all the way from chillout trip-hop to walls of hydraulic noise over his career and it's always such a thrill to hear people pushing forward in their sound 9 albums in.

Do The Panic - Phantom Planet: Phantom Planet who famously did the theme song for The OC have reformed and released their first new song in ten years. This isn't that song but there was a bunch of people in the comments on the Stereogum article about it saying they were and underrated band and their 2008 album Raise The Dead has bangers and guess what: they were right!

Roman Holiday - Nicki Minaj: Roman Holiday reentered the billboard charts last month because it became relevant again via people putting it in memes where they would play a sped up version of the song over sped up videos of.. anything really. It's not a very good meme but I thank god for it because otherwise I would never have learned that it's a very good song. I also think there's a very interesting lesson to be learned here about Nicki Minaj because she premiered this song at the 2012 Grammys before Roman Reloaded came out with an elaborate Exorcist routine and everyone hated this extremely weird song and extremely weird performance so it was scrapped as the first single and they put out Starships instead. Nicki Minaj seem to me like an artist that has always struggled to ride the line between pop marketability and doing their own unique thing in much the same way as Eminem, and just like Eminem she's eventually settled in to a very safe and marketable version of herself. Roman Holiday is a glimpse of the Nicki That Could Have been that just starts singing Come All Ye Faithful in the middle of a song and does the chorus in an extremely dodgy British accent. There's a good bit on the wiki for this song that quotes Jessica Hooper's Spin review that says "the pop tracks are a paying of the piper and the too-perfect, Dr. Luke-produced songs are her penance for sneaking deranged yodeling ode 'Roman Holiday' in there." More deranged yodelling odes please Nicki!

Cousins - Vampire Weekend: I've never gotten into Vampire Weekend for an unknown reason. I like every song I've heard of theirs I've just never properly sat down and listened to an album and appreciated it until Father Of The Bride this year. I have however always loved Cousins. It’s got a completely deranged riff, the drums sound like their going to catch fire and it ends with chiming bells. It’s completely off the rails and I think the video is one of my favourites ever for just simply matching the tone of the song and the performance.

Lost Your Number - Nu Shooz: On the episode of R U Talkin' R.E.M Re: Me? with Ezra Koenig they were talking about grunge and the early 90s and how music that had 'authenticity' suddently became so popular. Scott's reasoning was that by the late 80s pop music had become so incredibly vaccuous and bad that people were yearning for anything with meaning. He said 'pop was so bad, stuff like Nu Shooz' and I immediately remembered how fucking good Nu Shooz are and paused the podcast to listen to them instead. This is an absolutely great song because the lyrics never rise above linear storytelling. 'I lost your number' is not a metaphor for lost contact or leaving someone or anything like that. This whole song is about trying to call someone but you've lost the piece of paper that you wrote their phone number on. She even describes the paper like maybe you the listener have seen it around somewhere, I absolutey love it.

Paper Trail$ - Joey Bada$$: Joey Bada$$ is a goon but he has good songs sometimes. If he wasn't a famous rapper he would be working full time in reddit arguments where people rank members of the Wu-Tang Clan. He's one of these 'real hip hop' 'lyrical miracle' guys and he even goes so far as to rework C.R.E.A.M in this song to say cash RUINS everything around me :O but this beat is nice as hell and I woke up with the bit where says 'shit is really real out here' repeating in my head.

Julien - Carly Rae Jepsen: I'm really loving this new Carly Rae album. It's not as heavy on hits as Emotion obviously but it's more even overall and has a lot more to dig into I think. I just keep listening to it. This song especially is so nice because it's a great example of how you only need two chords to get something extremely funky going.

Rock Non Stop - Cassius: Cassius finally have another great song! The nearly two minute choral intro is such genius because of how suddenly and forcefully it drops you into the middle of the most boneheaded dance song I've heard in a long time. Two different silly voices going back and forth with each other saying 'rock non stop' and 'gimme the good time', who could ask for anything more?

Just as I was about to publish this I saw the news that Phillipe Zdar died which is so sad! Just as they started releasing fantastic new music! So now this song is tinged with that sort of sadness which is unfair because it’s such a fun and silly piece of music, it doesn’t deserve to hold that kind of weight.

DOLO 5 - Dolo Percussion: This Dolo Percussion album absolutely astounded me. No melody! Just drums! For an hour and a half! It's a complete world of its own and you can get totally lost in the depths of it. Every song has a completely unique palette and it never ever feels boring like percussion focused music sometimes can, it's constantly evolving in every track and never settles into anything for too long. Things just come and go so naturally it feels like actually trying to figure out the structure of these songs would be impossible. There's a few moments where there's a hint of a bassline or melody in a some of the later songs and it completely shakes you up, like seeing sunlight again after years of absolutely thriving in the dark.

Song About An Angel - Sunny Day Real Estate: The way he sings 'running behind' in this is maybe one of my favourite pieces of vocal performance ever. He just shouted himself apart. Also the Genius description of this song is one of the best emo sentences I’ve ever seen: "The song is believed to be a conversation between a guy and an angel (possibly a girl)."

This Life - Vampire Weekend: The R U Talkin' R.E.M. Re: Me? episode with Ezra really put this album into a lot more context for me, because he's talking about being influenced by The Grateful Dead - not musically exactly but in the mindset and the idea of being in a guitar band and making guitar music in 2019 which is an interesting thing to think about. Anyway this has such a Dead feel to it and I'm really interested to see what they do live because as I've heard they're really mixing up their reputation of being a band that sounds exactly like the album and really going for it instead and doing absolutely anything which is a lot more fun.

The Past Is A Grotesque Animal - of Montreal: I've been getting heavily into Hissing Fauna Are You The Destroyer? this month and it's just so incredible. This song especially as the centrepiece of this whole album is amazing. The mindset is so intriguing to me: absolutely going though it in the worst way possible, getting divorced and everything like that but also somehow managing to keep it twee. The sorts of things that influenced this album would turn any normal person to heavier or stranger music but somehow he manages to believe so hard in the power of twee indie pop that he pushed it to the limit and create a masterpiece.

The Cascades - Janice Scroggins: You know that tweet about riding the bus and looking out the window and pretending the music you're listening to is the soundtrack to the movie about you riding the bus? That's me except with Scott Joplin rags and pretending i'm in a silent film where I embarrass myself in front of a society lady.

The Governor - Nicolas Jaar: I think i’ve probably already had this song on a playlist like three times so I’m going to stop talking about it but here’s my favourite thing this time: It could have just ended and been fine but instead it goes to saxophone hell and that’s what makes this a 10/10 song.

The Less I Know The Better - Tame Impala: My peabrain moment this month was suddenly developing a huge obsession with this song for some reason. Have you guys heard of this band ‘Tame Impala’? I really feel like they might blow up! One of my favourite things about this song is that the top youtube comment for a long time was ‘this is like the cuck anthem’. They’re right!

New Town - Life Without Buildings: Life Without Buildings feels like indie rock from another dimension. This came out in 2000 and for some reason I can't reconcile that fact with how it sounds. It sounds like it should have come out at least 5 years later. I cannot imagine this style of vocal ever working so effectively but somehow it just does. I'm hanging on absolutely every word and feeling it so intensely when in reality she sounds like something went wrong with the recording. I just love it.

Bang Bang Bang - Mark Ronson And The Business Intl: This is a hugely underrated song and this era of Mark Ronson seems to have been totally forgotten which is unfortunate. This song, Bad Romance by Lady Gaga and OMG by Usher all came out around the same time in my memory and I remember feeling very optimistic for the direction pop seemed to be heading in. Bombastic and unique and unafraid to be structurally different but then it turned out it wasn’t really a trend at all, it was just three great songs. So who knows.

Back To The Trees - Adele H: I suddenly remembered this song I completely fell in love with last year and remembered as a moderate hit only to find that it has <1000 listens on spotify and 300 on youtube. Simply not good enough, please listen to this song! Support my friend and yours Adele H: ‘The Italian Adelian’

Out There - Studio: What’s so good about Studio is it’s technically an electronic duo but it has the feeling of a jam jam band. Their wiki article is obviously written by their management but it also describes them as an ‘afrobeat-dub-disco-indie-pop adventure’ which is very true. It’s an adventure! It just keeps moving on and on through fifty flavours of groove!

Shut Up Kiss Me - Angel Olsen: This really is maybe the best love song ever written! Because it's about standing firm and not giving up on love! Stop pretending I'm not there when it's clear I'm not going anywhere / If I'm out of sight then take another look around!

Through This Town - Mia Dyson: If you ever need an optimistic song to lay down on the floor to then here's one.

Cry Flames - Rustie: I'm on my usual shit about how good Glass Swords was and how that it's a tragedy that this never coalesced into a major movement like it should have. This is such a good sound that just kind of disappeared because vaporwave and everything overlapped with the boring parts of it and the anime chillout version became popular instead. Sad!

Real Truth (feat. Tkay Maidza) - J-E-T-S, Machinedrum and Jimmy Edgar: I love this beat so much. The sort of beat that sounds like it's playing out of a droid that got shot with a lazer and is malfunctioning.

Aute Cuture - Rosalia: me putting these lyrics through google translate: oh my god she’s right this IS on fire

Self-Immolate - King Gizzard And The Lizard Wizard: King Gizz are a metal band now and they're writing the very best kind of metal songs - sci-fi about burning to death in the skies of Venus that's also a climate change parable.

Magic Arrow - Timber Timbre: Timber Timbre feel underrated to me. I never see anyone talking about them but they're one of the most consistently great bands around, I absolutely love them. There's so much space in this song, this whole style of minimal production is underutilised. It feels like if Wicked Game by Chris Isaak was about an 18th century cult leader instead which I think we can all agree is a much improved song.

Kim's Caravan - Courtney Barnett: I love this style of songwriting where you just sit on an extremely heavy bassline the whole time and have no chorus, which affords you the freedom to just get bigger and bigger and smaller as you wish. The Drones cover of River Of Tears works like this too and I think it's just masterful.

When The Movie's Over - Twin Shadow: My belief is Confess is front to back one of the greatest pop albums ever written. Please, please listen to it and be moved.

listen here

[arcaneranger]

Final Thoughts - 2018 Long Shows

It’s finally here! I’m so close to being done with 2018 (...mostly. We’ll get to it) that I can taste it, but in the meantime, this list is gonna be weird, because there will be things that were already on other lists since I revised my rules of what should be classified how. This post is specifically for any show that ended in 2018 and lasted longer than 13-ish episodes (including shows that aired a second season during the same year or within six months of finishing the previous one), which means that there’s about as much on it as a usual season of shows, but they all had more time to impress - or disappoint me. I’m doing a better job in recent seasons of getting to everything, but last year there were unfortunately things that I missed (I was burned out in the winter) and just have to leave aside for now because I can’t wait any longer for these lists.

Anyway! As usual, let’s start with what I skipped!

* The Seven Deadly Sins: Revival of the Commandments, The Disastrous Life of Saiki Kusuo S2, Cardcaptor Sakura Clear Card, Garo: Vanishing Line, and Mr Tonegawa: Middle Management Blues because I haven’t seen their previous seasons or parent works. (Yes, even Cardcaptor Sakura. Y’all can shoot me later.)

* Hakyuu Hoshin Engi, Beatless, and Basilisk: The Ouka Ninja Scrolls because by the time I was rounding things up, I hadn’t heard a single positive thing about any of them.

Next comes what I dropped -

WORST OF THE YEAR: Steins;Gate 0 (4/10)

What a fucking mess this show was. Aside from a very noticeable downgrade in production talent from its predecessor, the plot meanders and flirts with maybe actually happening this time before just dropping out again, over and over, to the point where I was perfectly willing to drop it two episodes from the finish line because it was such an insult to fans of the original. (Also, continued disgusting mistreatment of the transgender character.)

Gundam Build Divers (4/10)

Taking the Build series from being a well-written kids show to an averagely-written kids show that hides itself in decent mech designs.

Katana Maidens (4/10)

I remember so little about this show, and granted that I did drop it after one episode almost nine months ago, but what I did remember was that it gave me strong KanColle vibes with laughably inconsistent animation and flat characters. Meh.

Darling in the FRANXX (5/10)

This should probably be lower on the list, but I got out of Darling while the getting was good, sixteen episodes in. I understand that future episodes of the show cemented it as crappy right-wing nonsense in addition to pushing worldbuilding out of its fortieth-story window, but the moment it lost me was much sooner, when the crazy yandere female lead was reduced, almost instantly, to Good Anime Waifu as a reward to the protagonist for going against his friends with his selfish motives.

Persona 5 the Animation (5/10)

In addition to not actually finishing in 2018, Persona 5 just did not give me a single reason to watch it when I’d already finished the source game, with middling-to-bad visuals (thanks to the switch from Production I.G. to A-1 Pictures, and not even the team that created the much better-looking Day Breakers OVA before the game was released in the U.S.) and phoned-in music, which is especially unacceptable in a Persona adaptation. Also, we all absolutely called that the studio couldn’t tell the story of the entire game in just 26 episodes.

Record of Grancrest War (6/10)

There’s people that like this one a lot, but I didn’t see much that interested me in the first two episodes. I’ve heard better things about the manga.

Golden Kamuy (6/10)

I had problems with the first half of Golden Kamuy that the second half simply didn’t fix, and it became difficult for me to keep watching - the show still interrupted almost every fight scene with a dick joke, but still wanted to maintain a serious and occasionally frightening tone - and those things simply don’t go together. It needed to either spend more time being funny, or keep its lowest-common-denominator humor out of the fights.

Next, I have two shows that are (potentially permanently) On Hold, simply because it’s time for me to move on and I don’t have the time or energy to marathon them when the Winter shows are starting to wrap up:

Kakuriyo: Bed & Breakfast for Spirits, because even though I initially dropped it, I’ve heard a lot of good things since and I want to eventually give it another shot.

Yowamushi Pedal Glory Line, because despite the fact that I still enjoyed the previous season, this one started right in the middle of my burnout and I only heard bad things about it. I’ll get to it eventually, but it’s a shame that this series has been on a clear trend downwards since its revival.

And finally, the stuff I finished!

The Ancient Magus’ Bride (6/10)

Keep in mind that this is here entirely on the merits of its aesthetic and its side characters - in the end, Ancient Magus’ Bride is a Beauty and the Beast story where the beast gets what he wants without learning to be less of a dick or even apologizing for his clearly wrong actions.

Major 2nd (7/10)

Always pleased to have even just Good sports shows around, and this one is a very effective reboot of a classic series that’s never made its way stateside (man, the underperformance of Big Windup! really did a lot of damage to this genre in the West). With good character development and a decent second-generation premise, Major 2nd has the potential to be the beginning of a solid baseball story, assuming that it gets a needed followup.

IDOLiSH7 (7/10)

I dropped IDOLiSH7 when it first aired, and though I wound up enjoying it after I was very strongly urged to revisit it, the problems it started with never quite left it behind - that is, it has an okay cast of characters but doesn’t present even passable performance sequences, and if you’re going to include big song-and-dance numbers, they have to be good, or you may as well just be UtaPri.

ClassicaLoid Season 2 (8/10)

In 2017, I gave the first season of ClassicaLoid a near-perfect 9/10, and while this season gives us a satisfying conclusion to the story, it does things both a little better than the first, and also not quite as great. It’s story is much more well-integrated over the runtime so it doesn’t happen all at once in a few chunks, and the jokes that work are still absolute genius, but there’s simply too much that doesn’t quite land correctly, and a little too much immature humor, for it to reach the same lofty Hall of Fame heights as the first season. Still, one of the most underrated shows I’ve ever seen.

My Hero Academia Season 3 (8/10)

God, Izuku in that onesie is too damn cute.

My problems with Hero Academia are frustratingly persistent - the show is at its best when the students are competing with other students, because outside of last season’s Stain (a villain whose motivation is specifically related to the world of MHA), the villains are just not at all compelling and they all seem a little too generic for their own good. I just want Horikoshi to be a little bit less predictable of an author and do a little less reading of the Standard Shounen Playbook. Luckily, when it works, it works magnificently.

March Comes in Like a Lion S2 (8/10)

March remains director/auteur Akiyuki Shinbo’s most accessible work, and one of his masterpieces, as a well-paced and marvelously moody story of a depressed shogi prodigy learning to be a normal teenager before his youth completely passes him by, and the fantastic characters that surround him with their own complex problems and motivations. I just really, really hope it gets a third season eventually, because this one did not leave off on a satisfying conclusion.

Speaking of which...

Food Wars! Shokugeki no Soma S3 (9/10)

It’s almost a shame that My Hero Academia became hugely popular purely based on its accessibility to American audiences, because Food Wars pretty squarely deserves to be the reigning Shonen Jump king - each season has only improved on the previous one, and this one was based entirely on a continuing arc that could only have happened in the universe of this show, Fighting Food Fascism. That being said, it also leaves off right in the middle of the arc (because it had almost caught up to the manga), meaning that we have to hope that it can remain relevant long enough for there to be enough source material for another season. I’ll be crossing my fingers until they snap.

Banana Fish (9/10)

Yes, this has risen a point since my review, but Banana Fish still deserves to be thought of as both a complete masterwork of crime fiction, being fantastically paced and expertly plotted in the use of its many, many twists, and a work that disappointed the side of me that hoped that, in adapting it into the modern day, MAPPA could have managed to get the author to let them depict what is clearly a queer relationship with the authenticity and legitimacy that it deserved. It’s still amazing, though, and Amazon should be pushing it with their most lavishly-made originals. At least it was the last noitaminA show they’ll get to totally bury.

And, finally, the one you all saw coming.

BEST OF THE YEAR: Lupin the 3rd Part V (10/10)

Lupin is, quite simply, one of the pinnacles of the medium. A simple idea that can (and did) go in thousands of different directions, handled by highly creative writers and an animation staff that has been knocking it out of the park for years, despite the fact that it is criminally (heh) unrecognized in the West. To put it simply, there’s a very, very good reason that it’s been around since the 70′s.

Okay! All I have left to do is finish Dragon Pilot (waiting on a friend) and we can get the last two lists out of the way! We’re almost done...

[helshades]

Tip of the Nose : You Be For Men, My Scent

Does perfume really have a gender? Not remotely likely, says the purist, and don’t come telling me that virility smells like those pine-shaped car deodorant thingies. Everybody knows that real men smell of lavender.

This article is actually a rewrite of my response to this post, which my dying aging computer ate right before I thought about saving three hours worth of work. I’m not entirely sure what burning frustration and bitter regret are supposed to smell like, but if someone wishes to bottle it, they may as well name it Parfum de Hel.

On a side note, one of the participants to the earlier conversation had me blocked for some previous reason—probably unrelated to perfume discourse—so I could not reblog the initial post; nor am I willing, out of politeness, to simply caption the discussion. Therefore, here is the original post, and following is the segment I will more precisely address:

@thatiswhy:

Also, maybe I hate the mainstream cotton candy uwu line for women but don’t want to smell like a fucking frat house trying to deo away the smell of vomit on the carpet. You know what I want to smell like? White musk, and leather, and cedar, and sandalwood, and old parchment, and vetiver, and various teas, and juniper, and citrus, and cypress, and cashmere wood, and maybe in the summer like orange blossom and jasmine or fresia. These notes, while mostly present in women’s perfumes, usually are combined with overbearing fruity or flowery tones that make it smell like an aging late 17th century courtesan’s drawers, or “oriental” scents that make the whole thing reek like a 1920’s opium den. (Seriously, I have walked into a perfume shop, asked to be shown something fresh, woodsy and clean, and had Gabrielle shoved under my nose, which smells like rosewater-flavoured Turkish delight.)

Let women smell of non-jellybean scents, you cowards.

That being said, I have found all but two scents for men (to date) that don’t smell absolutely abrasive. (I’m suspecting the cheap synthetic ambergris.) 99.9% of the stuff directed at men smell as if I had one of those scrubbing metal wire thingies shoved up my throat. So no, I don’t want to shop at the men’s section, I want to be given the opportunity to find a scent that doesn’t say 80’s cartoon for girls and/or I read palms for a living.

There are many things to address in this fertile, if angry, intervention, and like often I’m starting by the end and by making a remark that has little to do with the subject at hand: I don’t think, my darling Tatty, that the ‘abrasive’ harbinger of olfactory doom you perceive in most ‘masculine’ fragrances would be synthetic ambergris, cheap or other. All ambergris today is synthetic, to begin with—well, not all, but natural ambergris is so terrifyingly expensive that we’ve got to forgive perfumers for furnishing us with only an approximation. Ambergris is extremely rare a substance; think around €10,000 per kilogram, in the lower estimation. Back in 2016, a nearly two-kilo block found by a man who was walking his dog on a Lancashire beach sold for £50,000… People have become millionaires over ambergris, although most of the time one only finds small quantities of it at once.

   Now this ambergris is a very curious substance, and so important as an article of commerce, that in 1791 a certain Nantucket-born Captain Coffin was examined at the bar of the English House of Commons on that subject. For at that time, and indeed until a comparatively late day, the precise origin of ambergris remained, like amber itself, a problem to the learned. Though the word ambergris is but the French compound for gray amber, yet the two substances are quite distinct. For amber, though at times found on the sea-coast, is also dug up in some far inland soils, whereas ambergris is never found except upon the sea. Besides, amber is a hard, transparent, brittle, odourless substance, used for mouth-pieces to pipes, for beads and ornaments; but ambergris is soft, waxy, and so highly fragrant and spicy, that it is largely used in perfumery, in pastiles, precious candles, hair-powders, and pomatum. The Turks use it in cooking, and also carry it to Mecca, for the same purpose that frankincense is carried to St. Peter’s in Rome. Some wine-merchants drop a few grains into claret, to flavour it.

  Who would think, then, that such fine ladies and gentlemen should regale themselves with an essence found in the inglorious bowels of a sick whale! Yet so it is.

— Herman Melville, Moby Dick (1922), chapter XCII, ‘Ambergris’.

In perfumery, ambergris is distilled into an alcohol-based solution known as ‘pure amber’ which, when exposed to air and sunlight, can be separated into several derivatives, notably terpenes and steroids. In fact, ambergris is mainly constituted from ambrein (25–45%) and epicoprosterol (30–40%). Ambrein is progressively degraded by sea water, sunlight and air into several compounds which are chiefly responsible for its smell, notably ambroxide and ambrinol. Modern perfumery uses ambroxide as a substitute for natural ambergris, which is easily synthesised from… a type of sage plant! To be exact, from sclareol, a fragrant chemical compound found in clary sage (Salvia sclarea). Sclareol kills cancer (yes.), and also it smells really good, with a sweet, balsamic scent very reminiscent indeed of the most important notes of natural ambergris.

Ambergris is essentially mucus naturally produced by certain sperm whales (it is believed that less than 5% of the species produces ambergris, possibly the largest of them, which prey on bigger animals) to protect their intestinal tract from lesions caused by the passing of sharp objects, chiefly undigested squid beaks: eventually, the whale excretes this soft, blackish, pungent concretion which is going to drift for a long while before landing on the shore, where it’ll spend maybe years drying out and hardening under the sun and the air. The colour lightens to a golden grey, and the smell gradually sweetens to a salty musk with whiffs of honey, tobacco and leather—depending on the block, the notes will vary in proportions and in potency.

Almost needless to say, then, that the number of perfumes using authentic ambergris isn’t especially high. Conversely, synthetic ambroxide is a beloved template of the modern perfumer’s palette, one of the reasons being that it helps stabilise scents very well. So popular, in fact, that specialists speak of 40% of the perfumes created in the last thirty years using it! Ambroxide was first synthesised in 1950, by Max Stoll for Geneva-based Firmenich SA. That means that Aimé Guerlain had to use natural ambergris when he created the masterpiece Jicky in 1889 (the oldest perfume in the world to be sold without interruption since its creation), even though Jicky was amongst the very first perfumes to use synthetic ingredients! Most notably, Jicky pioneered a great use of several synthetic molecules, chief of which vanillin, the synthetic vanilla which had been discovered in 1874 by German chemist Ferdinand Tiemann. (The first perfume using synthetic ingredient was Houbigant’s Fougère Royale in 1882, using coumarin, one of the key molecules of tonka beans.)

According to the legend of Jicky, it was composed by Aimé Guerlain (one of founder Pierre Guerlain’s two sons, and the second generation’s in-house perfumer, whilst Gabriel was the manager; then came Gabriel’s own sons, master perfumer Jacques and manager Pierre. The last family perfumer was Jacques’ grandson Jean-Paul, who retired heirless in 1994, after which the company was sold to soulless, tentacular multinational LVMH, much to the dismay of Guerlain aficionados all over the world) ... in memory of a broken heart he suffered in his youth as he came back to France after studying in England without his lady love, the lovely ‘Jicky’. Though mostly advertised to a female clientèle, Jicky shocked many a respectable woman of the time by its daring use of sensual animal musks (ambergris, musk, castoreum, and the devilishly sexual civet) at the heart of its balms, spices and aromatic flowers, most especially lavender, luxurious iris, sultry sandalwood and hot leather... Until the 1910s, when women’s press began recommending it, Jicky was quite the sensation amongst... English dandies... and Marcel Proust, of course. (In 1925, for the International Exhibition of Decorative Arts, Jacques Guerlain presented a twist on Jicky, in which he had removed lavender and woods but added bergamot and, especially, a massive dose of ethylvanillin [three times more potent than vanillin!]: Shalimar was born.)

Men and women used to wear the very same perfumes. Until the 19th century, really, the market wasn’t segmented and there was no such thing as a masculine scent. When the European courts started bathing again and heady perfumes fell out of fashion to the benefit of lighter, tarter, fresher fragrances modelled after the famous Eau de Cologne (1708), women wore them too. The French Jean-Marie Farina who became with his own Eau de Cologne (1809) the official perfumer of the imperial court furnished Empress Joséphine as well. It was for Empress Eugénie, wife of Napoleon III, that Pierre Guerlain created his 1853 Eau de Cologne impériale in the famous ‘bee bottle’ (with his 69 bees symbolising the Empire), which earned Guerlain the envied title of ‘Patented Perfumer of Her Majesty’.

The real difference in perfume usage that occurred during the 19th century was actually a matter of social marking via the use of perfumes of varied qualities, complexities and prestige: if perfume remained an element of luxury, now the aristocracy wasn’t alone in this privilege; moreover, clothes weren’t so elaborate and expensive anymore, and social differences were expressed in subtler ways than before the Revolution. In Paris, House Guerlain furnished a more aristocratic clientèle, whereas the upper-middle class went to Roger & Gallet (successors to Jean-Marie Farina), Lubin or L.T. Piver; meanwhile, middle-middle and lower-middle classes patroned Bourjois and Gellé Frères. The lower-middle class also went to ‘perfume bazaars’ that proposed the same products on sale, plus low-quality products.

The first respectable (only) concurrent to French perfumery was actually England, thanks to the well-earned reputation of its barbers, who created their own fragrances, at once discreet, elegant yet tenacious. Those were scents designed to be applied on the skin as tonics in the first place, after an expert shave, and as such they were based on aromatics, chiefly lavender, made from the essence of the delicate English variety: in the beginning 20th century, Frenchmen often wore Yardley’s 1873 English Lavender, precisely, and it was something of an ubiquitous odour in cosmetic products more specifically destined to men, such as soaps and creams.

It is no wonder, then, that when Ernest Daltroff created the first ever perfume only for men, judiciously titled Pour un homme, in 1934, for House Caron which he co-founded with his brother Raoul in 1904, the fragrance was based on lavender, tenderly joined in matrimony with sweet vanilla and lying on a respectable, tranquil base of an ambre accord (vanilla, benzoin, labdanum, the ‘oriental’ assembly created by genius François Coty in 1908 Ambre antique, the family namer of ambrés perfumes) sandalwood and musk. Legend has it that Ernest, who loved lavender, added the vanilla to please Ms. Félicie Wanpouille, Caron’s artistic counsellor, whom Ernest might have loved even more than lavender. She had joined Caron in 1906 and their collaboration produced some of the most beautiful perfumes of the time, and most original: in 1919, they created the first ever leather-scented perfume, Tabac Blond, in 1927, Ernest made En avion as a gift to Félicie’s friend the star aviatrix Hélène Boucher... They also invented the ‘loose powder’ technique in make-up.

Félicie never left, but Ernest did, along with Raoul, when the Nazis invaded France: the Daltroff brothers were the sons of Jewish Russian immigrants, after all. Since Caron exported a lot of products and had opened a shop on New York’s 5th Avenue, Ernest emigrated to the United States in 1939. He never came back, and died in Canada in 1941. But Félicie Wanpouille stayed, in spite of the Occupation, keeping Caron afloat; 1941 was also the year she got the genius idea, since she couldn’t pay the heavy taxes the Nazis imposed on Jewish-made goods, to rename Pour un homme into Pour une femme, a name which it kept until the war ended. To this day, Caron remains one of the very houses to be devoted entirely to perfume—and free of any multinational’s influence, for that matter. (They’ve not, alas! remained free from the clutch of Reformulation, but that is a story for another day.)

There are two very good reasons why Tabac Blond bears this name. The first was purely commercial: in 1919, women were beginning to smoke, but they smoked almost exclusively blond tobacco from Virginia, which was considered too feminine for men. The second was that blond tobacco exhales honeyed mossy notes which the perfume evoked tantalisingly alongside the darker leather, the cooler iris and the warmer amber, meaning that it was the perfect perfume to cover the smell of tobacco smoke. Two years later, Molinard released the wonderful Habanita, in a small bottle shaped like a cigarette lighter, as an oil to dab the tip of your cigarette so as to make women’s clouds suaver (it was released as a proper perfume in 1924, and long advertised as ‘the most tenacious perfume in the world!’, not without reason).

It wouldn’t be illogical to consider that if there are masculine scent in the first place, it’s probably because femininity went through some drastic changes from the late 19th century onwards, especially as a consequence of the two World Wars. The daring, tobacco-covering orientals which the flappers favoured were a direct reaction to the dreamy flower ideal of the previous decades, notably the artificial immobility of the Victorian woman and her continental equivalents, which the Roaring Twenties more or less exorcised with a call to adventure and independence. Women wore more perfume and more daring perfumes; it was only expected that men would start wearing perfume, real perfume again.

Something really odd happened in the 1980s, but maybe that, too, was to be expected: a kind of paradigm shift occurred in perfumery, as the laundry detergent companies which had become extremely rich and powerful thanks to the combined power of advertisement and mass consumption bought most of the perfume houses, perfume started imitating cosmetics more than the reverse. Once upon a time, the cosmetics industry would copy, or try to, the scents most popular in perfumery, like L’Oréal’s Elnett hairspray famously reprised Chanel’s  Nᵒ 5’ aldehyde overdose. Now, trendy perfume smells like shampoo or body spray.

It seems, nonetheless, like the ancestor of all terrible men’s perfumes that smell like body spray—the men’s version, the kind that makes you want to claw your own nose off—was the otherwise respectable Drakkar Noir by Guy Laroche (1982). So beloved by the public that every hygiene or cosmetic product targeted towards suddenly attempted to smell like it. Drakkar, however, was a good perfume, even if by today’s standards it would be perfectly unwearable for one’s entourage (in a vicinity of approximately 30 metres). ‘Powerhouse’ doesn’t begin to describe the type of scent that was popular in the late 80s and early 90s. And then they started using Calone™. Like, a lot of it. Have you ever smelled calone? Wait, you have. You’ve hated it. Calone in itself was a great chemical revolution: finally, the possibility for perfumers to imitate the very odour of water! Bring in the marine-like scents! Bring in the marine-like scents... I kinda want to throttle Calvin Klein for Escape (1991). Whatever you do, do not, I repeat, do not approach anything subtitled ‘Sport’. It’s worse. It’s way worse. (These days, calone is used to give a ‘watermelon’ aspect to everything, but chiefly summer flankers of denatured classic feminine perfumes. A hint: it smells like shampoo. Everything does.)

You can blame advertisement for convincing men to wear perfume on top of extremely pungent deodorant, too, but me personally, I strongly resent women who think classics are ‘too feminine’ and want to shop at the men’s section of their local perfume supermarket because it’s supposed to be ‘gender-defying’. It really isn’t. That’s not what equality is about, getting to smelling just as bad as the dudes, it isn’t. Even more importantly, perfume is not gendered; marketing is. Skin chemistry varies noticeably from person to person and our hormones do play some role in what we smell like, and therefore in what one perfume will smell like on different people, but apart from that, any sex-based olfactory discrimination is but a marketing ploy to exploit a segmented market so that the members of one household purchase and consume as many differentiated items as possible. Mainstream perfumery these days is mostly hopeless: the Thinking (wo)Man would be well inspired to turn to ‘niche’ perfumery, which isn’t always that confidential but presents the great advantage of being generally more creative and personal. Websites exist where people exchange ideas and samples and there is a whole alternative market for scents that allow people not to ruin themselves buying a full bottle of certain great fragrances. Overall, it is a nice way to get to wear something that feels like a personal choice.

[rayofspades]

Everyone in the World Forgot How Remakes and Sequels Work and I Have to Talk About It Because I’m Losing My Mind

I tried very, very hard to make this a coherent and somewhat organized post, but it’s still gonna sound like the ravings of a mad woman, so...prepare yourself.

Also, this isn’t gonna be an analysis of why remakes and sequels are so popular, because it’s exactly as simple as it seems: people like things that make them feel nostalgic and creators have caught on to this and realized that by remaking a familiar property, their new product has a built in fan base.

Great.

What I want to talk about is how the concept of remakes/reboots/sequels/whatever has been kind of destroyed. Both audiences and Hollywood have created these weird perceptions that are flooding the market in a way that is exhausting to audiences and confusing to creators. 

So, I’m here to discuss all the different types of remakes and why they work or don’t work and how this culture has been conditioned to support them regardless of quality.

Alright,

let’s do this.

Part 1: Cross-Media Remakes:

I find it somewhat impossible to criticize the existence to book--> movie remakes too much because they’re a vehicle for both creativity and audience expansion, even in cases where they’re motivated by money. Harry Potter and The Hunger Games made for some pretty solid movies, and that’s largely because those books just translated well to film. Obviously some changes had to be made to account for time constraints and visual storytelling, but they can get away with having a similar structure and still feeling entirely new based on the hard shift in presentation from book to film. 

I would make a similar argument for Marvel movies. From what I understand, those movies change more from their source material, and there are a lot of them, but it makes perfect sense to adapt comic books to reach a wider audience. I feel like the main reason people are becoming tired of Marvel movies is their overwhelming quantity, not so much the fact that they’re remakes. 

I would also love to talk about the popularity of GoT and LotR, but I don’t think I’m familiar enough with those franchises to properly discuss them, so I’ll leave that to someone else.

But there is something else I want to talk about.

While Harry Potter and The Hunger Games translated really well to film, the same isn’t true for some other cross media adaptations. 

Part 2: Adapt or Die:

In the late 70s, Stephen King wrote The Shining. I’ve read the book and I really enjoyed it, largely due to King’s writing style (the prose, the internal monologues, etc.)

The thing is, The Shining doesn’t really translate well into the film format; it’s really long and a lot of what makes it good is tied to its presentation.

So when Stanley Kubrick adapted The Shining into a film in the early 80s, he changed a lot.

Like

a lot.

The setting and characters remain pretty much the same, and the story follows similar beats, but certain events and themes have been drastically altered to the point where I would consider it a different story.

(Brief aside; the three most famous/iconic scenes from the film (”Here’s Johnny!” “All work and no play”, and Jack frozen in the snow) are ALL exclusive to the film.)

Regardless, both the movie and the book have maintained their own popularity with their own audiences. Both are considered good and both are considered classics. 

Although, from what I’ve heard, The Shining film did receive criticism back in the day for being needlessly unpleasant. Interesting. 

It’s a somewhat similar story with John Carpenter. If you ask people to list good remakes, 90% of the time people will list The Thing (1982). It’s practically the poster child for “hey, not all remakes are bad, guys.” 

In this case, Carpenter was working from both a previous movie (The Thing From Another World) and the prior novella (”Who Goes There?”). Carpenter’s film definitely borrows more from the novella, but it was obviously going to be compared more to the previous film, and it is  v e r y different from the previous film. Carpenter’s film (like The Shining) received criticism for how gross and unpleasant it was, but became the definitive version of The Thing and stood the test of time to become a horror classic.

Basically, if you need to change the original product when remaking it, do it. That is the best thing you could possibly do. It gives the creator a chance to actually create their own unique product that just happens to be based on or inspired by an existing property. This is actually a legitimately cool phenomenon; taking preexisting stories and altering them to fit a new cultural context or simply expanding and improving on ideas. It’s a similar concept to “old wives tales” and fairy tales, and how those stories are constantly changed and retold and in doing so become timeless. Gee I wonder if fairy tales are going to come up later in this post.

Part 3: Bad Changes are Bad

*Strums guitar* This one goes out to all audience members out there who have convinced themselves that bad remakes are bad because they’re too different from the original. *Strums guitar*

Stop. 

Please stop.

Look, comparing a remake to an original to showcase how bad the remake is is perfectly valid criticism. It can highlight how an idea can be botched when it’s not handled properly. Sure. That’s fine. I highly encourage people to compare the dialogue, characters, and world building of Avatar: The Last Airbender and M. Night Shyamalan’s The Last Airbender. It’s important to recognize how one story is an utter fucking masterpiece and one is a poorly told train wreck.

Here’s the thing:

people seem to criticize the film on the basis of “it’s different” and, I mean, sure. But it’s not just that it’s different, it’s that it’s different and....um....

bad? 

Like, one of the “complaints” I saw about the movie was that firebenders now need actual fire in front of them in order to bend it, and I consider that to be just a neutral change. It’s not really better or worse, it’s just different. And please don’t comment on this post with “skflsfjsf NO it’s because in the original firebenders used the SUN as their source of fire” like yeah I know I get it it’s still an inconsequential change.

Now, saying that the earthbenders being held on land as opposed to the sea is a bad change? Yes, that is valid criticism because it makes no goddamn sense within the movie’s universe and just makes everyone look dumb.

That movie is an utter fucking disaster. It’s poorly directed, it’s poorly written, the casting decisions are baffling, the acting is horrible, it’s poorly paced, and it’s bad.

It’s a bad movie.

I would apply the same logic to the new Death Note live action movie (the American one). Putting aside the racial controversy for a minute, I’m fine with changing things about the plot and structure to properly adapt it into a movie. But...yeah. The plot is bad. It just comes across as really dumb and weird.

So yeah, bad remakes are bad, but it’s not as simple as just being “different.”

If y’all keep complaining about remakes making changes, then you’re only encouraging the products I’m about to talk about in the next few Parts.

Arguably the worst and most prolific products of them all...

Part 4: Sometimes, Things That Are the Same.......Are Worse

Alright, I’m gonna start with a really extreme example, but it perfectly captures the essence of what I’m trying to say.

In 1998, Gus Van Sant made the incredibly confusing and brave(?) decision to remake Alfred Hitchcock’s Psycho. And I do mean “remake,” as in, it is shot for shot the same movie. It’s some sort of bizarre cinematic experiment.

I really like the original movie, so you would assume that, since this movie is literally the same movie, I would like it too.

I don’t.

No one does.

It’s the same movie but with worse performances.

It’s pointless.

Its existence is both unnecessary and confusing. Watching it was a bizarre experience that just made me wish I was watching the original.

(The best part about this is that 15 years after this remake came out, Carlton Cuse and Kerry Ehrin solved remakes forever by making Bates Motel; a contemporary prequel/reimagining of Psycho (1960). This show takes the characters and key events from the Hitchcock film and puts them in a different setting with an altered version of plot points. The creators openly and repeatedly state that they did not want to just remake Psycho and instead wanted to tell a tragedy/thriller using the framework of Psycho. To me, this perfectly encapsulates what remakes are supposed to be. It’s a good show and it’s severely underrated. Please go watch it, just ignore like half of season 3 and you’re gold.)

Unfortunately, the most common and (arguably) the most frustrating type of remake/sequel/reboot/whatever is the “let’s do the same thing...but different” type.  They can be a retread of the original plot or just take the title and elements of the original and use them while adding nothing substantially new.

Independence Day: Resurgence, Alien Covenant, The Thing (2011), and proooobably most direct sequels in any popular franchise (like the Transformers movies) fall under this category. 

The most notable ones in recent years are D i s n e y  r e m a k e s, but those get their own section.

Also, I’m hesitant to talk about these because it might just be a cultural difference, but it deeply bothers me when I see Japanese live action films that are based on anime and they just...keep everything the same? 

Like, in a live action remake of FMA, why the fuck wouldn’t you make up some grotesque and upsetting monster thing for the Nina Tucker scene? Why would you just use the design from the manga/anime??? WHY WOULDN’T YOU ADAPT IT TO MAKE IT WORK FOR LIVE ACTION?????????????????????????????????????

But hey, what do I know. It might just be a culture thing.

From what I’ve gathered and experienced, people have the following problems with these types of overly-faithful and/or pointless remakes:

1) They’re boring because it’s just a retread that feels inferior. 

2) They try to replicate elements of the original without understanding the actual appeal (aka the tangible details are addressed while the underlying ideas get sidelined or misunderstood).

3) They just...don’t adapt well.

Even if we were to take The Last Airbender and give it to a competent director who has a decently written script, that’s a case where you probably should have changed a lot more to properly make the jump from animated show to live action movie. Obviously, a lot of things would need to be cut or moved around in order to properly pace it.

I’m gonna talk more about this type of movie in a different section so for now let’s move on to the most recent remake craze that’s driving me up the wall.

Part 5: “I’ve got the power of remakes and anime on my side”

Fuck.

So part of the appeal of anime for me has always been its creativity. While some of it is pretty derivative when looking at specific genres, I’ve always found there to be a significantly wider range of creative ideas and concepts in anime than in any other medium. 

But now the industry’s running on fumes and someone let it slip that you can make a quick buck by just remaking a popular IP.

Fuck.

And I don’t wanna rag on the new-ish trend of readapting old anime for the sake of following the recently completed manga. This has had unbelievably successful results with FMA:B and Hunter x Hunter (2011) becoming massive critical hits (and two of my favourite shows).

(Although it hasn’t escaped my attention that studios have, in fact, used this gimmick to make half-baked and poorly crafted products with the knowledge that the existing fan base will buy that shit anyways. I’m looking directly at Berserk (2016) and Book of the Atlantic.)

But now they’re also adapting/sequel-ing shows purely for the sake of cashing in on the original (or adapting pre-made sequel products that were already made with that mindset in the first place).

Clear Card was boring as fuck and transparently existed to sell toys. 

I dropped Steins;Gate 0 after around 8 episodes when it become abundantly clear that it took the “let’s take elements of the old plot and just....do stuff” route without keeping any of what made the original cool and unique. 

The Evangelion movies seem really antithetical to the original show, and the third one feels like it was made by someone who thought they understood Evangelion and hated it. (But luckily the original is coming to Netflix next year so who even cares. Give me that 10/10 show.)

Although I will admit, Devilman Crybaby’s existence kind of falls under what I was saying earlier in this post. It’s one of many adaptations of an old manga that is changed substantially to fit the current cultural climate, with some unique aesthetic changes thrown in there for good measure.

It’s pretty okay.

But um...

Oh boy...

We’re about to get into it lads.

Part 6: Production IG Broke My Whole Brain. Brain Broken. Dead. No Brain.

Hooooooooo boy.

So, FLCL (also known as Fooly Cooly) is one of my favourite shows. In fact, it’s the only show I’ve ever watched that I have absolutely no problems with. None. Not even nitpicks. 

I’ve watched it 6 times, including with director’s commentary. It has an utterly perfect and unique/fluid aesthetic and I wish its visuals were just playing in my brain all of the time. It’s an arthouse comedy, which is a...rare (nonexistent?) genre, and it pulls it off perfectly. Its cool, its beautiful, its silly, its poetic, its creative, it has great themes that can reach both teenagers and adults, and there is literally nothing else on the planet like it.

So when it was announced that they were making a sequel 18 years later with a different cast of characters, I was...weirdly excited. Like a pavlovian happy response. I got even more excited after seeing the trailer.

Only a short while before the show aired did it dawn on me.

Wh...what are they doing?

From the trailer, I could see that they were taking some familiar plot elements (Medical Mechanica, Haruko, N.O., Atomsk, etc.) and adding some different protagonists.

Um

who gives a single fuck about the plot of Fooly Cooly?

The plot elements...don’t matter. It’s just a vehicle for cool and amazing things to happen.

So the show came out, and I saw more clips on youtube. While it is cool that they’re using different episode directors with some different art styles, the difference in quality between the directing and overall visual presentation is shockingly noticeable. I partially blame the fact that the anime industry isn’t as financially stable as it used to be, but this is also a Production IG show that’s based on an extremely popular property, so that’s barely an excuse. 

It mostly just looks like an anime with some cool stylistic elements, whereas the original looks stunningly perfect, dynamic, unique, and beautiful in every single solitary shot. 

I’ve read and watched many reviews of the sequel, both positive and negative, and from what I can tell it’s a textbook example of a “lets take components of the original and just...use them...while kind of missing the point and appeal of the original show.” Fooly Cooly is made of 100% intangible details. That thing is lightning in a bottle, and by taking the tangible details (plot elements and callbacks) and putting them in your show, you’ve already proven that you’ve completely and 100% missed the point.

Also:

this is the new show’s MAL score. While I consider anything between a 6 and a 7 to be “okay,” MAL scores tend to be higher since people rate on separate components of the show.

Like, a 6.7 on MAL is probably a 3 for everyone else. Yikes.

But honestly, the quality of the show is completely irrelevant, because that’s not the actual problem.

The only way to make a new FLCL product would be by accident. Have a director make a deeply personal product in which they do whatever the fuck they want. Have it be stylistically wild and make it look amazing. Create some sort of arthouse comedy with resonant themes and then just get Production IG to slap the FLCL brand on it to appeal to people’s nostalgia.

And that’s when it hit me.

That’s when my whole brain broke.

That accidental, spiritual sequel product can never happen. 

Because it looks like a huge risk to producers. 

Somehow, by remaking one of the most original and generation defining pieces of media ever created, Production IG proved that we do not live in a world where that type of product is allowed to exist. It can’t exist.

AAAAAAAAAAAAAAAAAAAAAAAAAAH.

Part 7: Disney and the Culture of Hype(rbole)

When I was young, my family owned two versions of Cinderella on film. The 1950 Disney animated version, and the 1997 live-action version with Brandy. 

Obviously, they’re the same story. They follow the same beats and have the same characters. However, there are some major differences in scenes, character portrayal and, most notably, the songs. Both are musicals, but with completely different soundtracks. 

If we want to go even further, we also owned Ever After, which is a completely different retelling of Cinderella with a whole new plot made for an older audience (and it’s also very good. Check it out)

In other words, I have nothing against live action Disney remakes, In fact, I think Disney movies based on fairy tales have become their own type of fairy tale; classic stories that are being constantly retold and reshaped to remain both relevant and timeless. It’s beautiful.

What the fuck is Disney doing in the 2010s?

Right now, the trend seems to be completely recreating older Disney classics, only making them live action and, um, “fixing” them.

If you want a detailed analysis of this, go watch the Lindsay Ellis video about Beauty and the Beast. I’ll briefly sum up, but you should definitely watch the video.

Look, I personally don’t hate Beauty and the Beast (2017), but once you notice that the Beast’s character arc doesn’t really exist...

and that there are a bunch of plot threads that either don’t go anywhere or are just kind of pointless...

and that there’s a weird trolley problem with Belle and the servants that completely botches the moral of the story....

and that by adding a bunch of logic to a fucking fairy tale you’re stripping it of its appeal and also just creating plot holes...

and that the singing isn’t nearly as good as the original...

and a bunch of other problems with acting and characterization....

you start to notice that “hey, they made the exact same movie....but worse.”

But, people are okay with that.

Most people didn’t even really notice. And that’s fine, like what you like. I enjoyed the movie well enough, even though I definitely prefer the original. But...I would probably also like a different retelling of Beauty and the Beast if it was a good product. Except, then it would also be...new? And potentially better? Or at least a lateral move.

I just watched the trailer for the new Lion King (2019), and it looks...kind of good. But even thinking this...I kind of long for death, because the entire trailer is just “hey, remember THIS from the original.”

I’m just...I’m just done. I’m burnt out. I’ve had it.

When are we gonna stop making the same movie over and over again?

Or when are the changes actually going to make sense? I’ve seen most of Tim Burton’s Alice in Wonderland and it just goes in the opposite direction of changing everything, but the changes are just.....uggggh. Not good. Bad changes are bad.

The thing with Disney is that they are also a hype generating machine, especially after purchasing both Marvel and Star Wars. I once heard someone say in a video that, back in the day, people were trying to make the best possible product so it would sell and get popular. People...don’t really need to do that anymore. If you get 304958493093 billion people excited about the next movie in their favourite 80s franchise by promoting and hyping the shit out of it, then you’ve already secured tons of butts in seats before the movie even comes out. Every movie is an event movie if it comes from Disney and is part of one of their big franchises. Every new thing based on an old thing is the new “best thing.”

Even a new sequel that I actually liked, The Incredibles 2, was weirdly hyped up. (Also, even though I liked it, it didn’t escape my notice that there were a bunch of plot problems with the villain and the script proooobably needed another draft. Just saying.)

So, the big questions are, in this current culture, are we ever going to get another original sci-fi property, like the 80s Star Wars trilogy? Are we ever going to see a boom in a genre outside of Disney owned properties? Are we ever going to get another insane, passion-project smash hit like Fooly Cooly?

No. I don’t think so.

Not in the current state of things. 10 years from now? Maybe. 20 years from now? Probably. 

Part 8: Concluding Thoughts

I don’t know, man.

People are still making original things, but they’re not as popular and/or creative as they need to be to change where we are right now.

The very existence of Get Out does lend me some hope. It was a creative and original movie and a very large audience of people (including myself) really liked it. 

Yay.

More of this please. 

So, um, yeah.

I’m going to go watch Fooly Cooly for the 7th time and scream into a void.

Mmmm bye.

[stardustizuku]

about magus bride : a big part of the popularity is also the fantasy setting. the author really did a lot of research on different myths and legends there and the world is built with a fantastic amount of detail. not just animation wise but worldbuilding wise. I will admit the elias - chise relationship is weird at times but it has like 0 sexual tones and the relationship also becomes more balanced as the story progresses. Even if the relationship is not for you the characters themselves(1)

(2) are interesting. the show also has great supporting cast with lots of variety. + women get to have relationships to each other that are not just about guys . I personally don’t really ship elias and chise romantically but definitely for domestic fluffy platonic affection. you don’t have to like the show . you don’t even have to watch it. I just thing comparing it to twilight is too harsh. The story acknowledges and confronts most of the discomfort you might have with the ship

(3) the characters admit that their relationship ( in general on romantically speaking) starts out with them just wanting to use each other. and yes it is acknowledged ,and made into a major plot point, that elias’ morality and way of dealing with the relationship is bad. various characters call out that the relationship is bad and the main character admits that yes it is but she for background story reasons will still stay until he get’s tired of her.

(5) love went into putting magic into that world. and with the current flood of isekai it’s really refreshing to see a fantasy world that isn’t just completely removed from ours and isn’t just a run of the mill rpg setting. so yeah : you don’t have to like it but saying its basically twilight is unfitting and way too harsh. if you haven’t watched it yet and are trying to decide I’d recommend checking out the OVAs. not really spoilery and most watched them before the show finished anyway

(6) the Ova’s show a bit of small domesticity in the household and then are basically just prequel/backstory of the main character as a child in japan dealing with family issues and being to only one able to see the magical things. which sadly in most cases are malicious. it shows off the shows setting really well and might also get you interested in the main character and less worried about the elias -chise relationship .

Okay I should start with two very important announcements: 

1) I actually like Twilight.  (At least the movies, I shared a lot of nice moments with my mom while watching it)

2) I haven’t watched Magus Bride. 

I will try my best to loosely make my point across with these statements. 

My point with that post was to show the double standards a lot of people have. Because i personally don’t think twilight was that bad. It wasn’t a masterpiece, but it was not trying to be a masterpiece. I believe that the reason why Twilihgt is so utterly hated is because it’s really unapologetically female. Teenage female to be exact. 

And i tried to draw my parallels with an anime I have not seen because it had the precise aspects that the 2012 community told me were abusive. 

It has the thousand years age gap, the captive dynamic, the creature that wants to “eat” the protagonist. etc etc. 

Those things were presented in twilight and everyone saw it as disgusting. But suddenly it comes from here and its endearing. Or so I have seen from gifs and comments, as I’ve said, i have not seen it yet. 

You might argue that difference is that Magus Bride self aware…But Twilight was also pretty aware of its own flaws and the creepy factor. May i remind you Bella screamed at Jacob when he imprinted her baby, and that Edward also joked about the nature of their relationship. Should i remind you that it’s the entire point of the books? That Edward and Bella’s relationship is fucked up but they can conquer it all because ~love~ or some bullshit? They DID discuss it. Many times, actually. 

As for the world building, well Twilight also had a pretty interesting one. THE PROBLEM laid that while it had amazing background stories and characters, it did not really give them the chance to shine. Like, Alice was pretty cool and I liked Bella’s sarcastic friend. They /had/ interesting female character. It just…got swept under the carpet sometimes.I’m not a hardcore Twilight fan but ask them and they’ll tell you the most interesting stories come from anyone but Bella and Edward. 

That said, can you see how many similitudes they have? But one is good and the other isn’t?

And even your reaction. You intermediately assumed that i was criticising Magus Bride and trying to bring it down when I compared it to Twilight. WHICH I WASN’T. i was trying to say “they have a lot of similitudes but you prefer one over the other because it’s so obviously meant for *normal* teenage girls”. My point was not to hurt Magus Bride, it was to say that maybe we have a really fucked up double standards.  

We like to alienate ourselves from teenage girls because they’re so hated by media. So hated by our society. The same problems Twilight had are present in A LOT of animes (not only Magus Bride) but because it’s “different” from what other teen aged girls like, they’re acceptable. 

Magus Bride can be an okay anime. (I haven’t seen it, I don’t plan on doing so. I’m not a fucking hypocrite. After I watched Twilight and became somewhat of a feminist, i decided not to support those kind of media as much as possible. And I stand by what I said. ) You can enjoy, it you can like it, whatever. 

But if you like Magus Bride, I’m sorry but you have officially lost every right to complain about Twilight in all of the above. Maybe in story telling, sure. I also found Stephenie’s writing grating. And i hated her pacing. 

But if you like all of what Magus Bride has done, then you don’t hate twilight. 

You hate teenage girls 

[iimaginedragons]

blog entry #4 -- astoria & m a n i a

i don’t know if every music lover remembers the first band or artist they really loved - and i don’t mean “loved” like genuinely appreciated their music or related to their lyrics or anything; i mean cringey, young fangirl/fanboy, major-crush-on-at-least-one-member-of-the-band “loved”. i feel like for those who remember that time, they either still love the band to pieces or look back on those days with horror and wonder how the hell they chose that band to obsess over. thankfully for me, it’s the former - my first major fangirl band was marianas trench, a relatively well-known pop punk and symphonic rock band (and now with some cool 80s pop-funk influences) from vancouver, canada.

when i was about eleven or twelve, i discovered their song “cross my heart”, and immediately fell in love. i was never into taylor swift, katy perry, or any of the major pop artists of that time, and as a young guitar player myself, marianas trench’s guitar-driven, punk rock sound twisted into pop tracks through catchy drumbeats and radio music harmonies instantly appealed to me. bit by bit, i discovered more of their tracks, notably from their album “masterpiece theatre”, as that was the one out at the time. “ever after”, their third studio album, came out right as my fangirl obsession really began. 

spotify and similar apps not really existing at the time, i had to be careful with my money, and my parents really monitored the music i purchased, and so i played it safe and only bought my three favourite tracks on itunes, not wanting to accidentally waste any money; “cross my heart”, “all to myself”, and “celebrity status”, all from “masterpiece theatre”. to discover more of their music, i remember typing their name into the youtube search bar, and then trying every single letter of the alphabet afterwards to find a song title that i hadn’t seen before - i actually discovered a lot of music like that, not just from marianas trench.

anyways, as i became more obsessed, i started watching interviews, acoustic or live versions of songs, and funny clips and music video bloopers all over youtube, and i have to say; for my age and maturity level at the time, i could not have found a better “introductory” band into the vast world of bands and fangirling. marianas trench were funny but never obscenely rude, they were largely unproblematic and drama-free within the music world, their music evolved towards a more pop-funk and symphonic sound but they never forgot their pop punk and rock roots, and their lyrics were always intriguing but not too dark (with the exception of their first album “fix me” and the occasional tracks on the other three albums). all of these things are still 100% true about them. bottom line, they were an awesome band for me to discover at the time, and are still what i’d describe as a model band to this day. they’ve always been so good.

what i really wanted to say (after this unnecessarily long intro) is that musically, they are still an excellent band nowadays. as a huge fan of their first three albums (especially “masterpiece theatre”, when their symphonic rock drift began - i loved the big productions and mash-ups), i didn’t pay much mind to their fourth album “astoria”. i heard of its release and listened to the first single that was put out beforehand, which was “here’s to all the zeroes” (which they actually didn’t even end up putting on the album since it didn’t fit with the vibe of it), and i really didn’t like it - i felt like it was a bit too pop and losing the originality for which i loved them. i had always loved that they stuck true to who they were and didn’t try to change themselves to get more listeners outside of canada. 

so, when they released that song, i felt like they might lose themselves in the world of common radio pop, so i didn’t look into “astoria” at all when it came out. but yesterday, as i was feeling low and looking to listen to some of their older, darker tracks, i saw the “astoria” album cover go by on my phone, and i guess i just thought “yeah why not?”. the first track immediately caught my interest, as it reminded me of the “masterpiece theatre i, ii & iii” tracks from their second album, as well as “ever after” and “no place like home” from their third album (these were often longer than the other songs, and incorporated lyrics for all of the songs from the album within a huge, dramatic, overproduced track - if you’ve taken a peak at my favourite albums, many of them are alternative, unique, and deliberately overproduced records, which i love and almost always have).

all this to say - the rest of the album was awesome. i was very impressed with the filler tracks as well as the final song “end of an era”, among all the other great songs. original lyrics, great emotion, good guitar, and unique, typical trench vocal and string arrangements - essentially, everything that a long-time, dedicated marianas trench fan could ask for.

apart from the fact that i needed to rant somewhere about and emphasize how good “astoria” and marianas trench are, i also wanted to say this: trust the bands you love. you started loving them for a reason; because they made good music time after time. even if their style changed, if they lost a member, disbanded for a while, or switched genres completely, you will be able to find that thing that drew you to them initially in all of their music, i promise. you just need to come in with an open mind.

good fans don’t have to like everything that their favourite artists or bands make, but in my opinion, good fans can not only root for the band’s changes and support their road to self-discovery as artists by not hating on them and asking for the “old them” back, but can also come to identify the reasons for which they loved the band initially and find these aspects in all of their music. for example, at the core, i was drawn to marianas trench because of josh ramsay’s unique voice, the band’s song arrangements and harmonies, poppy guitar riffs and drum beats, originality, and the fact that they are a canadian band - ultimately, all of this can be found in anything that marianas trench has ever released, even the songs that aren’t as popular among the fans. i guess this is supposed to be some kind of optimistic view on band evolution… i don’t know to be honest.

i think i also kind of wrote this in connection to fall out boy’s “m a n i a” album coming out in less than two weeks. a lot of longtime fans are worried that this one is going to be very different (too different) from other things that the band has made, and i guess they’re worried that they won’t like it or something.

i understand. in all honesty, i’m always worried that i won’t like an album when one of my favourite bands releases it - fuck, i was equally excited as i was terrified when imagine dragons released “evolve”. but i trusted them to make good music no matter what, and though the album was different from “night visions” and “smoke + mirrors”, how could i expect it not to be? and yet, it was absolutely incredible nonetheless.

hence, i’m really going to try and adopt an optimistic attitude for “m a n i a”, because i trust fall out boy. they have proven time and time again (and despite a five year break) that they can produce incredible music. yes, it will be different. maybe it’ll drift away from “american beauty/american psycho” and back towards some of their older things - maybe it won’t. maybe it will be something totally different, which is kind of what i’m hoping for. the songs released so far seem to be drifting towards a bit of an alternative pop and even edm inspired direction in the case of “young & menace” (which would be a dream come true for an alternative music lover like me), but hey, we’ll see. i trust fall out boy.

either way, i sure as hell won’t keep myself from listening to “m a n i a” for two years like i did marianas trench’s “astoria”, because as i’ve seen, i’d likely miss out big time. so sorry about this long ass post on your dash by the way (i get a little carried away sometimes yikes i’m sorry, i love talking about music way too much).

[nullset2]

Modern Japanese Action Game Design

I'm currently playing through Platinum Games's Nier:Automata (which, by the way, it's a fucking masterpiece holy shit I love you Yoko Taro) and I can't avoid but notice a trend in the Gaming industry and the AA/AAA games it's produced as of late and I wanted to talk about them here.

First, I reiterate, I'm in love with that game. It has layers upon layers upon layers of depth. Of meaning. Its characters, its gameplay design, the lore, the world, the numbers, Mason! What do they mean!?!?!?, HOT DAMN! I love it... it may actually be a better Death Stranding than Death Stranding ever was (by the way, Kojima, you cheeky dude! I can see that you played Nier Automata and you got inspired by it ;)!) --AND it has a cute robot babe!.

(Say it with me: CUTE! ROBOT! BABE!)

Not to say that this is something inherently bad by all; you know what Ebert said, on the subject of everything being a repetition of something else: it's not about the "what", it's about the how, in storytelling.

How many stories in total does humanity have in its aquis? Like, for real, when you actually boil them down to the archetypes? You got the hero's journey, rags to riches, comedies, tragedies... all other stories are just permutations of these, aren't they? What matters is the values with which each of them are presented to you --I can watch Snow White 10,000 times, if there's a new, cool directoy behind it every time, right?

But anyway.

Since FROM SOFTWARE's Demon's Souls (yes, with an apostrophe) came out and souls-likes became popular, I think it set a trend and we've entered a new era for the Japanese action game and I wanted to discuss their aspects in this article, briefly. Cue the game journo saying it's the Dark Souls of...!. Yadda Yadda, right?

Japanese action games since Demon's Souls have the following elements, in my opinion:

Strong emphasis in Single Player design

This, I actually really like! Because, as much as multiplayer-only games are great, sometimes you need a fucking break. I want to be immersed in a Creator's vision of the World. I want to be told a great story. I want games that will still be amazing to play --not to mention, actually playable-- 20 years from now. I want to see speedrun communities form around new games.

The Single Player game must not die!

An element of pseudo-"permadeath".

Modern games use "permadeath" with small benefits, borrowing from rouguelikes, to engross the player. There's more at stake if losing to an enemy means that you lose all of your progress (even if this is superficial, like in Nier, where losing means that you have to collect your previous items and Experienve Points from your old body). It is usually rather easy to restore your previous condition, so the game implements this as a "minor penalty" to the player for not understanding its mechanics instead of a full blown game over.

Focus on hard, unforgiving enemies

Which leads me to the next point. It is very common that Japanese games have several different OHKOs, or enemies that can spawn on you unpredictably and without warning, which can work as a very ~bullshit~ succint way of setting up player expectation and direction/conveyance for the game. Don't go that way if there's a horde of skeletons waiting to fuck you up in one hit, until you're stong enough to bear it, capice?

Uncancellable animations that leave you open for long periods of time and for which you have to plan ahead

Which means that the player has to not be a superman who can take tons of bullets on a whim. Movement has to be slow and demand attention from the player. Triggering the right or wrong movement can make or break the current run. You have to be mindful of your stamina/estus flask/Mana at all times and plan ahead. The game demands dedication from its players and asks them upfront to learn its mechanics and play by its rules.

Hybrid, Internet-powered "multiplayer" features

Let's not forget that people do want Online games, but maybe... let's not do what everyone else is doing! Dark Souls' Signs and invasions, Death Stranding's Structures, Signs and Likes. You can drop a poem when you die in Nier, for the enjoyment of everyone! Wow! Emergent play is the name of the game.

Can I just mention tangentially, by the way that Nintendo actually implemented the memetic "Green Demon" stuff in Super Mario Maker 2? Japanese game designers are well aware of the Internet, my dudes.

Open world design with few, if ANY, instructions as to where to go

This one is very important and --as I'll elaborate about in a bit--, I think this was created as a direct response to modern game trends. Players want to feel like the game respects their intelligence and is not just a covert Rollercoaster ride of a single player game, of which, all of us have already played a ton of in the PS2 era. Allow people to discover the game world on their own terms, at their own pace, however they see fit. If they can sequence break --great! Allow them to do so, makes for cooler speedruns anyway, and keeps people talking about your game more, right?

"Environmental Storytelling"

And since players want to take charge and take things into their own hands, present the story in small nuggets scattered through the game world. Make them connect the dots and go online to talk about it instead of subjecting them to 80 hours of cinematics that try way too fucking hard to play like a Hollywood movie but end up feeling like cheesy deviantart fanfiction written by a 16 year old (Kojima games, for example). Make them go on message boards and talk to other players about it.

Progressive uncovering of the game world by "chunks", usually triggered by visiting a landmark or completing a mission

(This is totally borrowed from Assassin's Creed, by the way)

Focus on big, bombastic enemy design that cover the whole screen

You gotta showcase your tech at some point! Let people see how far games have come since Super Mario World for the Super Nintendo!

Fun mechanics for traversal, emphasizing engagement with the player inherent to the movement itself

Finally, make movement interesting in some way. Give the players a really cool car, make every step be physically simulated in painstaking detail, let them ride their shield like a snowboard down a mountain or let them glide beautifully down sand dunes. There's probably something very Zen and phillosophical in the middle of all these instances of great movement in games.

My thesis is that the Japanese industry started developing games like these in direct reaction to the American game industry and its production values. Games that exhibit traits of the previous at least in a couple ways: Dark Souls, Monster Hunter, Xenoblade, Zelda Breath of The Wild, Final Fantasy XV, Nier, Death Stranding, Sekiro, Bloodborne, et. al.

It's not that American (British? European?) games are bad, I love GTA and Red Dead and I got Fallout in the backburner. I have heard tons of great things about the Assassin's Creed, Elder Scrolls, The Witcher series. I am totally going to play Cyberpunk 2077 and Sleeping Dogs and Saints Row got me curious. Supposedly Just Cause is the best shit ever. I can appreciate very deeply narrative games, like The Walking Dead, The Last of Us and new experimental ideas like The Order (not very hot about that one).

But as of late and as I grow older, I get the feeling those games have been made more for the aesthetic value of it rather than the game design value, to put it some way, and to be blunt about it, American games are optimized for easy play. Don't think I'm being pedantic. On the contrary, variety is the spice of life, my friend.

Western games have a different strategy for design. They fill hours for the sake of filling hours with cinematics and exponential expansion of its game world rather than to seeking engrossment from the player in the form of, deep, highly skillful games to play.

The reason why this happens, is that now more than ever, the American game sees single-player as a nuisance, or a boring obligation at best --perhaps, merely a way to present a tutorial for newbies, to get them into the Multiplayer ASAP (where the real $$$$$$$$$ lies). Therefore, you shouldn't hold the player back or keep them in the SP for very long. You should make it so the players derive enjoyment from the game from its flow, its fast succession of change, and from the formation of online communities rather than from intricacy.

When you actually want intricacy, you give players................... fucking crafting. Just copy Minecraft, fuck it. Just add a skill tree and a million random classes to make players feel like they're progressing by filling up bars. Trying to appeal to everyone's internal MMO gamer.

And the ultimate concretion of the previous: most games let you skip entire sections if you wish.

Tired of retrying a certain section in Red Dead? Just hit SKIP. Booyah! No obligation, no demands from the game.

Case study: Red Dead Redemption plays itself.

Hahahaha.

Rockstar has used the same loop in all of their open world games for the last 20 years. Every single fucking GTA mission to have ever been releasedfollows the same structure: you drive around to a spot in the game world, watch a cutscene, then drive to another fucking point on the game map while listening to characters blab, watch another cutscene, go through a shooter/stealth section, then watch another cutsccene, and you're done. Wash rinse repeat.

And I think someone sort of confronted them and told them the truth, that nobody really likes just driving around and doing nothing else but listening to rants, if you just want to watch the story unfold. Might as well just "cut to the (literal) chase", right? Or might as well just start shifting GTA into an always-online game at this point, right? (Which they've done kind of majestically with GTA:O btw).

And what was their answer?

"How about... when you start a mission, um... just hit X button to go into "Cinematic Mode". Voila! You don't have to drive anymore!!!!!!!!!!!! Wow! Just take in the sights! And remember you can skip the game if you want! Just watch the cutscenes! Please play GTA:O please!"

Most other games have variations of this. A "super easy" mode that just emphasizes the storytelling experience.

Some Japanese games do this too, though (particularly Nintendo games). Maybe it's just a sign of the times, of gamers being old enough that they have families and responsibilities to attend to, and whose time should be respected by the video game.

In conclusion, this is definitely a trend to watch. Souls-likes have definitely become influential like no other, for the better. Great games they are. I get the feeling that this is the anthithesis to the "game that plays by itself". It's like they wanted to "come of age" and deliver robust games like their counterparts in america were, but they'll be damned if they lose the soul. The soul which gave us Famicom games. The soul of the arcade game, if you may, with several degrees of derivation, adapted for a new era.

[icharchivist]

Okay I understand what you said about death note, but don't you think you're going a bit overboard with the roasting? It's bad for people who know the original masterpiece, yeah, but it does stand alone as a movie. If I watched it with my non-anime-watcher brother, he might go, "Oh, that was interesting." And maybe finally give the original a shot. It did its job getting people familiar and interested in dn, but of course it couldn't be as good, its an entire sieris shortened to one movie

Well I did say when I started it that I wouldn’t have much pity toward the movie either. 

And I’m sorry, but we’re talking about a story that was extremely Japanese, and which not only was stripped of its Japanese intend, but also showed off Asians being killed by Light, and especially a bullshit explaination on them picking the name Kira because “in Japanese it means Killer so they’ll think we’re japanese” and them letting messages in Japanese on the crimescenes to pretend Kira is Japanese.

This is not the kind of things to overlook. Whitewashing isn’t something to overlook, and the movie dealt with it in such a poor way, in an actual offensive way, when you adapt something, you at least try to respect it.

And it’s not an entiere series shortened into one movie. They planned sequels. The movie ends on a stupid cliffhanger. And it follows absolutly no plot from the original. Why do you try to use the L. and Kira’s showdown, and clearly call your characters those ways, while you don’t respect the story at all?

Oh and fyi, for as...... much as they are (i’m not found of them), there are Japanese movies adapted from Death Note. The First movie is all about the mindgames between Light and L, and it ends on L. meeting Light. They changed a lot of things, but they kept the focus where it should be: on L and Light’s mindgames and manipulations. It teased for a sequel while actually leaving you with quite a story that was closer to the original. Of course you can’t adapt 12 volumes into one movie. But, especially when you expect sequels, you can try to cut the story correctly.

Listen, when you adapt something, you’re supposed to at least have read the thing. As bad as the Last Airbender Movie was, at least it did show you a Kid who ran away from his duty because he was scared of wars, two others kids finding him and trying to help him learn the elements, and Zuko the antagonist is still someone extremely wounded in hs honor after his father’s abuse.

And let’s be real, The Last Airbender is one of the worst adaptation of all time, it’s boring, and it’s whitewashing, but at least it kept the characters basic traits and journey. Why would you adapt something and keep the name if you’re not going to at least follow the story?

Like i repeated, it wouldn’t have been as bad if say, they did a whole new story where Ryuk just happens to drop the Death Note in America with enteirely new characters. No L. No Kira, an actualy story. Like the Chapter 0 of Death Note, or why not even explore the BB Murder Case since it’s a novel happening in America?

You can take the idea of the Death Note, but not if you take the characters name and the basics of their showdwn while absolutly nothing about it will be respected.(especially since the movie totally overlooked the mindgames between L and Light because Light did a really obvious mistake.)

And how the fuck does it stands alone when it removed the lore? No really?? 

Okay so, where the hell Ryuk’s come from? Why did the notebook say “Do not trust Ryuk”? What did Ryuk do in the movie that wasn’t trust worthy aside from not letting Light know Mia was doing bullshit? What was the point about this plotline?What was Mia’s deal? We just had to accept that a cheerleader would get into murders right away?Besides have you seen how those two bounded without even blinking at the idea of murders? Especially since Light is supposedly a victim we’re supposed to feel bad for in the movie?

Why do we have to accept that? Why do we have to accept the lowest of effort, of writting a basic Teenage Horror Screenplay, while the actual story was supposed to be One of The Kind? 

Seriously though, Awkward Teen with a Crush on Cheerleader Who Gets The Girl After Getting Mysterious Powers is a cliché. Turning Ryuk, a sympathetic figure in the manga, a passive observator, into a sort of creature always pushing you to do bad is cliché. Hell, they removed entierely the relationship between Light and Ryuk while it was the focus of the original.

Not to mention it was a story about a greater scale. The original manga was a commentary on how Law Enforcement works in Japan, and how a priviliged, popular, “will go far” kid like Light, who had access to the information, would believe he would have some reasons to clean it up.But instead, it became a teenage drama. Light was always pushed by other people in the movie to make murders, and he often want to get out of it. Even the God persona is something coming out of their ego, while in the manga it’s something that just happens. Here, it’s kids who want the attention, and get backlash for doing so. An underdog, who just want to keep his life going in school, who plays God just because he was pushed by his girlfriend and because he is a poor kid who’s traumatized.

We went also from a story which was a commentary on Japanese Law Efforcement, to a story who was so oblivious to the Law Efforcement Commentary, that they showed a white cop choke the black lead before letting him go, and you’re supposed to cheer for the cop. 

Is it worth showing someone who don’t want to watch anime for them to get interested?? No. 

It’s a watered down stupid teen flick which plays on Edgy Fuel. It’s a project that was born and kept going with racist intends. It’s a story you may watch, think “bleh” and leave. Not get interested in more. And if you do, jfc. I’m sorry but I hate the idea some people might come into the manga expecting say, Ryuk to be like this movie bullshit, or Light, or L, or anyone. 

And okay, as a standalone movie?

The movie is poorly paced. The exposition scenes are hilariously bad. The characters motivation are inexistant, explained by a sexy montage of them having sex while killing people (of color), showing how immature the whole subject was treated. The montage itself was incredibily bad, the whole idea of seeing the ascension of Light’s godlike persona was totally overlooked for his stupid romance. It gives tragic backstories to the two main leads to explain somehow why they’re like that.

 The whole fun of this story, which was to see how L and Light was trapping each other, was ruined by the fact the plot runs on stupid and Light doesn’t make any decision. It’s Mia doing them. L. discover Light is Kira halfway throught he movie because Light fucked up. The manipulations of say, getting rid of the FIB agent, was completely overlooked in a cheap twist. Because that wasn’t important. 

The whole plot requires you to just accept they are whatever genuis and overlook the batlant mistakes they make to make the plot running. And, because it didn’t make it through, spelling out the message of “chosing the lesser of two evils”, removing the reader’s freewill to chose who to side with. 

It was not fun. It was not exciting. It was seeing Edgy to be Edgy.

And I’m sorry this is insulting? Death Note was a serie that run for 3 years. For 3 years, the authors went out of their way to make an unique story, with unique characters, with a complex view on mankind. They put 3 years to elaborate the themes, to develop the characters, to tie up the looses ends. And Hollywood saw from it just an opportunity of a quick cash, to be Edgy by taking the name and concept, and make the usual soup they do with teenage horror movies. 

Death Note wasn’t the franchise to do it. We can’t blindly accept adaptation because “it stands as a stand alone movie”. It’s completely disregarding the fact it was someone else’s work that you decided to strip from everything that made it so unique to start with. 

Even more when it’s America disregarding a culture and somehow managing to be offensive toward it, making them the victims of a story they were the main characters of to start with.

So I completely disagree with your point of view on it. I’m sorry if i’m harsh, it’s not against you nonny, much more against the movie.

If an adaptation isn’t capable of getting the basic understanding of the story right, they have no right to claim themselves as such. I’m not asking an adaptation to the comma, i’m asking to an adaptation which would respect its root.

Which isnt what this movie gave. 

[ugamyrain]

Rain Rants again with her shitty unpopular opinion. (I might be burnt at the stake) This is long.

This is a piece about SasuSaku and NaruHina. Before I start, I should clarify: I have been a fan of both since the chuunin exams and I became an semi active-lurk member on the NF since Naruto Shippuden was released. This is my point of view about the whole ordeal since the fateful 5th of november of 2014 and how I see both fandoms in general now. If you are easily offended or nitpicky, please keep in mind this is only MY opinion and perspective.

Being in the SasuSaku fandom for a really long time has been bittersweet the same way as being in the NaruHina fandom at the same time, due to all the bickering between them when they have no basis to be mad at each other. Like, both of the fandoms became a competition about who is a better woman. In other words: they fight for the stupidest shit. Back then I would’ve sighed and felt conflicted and unable to voice an opinion because both pairing fandoms took it as a personal offense. Okay I am exagerating but most of the time it felt that way. Nowadays I laugh. And I know that I will get some fans offended by what I am about to say because SasuSaku fans are still very sensitive, and NaruHina fans, well I should say some are insufferable.

Both pairings had a lot to prove back then, I understood being defensive against people who slammed the pairings, mostly the hate directed towards the girls. Calling them names, insulting them with the overused insult of all: “useless”.

I could write a 1,500 character essay about my opinion of how Hinata became the untouchable overpowered goddess of the NaruHina fandom -considering the humble begginings of the couple- and why Sakura’s opinion about her character never changed - even though she was one of the most developed secondary characters.

I will not deny that Kishimoto’s writing of Sakura was never the best. As well as the writing for Hinata - it wasn’t the most gracious. The anime didn’t help either.  But what he could not make up for explicit development he tried to compensate it by writing their personality. And I would write another 2,500 essay explaining how this was good and bad for him.

However I can say this: I will not deny that Kishimoto’s cryptic writing, specially of Sasuke’s character, did not help Sakura’s case at all for people who were just watching without analyzing the scenes and panel by panel. Hinata’s case was more direct that’s why the popularity of Naruhina rose as the hate for the pairing did as well.

I understand Kishimoto’s need to retain all the shippers to keep reading and that’s why the red herrings were placed. And believe me, every time a red herring appeared it was hell for both of the pairings. Once the red herrings dissappeared it was clear that both pairings were meant to be. Period.

For fans it didn’t stop there. Both of the fandoms wanted to prove something, what that something was? Stupidity. Sorry but that’s how I felt that whole thing was.  (Imagine being a shipper for both of the pairings at the time. Not only fighting with the antis but also fighting between the pairings because... well they were fighting to see which girl had the bigger pussy- I couldn’t say dick because duh, but it was pretty much the whole fight).

My first bump with both of the fandoms  was with Naruto the Last. For some reason -well, instigated by the antis from both couples and the greatest shipping war there was at the time. And so a grueling 6 months battle began-, no one was satisfied. Criticism of the movie started to appear, but the shipping war got the best of both fandoms. It became infected by the antis with the valid questions: Why would Naruto wait 2 years? Why isn’t  there any Sasuke in the movie if Sasuke was spammed like junk mail in the trailers? Those questions were fair and we should’ve had a conversation as to why they would do it and move on, however at this point both of the fandoms were intoxicated. I tried to voice my opinions but I was one of the few who was seeing things in a different perspective... even the ones who were rooting for both pairings became toxic.

NaruHina fans had 4 reactions:

a- Inside the fanbase people were mad because 2 years it’s a long time, not realistic at all - and well, the development was really natural in the manga and the movie made the characters seem like they never spoke to each other at all after the war.

b- The image from the outsiders made them feel that Hinata was treated like a damsel in distress and the overall cliched plot- so, basically the fandom agreed and  they started to whine a lot.

c- The movie made Naruhina rejoice about the fan service the movie provided, but this also had negative consequences.- The most recurrent essay from the ones who liked both pairings began: “I love both pairings and I am happy for Hinata but...” forcing many of them to pick sides.

d- It all worsened by the attitude NaruHina fans took: “WE have only the best. WE have the movie. WE have the fanservice. WE are the best. Hinata was the queen all along. Hinata is stronger than... Naruhina is better than... Hinata, oh, Heil Hinata.”

I didn’t like it. I had to unfollow people I have followed since the NF days and I kept people who only liked both pairings... but even then...  there was one thing that I liked less.

Because of all of the glory Naruhina was sharing the SasuSaku fandom didn’t get much fanservice. After all the fight, we deserved something, right? Because Sakura went trhough hell to get the guy, right? After all the bickering with other fandoms, right? SasuSaku deserved have more scenes in the movie because of the trailers and moreover because SasuSaku was the main couple, right? Wrong.  

I understood where people came from when they said SasuSaku is the main couple, because well, they share a lot in part 1, it was the most developed from the 2 - well, 3 couples if we count ShikaTema-, at the time, but the truth is, since both couples did not depend one from the other, a plot involving the two would’ve been too convoluted. I guess one could say that it’s not impossible since other movies do this, but it was not a movie, it was a Naruto movie. A plot with Sasuke and Sakura’s involvement would’ve overshadowed the dynamic between Naruto and Hinata like maaaany times before. Kishimoto was forced time and time again to take Sasuke out of the picture for Naruto develop his bonds outside Team 7 not only with Hinata, but she was the most obvious of this technique.

Yes, I do understand the criticism Kishimoto had for overcomplicating things and that an arc in the manga would’ve been more fitting if he wanted to complicate it but it’s obvious that his plan was to leave it open for interpretation like he did at the end of 699. That was the end he wanted and it shows.

Most of the SasuSaku fans didn’t like it and the few that remained neutral regarding the movie were being infected little by little with each negative post. Because a double date movie was more fitting for Naruto: The Last, considering how much Sasuke there was in the trailers. The attitude of NaruHina fans did not help, it only fueled them. SasuSaku fans became extremely pessimistic. This was my second bump.

4 months passed, things were still tense I distanced myself from the fandom. SasuSaku was fighting with everybody. NaruHina was fighting with everybody. Naruto Gaiden came and for some reason... it got scary.

I loved each chapter of Gaiden because of the whole context that may have pushed Kishimoto to write it the way he did. I loved Sarada, I loved SasuSaku moments and I returned to see what SasuSaku shippers were saying, what I found was my third bump.

Whining. Cursing. Dissapointed fans. Negativism. People hating on Gaiden. Unnecesary drama, some fans pointed out.  And I thought “Wait a minute, every single story is unnecesary drama. WTH are they talking about?” “Sarada is an ungreateful child. Unlikable” they chimed. And still I was thinking: “Team 7 was not likable at the beggining either”. “Sasuke was not there? Inconceivable! I hate Kishimoto because it’s impossible for Sasuke to never have seen Sarada.”

They started to pick apart every single panel, every single interaction. The whole thing was an essay by the author of the precious couple to show the ridiculousness he had to endure for 6 months after he ended his manga. With the Thank you pages flooded with nasty messages from other antis. With the online comunity trying to boicott him, disrespecting him, harrassing him, harrassing his editors through twitter, his helpers and even some calls to Shounen Jump. Gaiden was meant to be read as a mocking piece. I saw through it and I was dissapointed that some fans were not able to see that.

At the end people tried to make peace with Gaiden and Boruto the movie came. And everyone was happy with the little interactions here and there. Just kidding. SasuSaku fans started to complain about how Sakura’s body was drawn. “Too skinny, too flat, face it’s too round. She looks like a little girl.” No, nevermind her badassery and cuteness, her body was her problem. “Kishimoto draws her like a woman. SP I hate you.”

Suddenly the problem became Studio Pierrot. Yes, I understood that they fucked up a lot of things but there was one problem the Naruto anime had as a whole especially in the transition to Naruto Shippuden and Shippuuden itself: Naruto became disjointed. The Anime of Naruto is no masterpiece and part of that was not the fillers by themselves, but the fillers in which the directors didn’t give a fuck about the story and fluidity. Little by little Naruto became less a cohesive story and more a gag anime. By the time Shippuuden had its turn to be animated, many of the boring and enraging tropes they commited in part 1 filler hell, was transitioned to Shippuuden.

If comunication is key, in Naruto anime’s case, that key was lost somewhere in the parking lot. Red herrings were glorified, Sakura’s awful personality was enhanced even though we know that in the manga, Sakura had become very fond of Naruto as a friend and was acting like a real friend to him. Sakura anime was a completely different person from Sakura in the manga.

Either way, SP tried to mend something that was completely broken by that point: Sakura’s sweet girl act did not work anymore and it made her look bad and not sincere. But it’s fine, I know directors were just following orders and animators as well. I got mad but tha’s fine, at least they didn’t change anything crucial. Yes, animation was always shitty when it came to animate SasuSaku scenes, but hey, I already knew their bias. But the fandom did not let it be.

Now, with the whole Boruto generations I have found a fourth bump. Until now, Gaiden has been well animated, things that were critized in the manga are being spelled out letter by letter. We are having more explanation, more exposition, better animation, better character designs and more personality from Sakura, and still SasuSaku shippers are negative and point their finger at SP critizing every single error it has. There are a lot of moments in general in the anime that were not shown properly or at all, but in general, the fandom seemed to accept that fact because... well, it’s SP, it’s an adaptation of a manga and has always been a bad one at that. Why is the SasuSaku fandom still negative and pessimistic? I get that we have to be critical of what we consume but.. why are they so defensive all the freaking time.

Sasuke and Sakura are canon and there is no thing an anti can say or do to change that fact. Insulting Sakura’s character or whatever it’s laughable, because despite what people might say, the manga proves them wrong. Kishimoto proves them wrong. We know that. What's the point?

To me, everytime I see a complaint without a strong case like: "this panel was cut, this scene was changed, this was not in that room. Sakura is not flat.", it shows to me what a big inferiority complex the SasuSaku shippers have. Like what the hell? I get that making fun of SP is fun, but there are shippers who are actually mad at it... like, have you not seen what a mess the Naruto anime is and you are complaining about size of Sakura’s boobs or the make up she wears or lack there of? LOL.

I finally understand: The SasuSaku fans are never going to be pleased.

NaruHina shippers: I love you guys but sometimes... ugh.

Sorry for this massive ranting. If you read it all, congratulations. You win cookies.

Have a great day everybody. I was hoping mom and dad would forgive each other already... Not happening any day soon, it seems.

PS. I still love you too SasuSaku shippers but I think you need a reality check.