#this is ethos it's one of many demon characters i made last year for a class then forgot about and now i'm revisiting them

[chalkrub]

demon that critically analyses the past actions you'd really rather forget

[mayflowers07]

Some fun facts and behind the scene notes about the ICBTOYC series because the next update is taking a bit longer then I would like, so here���s something to hold down the fort:

The title of the series comes from a lyric in the song Brother by NEEDTOBREATHE and Gavin DeGraw. It’s sort of the theme song of the series in my eyes and if you check out the song, you’ll understand why

Actually all of the fics have a song that inspired it. For most fics, the song’s lyrics ended up in the title, but some didn’t- Doc’s is Brother by Matt Corby, Iskall’s is Belong by X Ambassadors, Etho’s is False Confidence by Noah Kahn, Keralis’ is Two by Sleeping at Last, Cub’s is Guillotine by Jon Bellion, False’s is The Fixer by Brent Morgan, and Zedaph’s is Dreamland by Glass Animals

My favourite quote from the whole series so far is a tie “Apolllo you bitch, I never wanted this gift of prophecy. Take it back you coward” and “Mumbo tried to stop him and Ren just straight up barked at him, Mumbo looks so offended”

Some very early foreshadowing that may have been missed is that in Iskall’s fic, they say that Jevin doesn’t go with them to the party because he doesn’t like big public spaces. Jevin doesn’t like those spaces because- as we learn in his story- he hates his body and constantly feels different and judged

Speaking of Jevin’s fic, in it Wels says “we all have our own demons” and Hypno says “your brain has a way of distorting the world against you,” both of which are foreshadowing their own stories later on

In Cleo’s fic, False tells her “I’d give you all the time in the world if you needed it.” This is a direct quote of what Xisuma tells False in her fic, showing how what Xisuma told her and how he helped her really stuck with her and how she wanted to help Cleo in the same way

Yes, I do have the fics for Pearl and Gem planned out. It might just take a bit before we get there

Many people noted that ‘Zed’ was acting out of character in Hypno’s fic, but eagle-eyed readers may have been able to figure out that it was actually Ex before the reveal because Ex (under the disguise of Zed) tells Hypno in chat “you need help and I can’t be the one to give it to you” which is very very similar to when he told Zed in his fic “You need help from people who can give you what you need, constant support and love. I’m really not in a position to be that friend for you.”

The whole thing with Helsknight’s first episode did actually happen in this AU, it just never made it into the main series because no one used the code during it. The reason Wels didn’t use the code during it was because he was scared that no one was going to answer if he did, just like last time. This is also why Wels is so quick to trust Ex, because he thinks Ex is Xisuma’s Hels equivalent and Hels hermits are basically the darkest, most hidden away part of a person’s mind. Wels thinks X is the best person he knows, and there’s no way X could be that evil, so Ex can’t be that bad himself. Neither the assumption that Ex is a Hels Hermit, nor the assumption that Xisuma doesn’t have dark, twisted thoughts is correct.

Here are some alternative versions of stories that I almost wrote before I changed them for whatever reason: Keralis’ was going to be about him feeling like the other Hermits assume he’s stupid and getting upset by this before I fully started fleshing out the Ex storyline and decided to link it in, Scar was going to be the Vex fic instead of Cub, False’s was about her getting struck by lightning and nearly dying during MCC training and Cub having to use the code for her then feeling guilty about what happened in a two-parter (this idea later developed into Joe’s and Cleo’s), and Hypno’s went through many changes, first being about him feeling forgotten and alone because of a prank someone played on him, then being about him having a psychotic disorder and experiencing depersonalization and derealization

The reason Beef’s fic went how it did was because I knew I wanted a Canadian to get hypothermia for the irony but I had already picked Etho’s prompt so it ended up being Beef, which I think is hilarious

And in Beef’s fic, the reason he says his favourite song is Here Comes the Sun by the Beetles is because of the lyrics “Little darling, it's been a long cold lonely winter, Little darling, it seems like years since it's been here” and “Little darling, I feel that ice is slowly melting. Little darling, it seems like years since it's been clear.” Think of this as gentle foreshadowing from me that everything was going to be okay by the end: the winter may have seemed cold and lonely and almost deadly for Beef but the sun was going to eventually come and a happy ending was on the horizon

3rd life is canon in this world but because it’s a permadeath AU, instead of it being a murder game, it’s essentially a giant game of lazar tag

My favourite fics in the series are Beef’s (was super fun to write) and Mumbo’s (still relatable af and a message I often have to remind myself)

[courage-a-word-of-justice]

Iruma-kun 10 - 12 | Shinchou Yuusha 9 - 12 (FINAL) | Dr Stone 22 - 24 (FINAL) | BnHA 72 - 74 | Stars Align 9 - 12 (FINAL) | No Guns Life 10 - 12 (FINAL)

Iruma-kun 10

That mascot is still around to annoy poor Kalego, huh? (LOL) I also noticed the demonstration demons have horns like oni.

Oh no! This means Azz-Azz is a prime target for Iruma!

(I was going to write something. Then I got so engrossed in the action, I forgot to…)

LOL, Sabro’s too heavy for Team A to lift!

Oh, Iruma’s hair isn’t tied anymore…

“…pruning this cactus.” – Does Eggie-sensei like plants?

Ooh, the first double-parter ever for this show, I think it is.

Shinchou Yuusha 9

Apparently ep 10 got delayed…*sigh*

LOL, thre’s product placement for a certain ice cream brand in this episode, huh?

Can we not with the boob grope???

*Rista takes care of Mash and Elulu* - Rista’s such a mom sometimes…

Stars Align 9

This one scene with Nao looks really blue…it’s almost unsettling.

Oh dear…I understand the sentiment of an inferiority complex all too well.

Dr Stone 22

Now we’re back to good ol’ science vs. survival of the fittest philosophy clash. Now, see, that’s the Dr Stone I like best!

Torricelli’s law.

Why is mica like baumkuchen? Probably because it has a lot of layers…

Wow, for WSJ – which encouraged fangirls all over the world to make yaoi/shonen ai ships – they sure tossed out the yaoi/shonen ai option real fast…

Skarn. I’ve never heard of it until now.

Magma, staring at the product of magma…LOL.

I…don’t get it. Even after watching the bit again, I don’t understand why Magma was trying to save Senku.

So…as is said for most WSJ series, the treasure was the friends we made along the way…LOL, what a way to acknowledge a trope.

Lemme guess…surprise birthday party? (Sorry, when I was reading up on Magma earlier, I saw that Magma helps with a birthday surprise for Senku and I found out what it was.)

I wonder if Rei is still up there at this point…? (Who’s Rei? You’ll find out if you read the Byakuya reboot…)

Well, “Rock Day” only works in Japanese. The language would’ve drifted over thousands of years so it shouldn’t work in the year 5731 (or whatever year Dr Stone is set).

Dr Stone 23

One episode until the end…but I’m away over Christmas, so I’ll have quite a bit to catch up on when I’m back. Update: I never did end up going away over Christmas.

Senku is much more of a trickster hero than an action hero. That’s been pretty obvious all the way through, but here it’s at its most obvious.

Oh, so Kaseki made the village bridge? Is that a correct assumption…? Update: I think the answer was yes from the manga.

How much chemistry does Gen know, anyway? Assuming he’s a humanities person because of psychology and his tricks, it must only be basic, right?

Thse intense stares…I’ve been reading JJBA: DiU lately, so I’m expecting an 80s-style “!!” to appear over someone’s head at this point, LOL.

Ooh, hardware. In fact, it looks like the inside of a computer…or, more relevant to this case, a phone.

So it’s not “rules are rules” anymore? Now Kinro’s changed his words to reflect his faith in Senku…hmm! Interesting! (Update: A quick google says Kinro is 18. Senku is about 18 (+ 3700 years). Plus, after they start dragging Ginro away, Kinro says his trademark line.)

Wouldn’t the coal smoke alert Tsukasa of the village’s location, though…? Then again, thanks to Homura and Hyouga, Tsukasa already knows their location…oops.

Rochelle salt.  

I saw that one shot of the world from the 1st OP and I thought there was meant to be a post-credits segment…LOL, nope.

Dr Stone 24 (FINAL)

The “acquisition message” basically said “We didn’t (just) need one cell phone, (so) it was useless!” Notably, it uses the counter for large items (like computers) for the phone.

Having finished the Byakuya reboot now, I wanna cry every time I hear about the guy…

Oh! The eyecatch is a record!

Basically, what records do is that they recreate sounds by using vibrations created by the grooves of the disc. Sound is a set of vibrations.

“Astronauts are science elites…” – Except maybe Lillian Weinberg…

I like Shamil out of the guys from the Soyuz the most. He’s a cross between Tsukasa and Senku. Stoic yet skeptical, a voice of reason for Byakuya’s sillier outbursts.

I wouldn’t be surprised if the shield was made with CGI, tbh.

Byakuya’s humour here is betraying the emotional capacity of the scene…it’s gone from “100% tear-inducing” to “confusing”.

Please sing Tsubasa wo Kudasai, Lillian…*crosses fingers*

I didn’t get what I wanted, but oh well. This song is good too. (I wouldn’t be surprised if most of the record player was CGI too. It’s good CGI for sure.)

LOL, Puyo Puyo! Even Sherlock Holmes! Dragon Ball, Nintendo Switch, VR, Saiyuki! It’s like a treasure trove of references!

Normally the s2 announcement comes after the credits, so I was thrown for a loop when it was announced before the ED…anyways, this is the end of the s1 coverage. See you for s2!

BnHA 72

[no notes, sorry!]

Iruma-kun 11

Robin looks like Iruma…(this vaguely annoys me.)

I noticed Keroli (sp?) is in the back left, alone…that’s kinda sad.

Sabro is hella tall…even taller than Azz-kun, and that says something.

Ah…I love Eggie-sensei. He’s so funny!

Really? I thought Sullivan wrote them (the rules).

I wanna see an episode where Eggie-sensei can’t turn into his fuzzy form and has to do familiar activities with Iruma. That, or an episode where Eggie-sensei has some human parts and some familiar ones (although that would scare some little kids, I think…)

What a Machiavellian mindset Eggie-sensei has!

Iruma’s got wine, people! Underage drinking is a no-no! (partially joking)

Good on ya, Clara! Go kick those girls to the kerb!

The butterflies are so beautiful in this show!

So basically school clubs.

Hmm…it’s almost a Fordist approach. I mean, “freeing yourself up to do other things” is basically the entire ethos of that.

NGL 10

I was reading JJBA: DiU today and Colt seriously looks like a Jojo’s character…

“Your face is just like…”

N-No way! You mean, the Victor Mary’s wanted to see all along…is the other gunhead…?! Geesh, what a plot twist!

Stars Align 10

“We all play to win.” – That’s very Maki of you, Maki.

Shinjo/Oshimi???? That must be Ryoma…! By the way, what’s up with these Itsuse twins…?

Who’s Hatanooka? Update: That’s the team with Joy in it…and those fangirls who busted Mitsue up.

F*** it…Arashi, I wanna pummel you someday.

LOL, you can sell your temmates out with chanpuru, huh, Arashi?

Did Maki suggest something subliminally…?

*Maki and Toma run around* - LOL, this play is completely unorthodox, haha. I can tell even if I’m no expert.

Shinchou Yuusha 10

We’re back after another week’s break…

Come to think of it, how do fantasy worlds have concepts of “hours”?

LOL, how convenient it was that there just happened to be a dude needing healing walking past! (partially sarcastic, partially meaning it since the circumstances foreshadowed it)

“Talent”, eh? *stares at the camera, which is showing Rista’s boobs, with disapproval*

The Demon Spirit Orb is basically a monster cell from OPM 2, isn’t it…?

If Seiya came from our world…then I’m sorry, Wolks, but whoever told you is completely and utterly wrong. *gestures at all the conflicts around the world, including political turmoil*

“Are you calling…”  

No Guns Life 11

Second-last ep!

Oh great…another yandere?(I read JJBA: DiU hardcover vol. 2 yesterday, so I’m still thinking about Yukako Yamagishi…)

There’s a convertible in the OP, though…I wonder if that will come into play later. Update: Even if it does come into play in the future, it doesn’t happen in ths cour.

Stars Align 11

It was like Joy was showing off to the camera…LOL.

Apparently, Joy’s name is a weird reading for yorokobi (happiness).

This feels like a final episode…

Hmm. I thought Yonex sponsored this. Turns out that’s a parody logo after all (or at least, here it’s a parody).

One of the Itsuse bros looks exactly like Maki, so it’s confusing…

I’m still confused as to why Shijo Minami’s shirts say nantei on them. The minami might be nan in another way of reading it, but…the shi can only be read kokorozashi otherwise and while the jou can be read many, many ways, tei isn’t one of them.

Ume = plum blossom, so that purple-pink colour really suits them.

BnHA 73

Eri’s name means, literally, “to break reason”.

This scene with the stars and the dancefloor…that’s new.

Iruma-kun 12

Sometims you forget this dork *points at Azz* is more powerful than Iruma and Clara…

You can see Clara and Iruma in the shot of Azz-kun.

The reason why I like calling Kalego “Eggie-sensei” is because he doesn’t like it! 

I love how the narrator is even aware it’s been mentioned several times Iruma can’t decline requests.

New Magic is basically science…?

Oh, it would be hilarious if this character Iruma just bumped into and he (Iruma) would be in a Battler together…but I’ve read spoilers, so I know what Iruma will join…

Is this some kind of allegory for technology…?! *eyes sparkle* Yes, I want in! Iruma! Join this club!

Even this demon’s clip is a book! Amazing!

Clara! She dab! In a pot!

Come to think of it, in the basic premise, Iruma-kun (the show) is Kenja no Mago, right? The Wise Man’s Grandson…sort of.

Shinchou Yuusha 11

Almost at the end…I’ll sorely miss this show.

Is Tiana some former version of Rista…?

How old is Seiya again…? Update: Apparently he’s 17…and if he’s the same age as he used to be in this flashback, then…kinda squicky, no?

Stars Align 12 (FINAL)

I heard this show dropped the ball and that Nao’s mother got a rant, but otherwise I don’t quite know what happens here…so let’s finish what we started. Update: Nao’s mother’s rant was in a previous episode.

Oh hey! It’s that running thing Nao and Taiyo were doing…I think. (I don’t think I’ve grasped everyone’s names, even over 12 eps, so I had to check Taiyo’s name up.)

Oh, these gremlins…*sighs happily but also exasperatedly* No wonder this show took out a top 10 position for my 2019 list.

I’m worried now…there’s always a last minute thing to ruin an episode on this show.

I always thought Ryoma’s hair was pretty nice…(small LOL). That’s just my bias for bishonen showing though.

I’m…scared now…Maki’s dad must’ve come back and the red in the sky really sold that moment…

Maki…no!!!!!!!! Aw, f***, that’s the final seconds…geesh, way to end the series. If this were a 2 cour, I’d definitely watch the next one, but since I heard through ANN that this is all we have so far, really, the only thing I can do for a passion project is hope another cour gets funded and (maybe) purchase what I can to help out. Well, that’s it, folks, skedaddle out of here until next time.

No Guns Life 12 (FINAL)

This pendant reminds me of the mana compass I saw in Fate/Zero yesterday.

I bet Danny planted those footprints…or something like that. Update: Yup, he did.

Come to think of it, is Juzo still missing his arm from last time…?

“You weren’t my client, little lady.” – There’s one of two possible options here, I think: 1) the hands guy was or 2) Danny was.

I wonder, will the hand Extended ever become his (Juzo’s) left hand? Or will he get an Extension for it?

Wow, second huge end-of-season cliffhanger! Juzo got a new buddy, it seems…anyway, see you in spring!

Cautious Hero 12 (FINAL)

If the Valkyryja (sp?) isn’t magic…what is it???

That one guy lying on the side of the fountain, looking all drunk…LOL.

Geez, you make me wanna cry, show!!!

Even the alarm clock is dejected…geez…

This is…the best conclusion of the fall season in that Seiya defeated the Demon King and the story wrapped up properly, but the worst in that Seiya died. No one died in Stars Align, even if they failed a tonne! So…I dunno. I guess it should be happy it ended optimistically…anyways, enough of my moping. See you next time.

BnHA 74

Shin Nemoto = “the truth of the origin of the sound”, if you stuck the particle no between each character.

Tintin got scary, LOL.

Lemillion, making “no capes” go out of fashion again (LOL).

Wow, talk about a clip show…! This is really one.

Check the end of the episode, don’t forget to watch the post-credits segments, people.

[animebw]

Binge-Watching: Gintama, Episodes 352-353

In which we get a wonderful breather, and at long last, we reach the beginning of the end.

A Night to Remember

And so, we reach the end of the first half of the Silver Soul arc. What a goddamn ride it’s been. Like I said last time, the battle for Edo has been the story of a nation coming together, of the entire expansive cast of Gintama finally standing as one in defense of the place they call home. It was a moment of triumph more than anything, a celebration of just how far we’ve come over the years, and why it’s all been worth fighting for. So it’s fitting that our momentary victory is marked not by a massive party, but with a quiet, intimate gathering of hope and warmth. So many words have passed between each and every one of these people already; there’s nothing more they can say to each other that their mere presences won’t communicate just as potently. It’s a moment of relaxation, a moment to soak in the beauty and love that defines not just the city of Edo, but the entire Gintama ethos.

And goddamn, is it a wonderful experience. Otose reconnecting with Jirocho over a drink as they mull over the lifetimes they shared? A beautiful coda to the Four Devas arc. Gedomaru doing her best to help out and only ending up choking everyone on Pandemoniums? Adorable. Shinpachi’s first Pandemonium love showing up out of goddamn nowhere (”If you’re going to trouble my heart any more, than just stay with me forever!”)? Seriously, every single goddamn character has shown up for this arc. Nobume and Soyo bonding in the Witching Hour over their shared lack of straight man capabilities, finding closure for the people they loss in the conflict? Too fucking pure. I had the biggest, achiest smile etched across my face for the entirety of that episode, basking in the utter joy of seeing all these people I’ve come to love just... live. Live and love and trust and find comfort in each other. It really feels like a homecoming, like the devastating trials we’ve been through have finally brought us back to where we’ve always belonged. And Jesus fuck, when Gintoki and his kids bond over how much they’ve worked each other to the bone, and how much they’ve driven each other forward over the years, and then he tucks them into bed like a proper parent and nope, that’s okay, I wasn’t using my heart for anything, why do you ask? God, he cares for them so fucking much. They’ve all found such a wonderful home with each other. What a magnificent, beautiful culmination of every waking moment we’ve spent with them.

So Light ‘em Up

But of course, this is only the eye of the storm. The ground armies may have been driven off, but the head of the Liberation army remains gunning for their blood, and Utsuro’s scheme still looms in the background. Hijikata might have been willing to let these partying fools bask in the joy of their victory, but time will not wait for them. The battle has already begun again, and this time it looks to be even more explosive and devastating than ever. The Yato forces have finally made their move, forcing Kagura to confront them with a voice that suggests nothing less than a survivor ready to dive headfirst back into their demons one last time. Hata’s armies have finally arrived, and the battle in the skies has begun in earnest. There’s a countdown to a doomsday weapon firing, a million pieces going everywhere, a million desperate situations unfolding, and this time, there’s no going back. Nowhere to run but forward, into the mouth of the beast, into the future we will never give up on. And holy fuck, Nobunobu’s conversation with Soyo over the restored comms utterly destroyed me. He’s ready to die to redeem his sins, to protect the country that Shigeshige believed him. But Soyo still can’t give up on him; she wants him to come back, to restore the family she lost, to give them both another chance at happiness, and holy fuck how many times is this show going to make me cry before it’s over? I imagine the answer is “plenty”

And at last, Takasugi. The prodigal asshole is back from the dead, back in the driver’s seat, and for once, fighting for all the friends he no longer can just give up on. His sun has finally broken through, and now, the Black Beast of Vengeance is here to carve away the darkness and into the light one last time. Now the whole gang truly is here. This is Gintama. This is why we fight. Everyone standing as one, ready to doubt themselves, lose their way, and become the kind of samurai they want to be. Welcome to the end, Kabukicho Ward. I know you’re ready for it.

Odds and Ends

-I didn’t mention this last time, but Kagura’s voice breaking with tears as she gives thanks for the city’s safety hit me really hard. She just sounded so fucking thankful.

-JESUS WEPT THE SILENT COMEDY OF GINTOKI DESPERATELY TRYING TO GET THE FLOWER BACK ON I’M DYING

-OH FUCK I FORGOT ABOUT THE YATO WELL ENJOY YOUR PEACE WHILE IT LASTS

-”And they want more screen time later since they only showed up in the final stage.’ I mean, fair.

-”Shinpachi, you really need some rest.” SHE’S SO FUCKING DONE SKDJAHSDKAJSDHK

-OH WAIT A FUCK HE’S EVA UNIT 01 JESUS WEPT

-”Um, this is sudden. And I’m the straight man anyway.” askjdhaskjdhaksd

-”HOW DO YOU EVEN RESPOND TO THIS?!” I’m wheezing holy crap

-Lol at Yamazaki dragging sleeping Kagura along.

-”What kind of Hansel and Gretel is that?!” Truly, the Brothers Grimm would weep to see such poetry.

-”There was no human there. Just a stray gorilla.” I SWEAR TO GOD KONDO

-”I haven’t done anything all my life!” And to think he was almost badass there for a second.

I love this show more with every second, guys. It’s kind of scary. See you next time for the second half of the Silver Soul arc!

[operationrainfall]

As both oprainfall’s resident indie nerd and Nintendo fanboy, it fell upon me to cover the Indie Direct. I wasn’t entirely sure what to expect, cause sometimes the cup runneth over for indie fans, and sometimes it doesn’t. Thankfully, it veritably overflowed today, with nearly 20 games announced for a variety of genres. It was both old games coming to the Nintendo Switch, as well as entirely new and exclusive games. There’s a lot to cover, and a lot of reasons to be excited. So I’ll give a brief snippet of each title covered, in the order they were revealed, as well as release info. Buckle up, boys and girls.

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First up was an announcement that made me smile and groan at the same time. Creepy milk commercial aside, Cuphead is officially heading to the Nintendo Switch on April 18th. The reason I’m groaning is cause I already bought this on Steam, but would much prefer it on Switch. So I guess Studio MDHR gets my money twice. You can pre-purchase the game as of today, though it officially launches on April 18th, bringing beautifully animated chaos to your system.

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Next up is Overland, a squad focused, turn-based apocalyptic strategy game. It looks like it has elements of tactical RPGs and a bit of Oregon Trail ethos, where you can’t save everyone. Since it’s set in such a dangerous climate, it shouldn’t surprise you that the farther west you go, the weirder things get. This randomly generated adventure is heading to the Switch this Fall.

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I’m very happy that My Friend Pedro is finally heading to the Switch this June. I’m even more surprised that they announced it was a console exclusive, since the last time I demoed it, I could have sworn it was also headed to PS4 and PC. Regardless, if you love frenetic, coordinated violence on a comical scale and talking bananas, you’ll love this one.

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I got to play Neo Cab at E3 last year, and I’m glad to hear it’s coming out soon. This visually distinct game involves trying to reunite with your best friend in a future ruled by a dystopian megacorporation. You’re the last human driver in city overrun by automation, and your job is to drive folks around while staying calm and unveiling the mysteries of the city. Neo Cab is out later this Summer.

When I heard this next game was about dog racing, I almost skipped it. But then I saw that The Red Lantern is narrative driven and has an interesting overall style. Developed by Timberline Studio, in the game you’ll engage in the Iditarod, fight the wilderness, tend your dogs, mend wounds and hunt to survive. Fend off bear attacks and get to your destination alive. Oh and if you like gyro controls, The Red Lantern has those as well. This unique adventure is out later this year.

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I don’t normally think of top down when I think of survival horror, but Darkwood looks to be a strange and eerie adventure. In this title you’ll craft weapons, explore hideouts and hunker down at night while praying for the sun as monsters hunt you. Darkwood is also procedurally generated, so every time will be different. If that sounds like your cup of tea, it’s out this May.

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Personally, I adore the style of Katana Zero. It has lush pixelated charm and lots of action. You play as Dragon the assassin. Armed with precognition, you will manipulate time and leave no witnesses. One hit and you’re dead though, but thankfully the game rewinds levels when you lose. And on the random side of things, in between missions you’ll talk with a therapist to get over your demons. Katana Zero is out April 18, though you can pre-purchase it today.

I admit I have yet to play any game published by Double Fine (though I do own a couple). But I’ve played many from Bandai Namco, and that’s relevant since this next game is by both. RAD is a top down adventure game where your primary power is the skill to mutate into horrid beasts to fight other horrid beasts. Sounds like my sort of game, so perhaps this will be the first Double Fine title I end up playing. RAD is out later this Summer.

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If you had told me earlier today a game with a mix of post apocalyptic mayhem and pinball was gonna intrigue me, I would have called you a filthy liar. Well, now I know better, as Creature in the Well seems to mix both effortlessly. It features 8 dungeons, top down action adventure, pinball ricochet mechanics and lots of crazy. A giant creature has trapped your town in a sandstorm, so you have to slay it with over 15 weapons, each with different quirks. This fascinating looking title is out later this Summer.

I’m super excited that they announced that Bloodroots is out this Summer. Not only was this game a blast at PAX West, but it’s really a one of a kind action game. Everything in the environment is your weapon, which is good since one hit and you’re a gonner. Play as anti-hero Mr. Wolf on his mysterious quest for revenge. Can’t wait til I get my hands on this.

Pine gave me all sorts of Redwall vibes. This open world, 3rd person action adventure game adapts to your choices and features lots of strange creatures. Explore miles of terrain and engage with 5 factions of anthropomorphic animal men, including Moose and Gator. Scavenge, barter, harvest and craft this August.

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Vlambeer got a lot of love, showing off 2 ports and one entirely new title. Super Crate Box is one of the ports out today. It features fast paced, multiplayer matches, which are exclusive to this version. Nuclear Throne is also out today, offering post apocalyptic fun solo or with a buddy. Lastly, the new title is Vlambeer Arcade, which features a growing catalog of bite sized games, including Ultra Bugs first. Think Space Invaders, except you use enemy DNA to customize your ship. Vlambeer Arcade is out later this year.

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If you like 2D fun in the ocean, you’ll love Swimsanity! It features 1-4 player bouts with humans or bots. This multiplayer underwater shooter has more than 150 challenges, 8 game modes and 5 worlds. Choose classic or motion control and enjoy matchmaking and in-game voice chat. Out later this Summer.

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When I think indie on Switch, I always think of Inti Creates. Today they announced the sequel to the wonderful Blaster Master Zero, Blaster Master Zero II. It features the Gaia-Sophia tank, a new blast counter mechanic, travelling across the galaxy to different planets and planetoids, new items and even a broad new cast of characters. Best of all, Blaster Master Zero II is out RIGHT NOW. I’ll wait while you go buy it.

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The strangest reveal today was Stranger Things 3: The Game. Not a lot of details were announced for this isometric adventure game, other than local co-op, puzzle solving, and 12 playable characters. What I can say definitively is it releases July 4th which is also the same day that the 3rd season hits Netflix. Count me excited.

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They saved the best for almost last. At first I thought it was just talking about new content for Crypt of the Necrodancer, but surprise! It’s actually a brand new game in that universe called Cadence of Hyrule. Team up with Link and Zelda and fight off the hordes of Gannon and friends. This wonderfully exuberant looking game (which I’m sure will be a console exclusive) is out Spring 2019.

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The last thing to cover today is that there will be a sale for other indies already on Switch later today. Whew, talk about a ton of new reasons to be excited. Thanks for joining oprainfall for your coverage and stay tuned for more info about these games in the near future!

Nintendo’s Indie Direct Recap, Including Cuphead and Cadence of Hyrule As both oprainfall's resident indie nerd and Nintendo fanboy, it fell upon me to cover the Indie Direct.

[aurora-daily]

Mother Earth’s Warrior

Interview: Aurora for The Line of Best Fit by Cheri Amour (September 28th, 2018)

Norway’s greatest pop export, AURORA speaks to Cheri Amour about her not-so-difficult second album and why it opens up a forest of thought for our future preservation.

There have long been popular culture characters in our midst hell-bent on saving the planet. Healing the world and making it a better place, for you and me and the entire human race. But there’s something different about AURORA Aksnes, better known as million-streamed Norwegian singer/songwriter, AURORA. Her latest release, Infections of A Different Kind, puts Mother Earth at its heart.

It feels fitting then to be sat in one of London’s luscious parks together, AURORA decked out in green amongst the evergreen sipping on her coconut water. She is slight but by no means shy and constantly alert, throwing out relatable anecdotes that seem to be skipping through her mind as she scans her surroundings. Her eyes are shining bright, often looking outwards rather than directly at me. Instead, she is constantly seeking out the sky, the clouds, darting at the path of a pigeon, beaming at a small child opposite us on another table. At one point, she becomes distracted by my stationary choices (“I have the same pen but in green”) and is immediately back in the bustling streets of gay Paris where she made the purchase, with her underlying care and compassion for all things, living or otherwise. “I should’ve brought mine and they’ve could’ve spoken”.

It’s been over two years since the singer sprang onto our stereos like a forest-spirit from the Bergen mountains with her debut EP, Running With Wolves. But whilst her musical mission might be led by a bold vision for a brighter future, her present still looks pretty rosy with debut full-length, All My Demons Greeting Me As A Friend racking up a massive 200 million streams globally. It’s an almost magical might for an artist who only celebrated her 22nd birthday this year. But on speaking with AURORA, her emotional intelligence is undeniable. “I know the world is not a fairy tale and we’re just doing our best…” she happily admits, an astute admission for someone so renowned for her enchanting pop gems.

For the Bergen-based artist though, her strength clearly comes from the collective power of change rather than the sole-creator. She often refers more holistically to an issue than nitpicking specifics. Indeed, it’s this rallying sense of collective change that has gifted AURORA such a solid fan base of “warriors and weirdos” from the depths of South America to the smaller towns and cities of Australia. “It’s so important to fight for the things you care about”, she continues. “They have proven they can do that. They share my message. They stand up for me. If one person disagrees with what I do, they go to war”.

It reminds me of another story of a similarly impassioned figure wanting to make collective change in their world. Often admired as the crowning work of Japanese animation master Hayao Miyazaki and his Studio Ghibli, Princess Mononoke powerfully paints the struggle between the gods of a forest and the humans who consume its resources. And, it seems unbeknownst to Ghibli at the time, over 20 years on from its original release, that same spirit hasn’t been lost in Infections of A Different Kind.

Her relationship with nature is woven throughout, a sort of Hansel and Gretel style breadcrumb trail through her mind’s eye of the world around us. Much like Ghibli’s tale which finds the main protagonist locked in a struggle for the future of the unspoiled forest and an elaborate moral universe, the sophomore record is rooted in Mother Earth. “We are killing incredible beauty without even knowing that we’ve already killed so much”, she reflects, her fingers playing with a small burgundy, woven scarf. It looks homemade, thin and narrow, entwined around her small hands. “We’ve killed entire species of animals. We’ve killed possibilities of making medicine. We’ve killed people”, she pauses, clearly upset by the thoughts. “It makes me sad because I know the planet will live. She will outlive us all and we will die because we’re just tiny ants on her big skin”.

But despite her worry, life and death feel like a natural cycle for AURORA, as you might expect from someone so clued up on the climate. She speaks confidently about nature’s balance, preferring the pragmatic output of an organism rather than anything overly fussy which could also be true of the sounds she makes. “I don’t really like flowers that much. They’re too pretty for their own good. People pick them and they get to die inside a vase”. If she were a flower, AURORA would be a dried white rose, perfectly encapsulated within a moment of time; pure, classic and radiating humility. Meanwhile, lavender for its medicinal properties and affection to bees gets a glowing write up. “That’s my favourite thing about Mother Earth actually”, she explains. “All the knowledge and all that she provides us; the fruit, the medicine. That’s why we need the rainforest but we tear it down”.

Only recently have we seen the devastating effects of illegal logging in the Papua New Guinea forests which provide a home for many of its unique species. Most timbers from New Guinea and its offshore islands are processed in China before being sold around the world, largely for use in furniture and flooring. Likewise, in the Amazon around 17% of the forest has been lost in the last 50 years, mostly due to forest conversion for cattle ranching. Sadly it’s the global brand giants causing most of the destruction with Greenpeace releasing a recent report that identified major palm olive producers such as Unilever, Nestlé, Colgate-Palmolive, and Mondelez, have destroyed an area of rainforest almost twice the size of Singapore in less than three years. The problem is, much like the Native American saying, what will happen after the last tree has fallen and the rivers have been poisoned?

Live favourite, "The Seed" encapsulates this idea. Her vocal is moving, selflessly offering herself up to restore what humanity has destroyed: “Suffocate me / So my tears can be rain / I will water the ground where I stand / So the flowers can grow back again”. "The Seed" acts like the nucleus of change for AURORA. It’s the birth of something. It’s thought or an act or a movement. “It’s the beginning of everything”, she explains, enthused. “The way the seed lies underground with no sun, nothing, darkness but it knows where to go and then it breaks through the stone, the mountain, asphalt, and earth. All these things they came from down there”, she insists, pointing at a nearby flower bed at which point her gaze is caught by a fluttering pigeon on the roof. After a few seconds, she apologises: “The pigeons are so distracting”.

Conversation turns to her own beginnings, painting a picture of her home back in Norway which sounds like something straight out of a Lord of The Rings novel. A fjord carved out by glaciers in the ice ages with a little island in the middle of it that she would often take a small kayak out to and sleep overnight on in the summer when the sun rarely sets. “On one of them lives quite an angry goat so don’t go there. He’s like a proper…”, she gesticulates the animal’s horns with her hands by her ears. “He’s intense. All the other ones are fine”, she laughs. The open water feels like it is a bit of a theme to her early years, spending much of her childhood on sailboats of some varieties, not surprising for a country that has the kind of tight relationship with water that Brits have with tea. Whether it's coastline, fjord, lake or river, water is everywhere in Norway and Norwegians make the most of it. Her father sailed the seas for four years in a row before she was born, she tells me proudly.

The other towering backdrop to her youth were those sturdy mountains and an ambitious walking regime. The latter almost certainly a contributing factor to her ingenuity and appreciation of the rambling flora and fauna so prevalent in her songwriting today. “We’d go for mountain hikes at least four times a week”, she states, matter of factly. “You bring some chocolate with bread and cheese to eat at the top. It’s kind of what you do together with your Mum’s friend and her kid, you know?” Perhaps not the same as growing up in the flatlands of Norfolk, I admit. “Well, it’s very normal in Norway, especially Bergen because you have the mountains everywhere”, she continues. There’s a mountain in every city at least. In every village. And in my village, we only have eight neighbours, there’s only us living there. And I look at the water and I have the forest behind me. She openly sighs and takes a moment, transporting herself back to the shimmering open waters, stood with lungs full of the fresh mountain air.

Surrounded by such a magical setting, it’s not surprising that AURORA tries to create a kingdom of her own for listeners. The first hint at the new record, former single “Queendom” is dedicated to “everything that’s alive”. Insistent that “Queendom” should be a place “with only love”, the song is also a celebration of our differences with an open innocence that tries to find the best in all of us. Again, Ghibli’s own ethical ethos rings true here, with Princess Mononoke heralded as for its ability to make heroes of outsiders and blurring the stereotypes that usually define such characters. It’s the same for AURORA. She is an artist breaking down huge barriers around inclusivity which shine through “Queendom”’s electro-pulse and call-to-arms. “It’s very much about giving hope, like being given the tools to become a warrior, a fighter to deal with the now. Not an escape but a way to really stay in the present, and make a change”.

Directed by Paris-based, Polish-Australian Director King Burza, the single’s video finds Aurora bathed in natural light exploring the cavernous surrounds of an old country home, the dappled light falling on her through the beaten window frames. She leaps through the high-ceiling hallways in flowing white cotton, much like the lyrics suggest, as our lamb. The pulsing chorus beat kicks in with a procession of women dancers weaving behind her arms like the Shiva herself, the fierce warrior Goddess. With Scandinavia often heralded for its gender parity, it’s not surprising that a huge part of “Queendom”’s rallying cry is being channeled into some sort of feminist anthem but as AURORA herself says: “it’s much more than that. I want it to be a song for people in need”.

“I began writing for Infections of A Different Kind the day after my first album was released...it’s good when it’s fresh when you’re still like a predator. You can still smell the blood from the prey."

With its timely post-#metoo-era release, it’s not surprising that there’s a strong focus on the strength of women in here though as well as flipping assumed gender norms and empowering an army, as she sings: “The women will be my soldiers / With the weight of life on their shoulders”. It’s an element of Nordic folklore that really spoke to her warrior instincts. “I like that it was often the women that hunted. When the men went out on a journey to kill and steal, the women stayed and were the boss which is kind of cool”. Similarly, she sees herself played back to her in scrappy forest-dwelling nymphs, the Huldra. “They had messy hair like I had when I was a child”, she jokes.

Propelled by our comparisons, talk turns into a bit of an education in Norwegian children’s tales as she boasts that many of them centre around a troll. Whether that’s a troll turning to stone in the sun before it eats the children or the story of a young boy from the village who challenges the troll to a porridge-eating contest. Tactfully tying his knapsack to his belly, the boy scoops more porridge into the bag than he eats himself and then, once full, slashes it open encouraging the troll to do the same so they can power through the porridge. Fooled by the boy, the troll cuts his stomach and dies leaving all of the gold and silver in the cave for the boy to take home to pay off his family debts. “Then you have the troll mother who has put her eleven troll children to bed. That’s the first song I sang when I was two years old in my Mum’s blue kitchen”, she recalls. A newborn with pink cheeks begins to whimper to its Mum on the table next to us now which lures the singer’s attention away for a fleeting moment, her mouth fixed in a wide-open smile. “Sorry, babies and pigeons. Very distracting”, she reasons.

After the brief introduction to Norwegian folklore, it feels apt to ask around the production of the new record which took place in a fairytale studio-cum-chateau somewhere in the South of France. Positioned in a vineyard surrounded by animals and a pond, the castle sounds like the right kind of pastoral setting for such a life-affirming record. AURORA details an almost Beauty And The Beast-like existence there, holed up in the huge house’s halls and libraries for just over a month. Chef Marie cooked a three-course meal, three times a day whilst the dog Paula and cat, Ginger amble through the corridors.

It becomes clear quite quickly that AURORA hasn’t faced the difficult second album syndrome. “I began writing for it the day after my first album was released because then the first album had been done already for four months”, she beams. “That’s why I always begin right after I release right after my previous thing. I begin on the next”. A natural hunter, she adds: “It’s good when it’s fresh when you’re still like a predator. You can still smell the blood from the prey. And you’re kind of just running after it and you know where to go, that’s how I felt”.

It was a fairly natural process then? “I found it way easier than the first because I really knew what I wanted. I’ve always known since I was an embryo what I want and now I have the tools to make it happen. I know how to produce, and how to play more instruments. I played the drums and the rhythms. The multi-instrumentalist played drums on all of the songs on Infections of A Different Kind, actually, it’s kind of a new passion for her. “I love it. It’s very energetic and you get quite tired afterward which I love. I love the feeling of exhausting myself”, she grins.

"I have my own dream language which half of the population understands...a fourth...an eleventh so I also had to learn things myself because I am the only one who can know."

Adding to her workload, AURORA took up a lot of the production duties on the record too which makes a powerful statement in a world for far too many women artists are corralled into working with male producers. She’s not afraid to tackle this in her own terms, often struggling to articulate what she wanted using the technical language, the singer offers up her own alternative parallels: “Make it sound like water or bellyache”. “I realised I don’t have the technical language. I have my own dream language which half of the population understands...a fourth...an eleventh so I also had to learn things myself because I am the only one who can know”. She’s adamant that crafting her music, much like her new love of drums, is one of her biggest pleasures. The ability to realise her imagined worlds into reality gives her a certain sense of belonging which, in the future, might remain a constant more so than the live show. “If there’s one thing I’ll do less of, you know in forty years, it’s touring. But not studio, I’ll always be there”, she adds resolutely.

But despite her preference, she knows the power of sharing her songs with her legion of fans and she confesses many of the new numbers have already made it into the live set. “I think at one point it was maybe a bit too many. I like all my songs better live just because of the energy so it’s always nice to know that the fans will get to experience that first”. And that’s exactly what AURORA has tried to do with the release schedule of the record, teasing one more single out last week ahead of today’s full-length. The stark opener of “Churchyard” finds AURORA’s sincere vocal layered over one another and doused in reverb as a solemn strings section soothes in with a morbid twang as she questions the fine balance between life and love. You can almost see the arms flailing theatrics of similarly environmental leaning, Kate Bush against the beat.

Indeed, AURORA isn’t the first artist looking to heal the world with their humanitarian ideals. Pop’s biggest ally, Cher donated more than 180,000 bottles of water to Flint, Michigan, in the middle of the city's clean-water crisis. Grammy Award-winning, Rihanna was named Harvard Humanitarian of the Year back in 2017 for her philanthropic efforts after funding the build of a state-of-the-art centre for oncology and nuclear medicine to diagnose and treat breast cancer in her home nation of Barbados. Infections of A Different Kind stands united with Mother Earth almost as a vocal shining a floodlight on the dire situation we’ve left her in.

At this point, playing with the tousled strands of her hair, AURORA is whisked off for another meeting and disappears into the trees of Holland Park, much like the Huldra into the Norwegian forest. Just from spending an hour with her, it’s clear how much the Norwegian songwriter cherishes real connections with the people she meets and is keen to create a shared space where we can all co-exist together; new technologies alongside sustainable ecosystems. Without national treasure, David Attenborough preaching about the plastics in our oceans, it’s sometimes easy for us to cut out the stark realities of climate change. But high up in those Norwegian mountains, with her ear to the wind, AURORA hears it all and is ready to lead.

Forget Princess Mononoke, AURORA is our modern day pop royalty.

Infections of A Different Kind is out now on Decca Records.

[podcake]

Podcast Teatime: Boston Tea Party

Hello again, readers! To cap off this fine interview month, I scored big with pulling aside the creators of Greater Boston Alexander Danner and Jeff Van Dreason for some talk and tea.

(The following is a direct copy-and-paste from the email) 

Question One: I’ve always liked the semi-documentary style of your show. The way it often starts off with an interview that somewhat reflects the central topic of the episode is a nifty framing device. Is there any reason why you chose to do this? JVD: For one thing, our show is set in a real place, albeit a skewed, alt universe real place. Since we mention factual events and history, there’s already some bleeding between fact and fiction, past and present. Further, the show is about a community - a geographical area larger than a city. We have a large cast, but our thought process was the more individual voices that we hear from in the show, the larger our community feels, the more similar to a city and its surrounding areas it sounds. 

The answers we select from our interviews match the tone of what we’re going for, both for the show as a whole and the individual episodes. Some of them are funny, strange, sad, or a mixture of all of the above. It’s a nice, refreshing way to start, I think - hearing something real and authentic straight from someone’s mouth. It’s not written, it’s not rehearsed, it just is.  Finally, it was a good way to make the show more diverse, which was a huge concern for us giving that most of our cast members in Season 1 were white.

It’s a city. Cities are diverse, so it should have a diverse feeling.

Question Two: What is it about Boston that drives you write an audio drama based around it? Are you from that city or do you just personally find it interesting enough to write about?

AD: We’ve both lived in Boston for a long time, but neither of us is originally from here. We’re actually both from different parts of New York. For me, Boston very quickly felt like “home.” I love living in a city that you can reasonably cross from end to end on foot, and pass through such very different places. Boston’s one of the oldest cities in the US, so for good and bad, there’s a lot of history here, and Boston loves wearing its history openly. So it’s easy to find inspiration, both for quirky moments and dramatic.

JVD: Boston is such a weird city! So much of it makes very little sense. There’s this huge sense of working class ethos mixed with higher ed academia, it’s seriously progressive while also being incredibly old fashioned. There’s so much history and it surrounds us everywhere, but then there’s also a ton of development, so you have these old buildings next a bank-sponsored skyrise, the old Trinity Church is dwarfed by the John Hancock tower, but it’s also reflected in its windows. 

That’s Boston in a nutshell; this tiny, old little church directly next to and reflected in an imposing glass tower, Boston’s tallest skyscraper. In the Greater Boston universe, much of what’s happened in the past  remains in the present somehow; the sticky streets from the molasses flood in the North End, the fact that Wonderland is still an amusement park, the trash fire on Spectacle Island – and those are conscious decisions rooted in the fact that our history still surrounds us everywhere we look, whether we’re aware of it or not. 

There’s even some antiquated laws that are technically still on the books in Boston. I remember hearing you can challenge someone to a legal duel on the Boston Common because that law has yet to have been thrown out or redacted. And part of that weirdness to me is urban alienation. Every time I take the Red Line, I think of how weird it is that all these strangers are crammed together in this underground moving box, and everyone acts like they’re completely alone, ignoring the humanity, the community all around them. 

And that’s really a city in a nutshell. We’re all literally in the same situation, we have so much in common, but people sit seats apart from each other. They’re afraid of even their clothing getting too close to another human being. And I get it, because people are afraid of standing out and looking weird, or encouraging weird behavior from strangers. But I feel like the harder we try not to connect with other people? The weirder we all look! 

Question Three: Greater Boston is often described to be a sort of slice of life meets magic realism show…with a subway. Was this the genre you were aiming for or do you deem Greater Boston to be something else entirely?

AD: I think that description captures us pretty well. I worry more about the humor/drama balance than about nailing down a specific genre descriptions. That said, magic realism has certainly been a major influence on my my writing for many years, as have contemporary slipstream authors like Kelly Link. JVD: I appreciate the fact that our genre and tone are difficult to pin down. We wanted to create something complex, something that felt more like a novel in audio form, something that defied classification. It can be a tricky thing to balance, honestly, and we’re both very conscious about making sure some episodes are funny, some are more serious, while all of them sound a little…off, weird, strange, different. That’s the Greater Boston blend we’ve always been going for.

Question Four: Your cast of characters are colorful, to say the least. Is there anyone in particular that’s the most fun to write for?

AD: Well, they’re all fun to write for in different ways, especially because we’ve really tried hard to give them all unique voices. But I don’t think anyone will be surprised to hear that there’s a particular pleasure in writing Mallory. She was only ever meant to appear once, giving her recounting of Leon’s death, back in episode four, but she was just too much fun to write not to revisit her. And now she’s an important part of the full ensemble.

JVD: Mallory is a blast, but she’s also very difficult to write because you constantly have to come up with new and creative ways to swear! I’m not sure I can pick a favorite, honestly, but I love writing scenes with Gemma and Charlotte. They just have such an interesting and complex relationship. I really like Nica too and I use her to express a lot of my personal frustrations and demons. And Leon. Leon’s character is so finite that it’s easy to slip right into that voice.

Question Five: You’ve gotten to collaborate with quite a few people including those behind Ars Paradoxica as well as cameos by Lauren Shippen, Rick Coste, and Ryan Estrada. What was it like getting to work with them and what do you think it’s done for the show?

AD: Oh, it’s so much fun! We’re very lucky to have so many wonderful people who’ve been kind to our show. Getting Beth Eyre in for a recurring part through Season 2 was especially exciting, and she was wonderful! But one of my favorite aspects of this community is how gamely people step into help out on each other’s shows. So many of us have appeared on each other’s shows at this point! (I’m especially proud of my turn on The Infinite Now, in the episode “The Martian Thirst Trap.”)

Of course, that we were allowed to actually *write* a piece of arsParadoxica was a particular honor. They allowed us to write something thoroughly ridiculous for their characters, which was generous and a delight to be a part of. And “Curses” won’t be the last bit we guest write for other shows–but I think we’ll have some announcements to make about that closer to 2018.

Question Six: One of my personal favorite things about Greater Boston has always been the music selection. How exactly did you manage to get a soundtrack that screamed, “This an alternative version of Boston!”

AD: The music began with Dirk and Emily, who are old friends of mine. I actually know Dirk from my days in making comics, and we long talked about collaborating on a project. We *meant* a comic, but Greater Boston became the first project we actually worked on together. He and Emily happened to be talented musicians, playing primarily Irish folk and maritime traditionals, which is perfect for representing Boston. 

They then brought in Adrienne, who introduced the hurdy gurdy to our sound, which was a brilliant addition. Jim, who brings in the drums, is someone we both know through our teaching jobs. We kind of pull talent from all over our lives. Dave Lewis, whose original piano music appeared in season 2, is someone I hadn’t spoken to since middle school, but the show brought us back in touch!

BONUS: I’m sure many people want to know what pushes you to keep writing and creating your work. In something as rickety as the podcast scene, you never know what audience you’ll attract and what success may come your way, so what is it that keeps you determined in such a broad and still growing art field? JVD: A lot of what initially pushed us into the genre of audio drama was our frustration with trying to publish our fiction and produce theatrical work. It’s really difficult to do either of those things and what I love about podcasting is that you can just do something independently. 

It takes time, it takes work, it takes hours scheduling and recording and producing, but you’re able to make something complex and beautiful on your own and with the help of your friends. It’s more collaborative and hands-on than writing a story, and there’s more evolution in story than a produced play. And in either case, you have time to build an audience. 

Neither of us had dreams of producing the next podcast smash when we made Season 1. We just wanted to get our writing and stories into as many heads as possible. We’re actually blown away with how much Greater Boston has taken off. That’s not to say we’re some kind of runaway podcast smash, but it thrills us so much to know we have an audience. A small audience, but a dedicated one. That’s so huge to us. It’s a tremendous responsibility, in some ways. We don’t want to disappoint people. 

We don’t want to let anyone down. But it’s also thrilling and pushes us into wanting to make our show even better, with each new episode and season we write and produce. We also have to credit how nurturing and supportive the entire audio drama community is. It’s one of the best artistic communities I’ve ever encountered and it feels incredibly exciting to be a part of it, right now especially. I think in many ways, we feel really lucky that the show came out when it did, because we were among a lot of other fantastic audio dramas being released shortly before or after we kicked off. I think we’ve both longed to be in a community like this, where we can pop into each others shows or help record something for each other or even write something for another show. 

There’s something so rewarding about that to me. It’s the type of creative situation I’ve looked for my whole life.

AD: And the fact that audio drama is still a growing, developing field only makes being a part of it more exciting. Right now, it’s possible to jump in, and right away have your voice heard, and even feel like you’re influencing the direction the form is heading. The whole experience has been creatively invigorating.

It’s always these creative duos that give me some of the best answers. Hopefully you feel as warm and fuzzy as I do after that interview and are eager to check out Greater Boston for yourself. Thank you all for joining me for tea…now get the fuck off my Red Line.

[kaorei-endgame]

I know you're not big on ranking stuff, however ...DS>BB>D'sS>DS2>DS3 Can we at least agree on that?

Maybe? Probably!

If you’re counting it by how many times I’ve played each one, that lines up. DS like nine or ten times (cripes, why), BB three or four, Demon’s Souls three or four, DS2 twice-ish, and DS3… once+?

But here’s a thing: me and Graz have been plucking away at the Dark Souls 2 DLC and it’s had me thinking why this game doesn’t get so much credit (even inside my own head, sometimes).

Dark Souls 2′s greatest crime, aside from being a sequel to one of the best games of this modern era, is that it’s too subtle about its shit. Because what Dark Souls 3 says its about? Worlds falling apart and people losing their purpose and etc? Dark Souls 2 is actually about that. In a lot of ways, DS2 is almost as reference-y as DS3, but it’s quiet about it. The best example of this I can think of is the fragments of the Lord Vessel in the Majula basement. They’re just there. The game never calls attention to them. Which makes them easy to miss, and might make them come off as like ‘what’s with this completely purposeless reference tucked away into some obscure part of the game that no one’s even going to notice?’

But the point is you weren’t going to notice them!! 😮  Because Dark Souls 2 is strictly about how much all that shit doesn’t matter anymore; it’s old news. Whereas if Dark Souls 3 was going that scene it’d put an item nearby whose description was like: “Here lieth thoust Lord Vessel, once a power of ancient kings, now eternally forgotten and withoutest purposest” or some shit. In essence, Dark Souls 3 thought it was very important to tell you how unimportant the trials and power of past lords were/are. Dark Souls 2 included information like that, but it treated with the import that comported with its worldview: absolutely none.

So in this way, Dark Souls 2 is super meta. It’s a game about futility. It is also a game about the futility of making a sequel to one of the best games of all time. I think that’s like a least a little fascinating?? The only problem is… and I think this is kinda a big strike against Dark Souls 2 that might be the source of at least like a lil’ bit of people’s displeasure with the game… played out that way, it’s difficult to distinguish that from “who cares (in-universe)” and “who cares (irl)” and, beyond that, maybe even “just some lame easter egg for the sake of” (and hey, maybe it was).

There are also just such variances in the ethos behind the gameplay in each iteration that I wanna sink my teeth into all that meat, no matter the relative quality of each one. Dark Souls 2 has so many THINGS. I will go to bat for anything that feels like it’s juking or reformatting the established rules, no matter how small. Par example: last time I played I found those ninjas drop a “Shadow Dagger,” which seemed statistically better than the Bandit Knife I had equipped, so why not? Quickly, I discovered this dagger has a unique backstab animation that comes out almost instantaneously (which is clutch, because DS2 is the only one where enemies can hurt you during animations), and makes even my 4 Strength magic user do a giganto amount of critical damage. This is a microscopic change in the scheme of things, but it made me remember something I loved about Dark Souls 2: it drowns you in excess.

A lot of that excess is bad, yeah, but even when it’s bad it’s interesting. (Here’s where I bang the same drum I’ve been wailing on since like 2012 but:) I want a shield that casts miracles even if it’s slow and useless! I want butterfly wings that increase my jump distance and spray poison all over every NPC I meet!!  I want a spear you have to bang on a wall or a corpse until it breaks so the boulder weighing it down like Goku’s training clothing shatters and it becomes a SUPER GOD NINJA SPEAR!!! Dark Souls 2 makes you feel like an adventurer. My favorite item in the game is the flame butterfly urn that lights your torch. I love the functionality of it, i love the cute little urn icon in the menu, but primarily I love what it represents: an expansive toolkit, kind of a utility belt of items that Souls games really hadn’t seen before or since. DS2 is definitely the game where I’ve managed my hot buttons the most.

But it’s kinda uggo. It looks so different that I almost can’t parse it as in the same continuity as DS1 and DS3 It’s something about the expanded FoV and the character models that feel a little more Demon’s Souls in style. I dunno, it makes the whole thing look a little more cartoony/anime to me, especially as regards your player characters (even though I make all PCs with purple/pink/blue hair I will still complain about their anime chubbiness, yes).

God dammit, if you light all the torches in the gutter you get invaded by a Super Magic Dickhole who spams you with cheesy, stupid spells, but then drops a unique witch’s veil that makes you 100% immune to curse. Holy crap! That’s a completely awesome chain of events that definitely didn’t drive me crazy as I tried to deal with it last night for long enough that I despawned many of the hollows on the run from the bonfire (having 4 Strength against a character basically magic-immune did not serve me well)

If I ever get around to editing this YFI we recorded, like, a month ago, you’ll hear Graz be like “it’s DS = BB and everything else floats around in their tier below that,” and… maybe?  Finishing up the Dark Souls 3 DLC, then playing some of 2′s DLC with Graz, and then creating a new Dark Souls 2 PC by myself, I felt wistful. For all my grandstanding about “hey if this is what Dark Souls 3 thinks it should be doing maybe it IS time to end it. >:| >:| >:|” I’m worried about: what happens next? Because I’ve become accustomed to this sensation of novelty every 1-2 years, of having a brand new game where its areas feel like places. Where there are things to explore, learn about, discover. A favorite part of my game is dropping prism stones in the Crystal Caves. Maybe it’s a favorite part NOW since I’ve played in 9 times and don’t have to be pissed off falling off ledges over and over until I figure out the trick. It’s been since Dark Souls 2 that I’ve gone back to Dark Souls 1, I think. I’d like to check it out again, especially Artorias and Kalameet, to see if those really hold up as well as I think/hope they do. How much of a cut above they really are.

Even if Dark Souls 3 was comparatively bad at that, it was still better than, uhhhh… like almost any non-Souls game ever. I certainly don’t have my engine raring to go for “”“The Surge””” and I feel bad ‘coz a community member gifted me Salt and Sanctuary but it only held my attention for half the first area and I haven’t mustered the will to go back since. I can’t imagine NEVER going back to Dark Souls 3, I just think it’ll be a longer time than all the others till I do.

So that’s why it’s ultimately difficult to rate these games on an objective scale. Even the ones I don’t like so much, I still like so much. Maybe my rating would go DS=BB=D’sS~?!DS2>>DS3? :o This post inspired me not just to play a bunch of Dark Souls 2, but also through all of Bloodborne as a pure Arcane character (that’s why it took so long to answer! (also i suck and can’t keep my responsibilities (in so much as this is a “responsibility”) straight, so sorry!! D:) 

Honestly, sometimes it feels like my favorite Souls game is the last one I played.

[ciathyzareposts]

The Shareware Scene, Part 4: DOOM

The full extent of Wolfenstein 3D‘s popularity during 1992 and 1993 is difficult to quantify with any precision due to the peculiarities of the shareware distribution model. But the one thing we can say for sure is that it was enormously popular by any standard. Apogee sold roughly 200,000 copies of the paid episodes, yet that number hardly begins to express the game’s real reach. Most people who acquired the free episode were content with it alone, or couldn’t afford to buy the other installments, or had friends who had bought them already and were happy to share. It thus seems reasonable to assume that the total number of Wolfenstein 3D players reached well into seven digits, putting the game’s exposure on a par with The 7th Guest, the boxed industry’s biggest hit of 1993, the game generally agreed to have put CD-ROM on the map. And yet Wolfenstein 3D‘s impact would prove even more earthshaking than that of The 7th Guest in the long run.

One telling sign of its influence — and of the way that it was just a fundamentally different type of game than The 7th Guest, that stately multimedia showpiece — is the modding scene that sprang up around it. The game’s levels were stored in a rather easily decipherable format: the “WAD” file, standing for “Where’s All the Data?” Enterprising hackers were soon writing and distributing their own level editors, along with custom levels. (The most popular of them all filled the corridors of the Nazi headquarters with facsimiles of the sickly sweet, thuddingly unclever, unbelievably grating children’s-television character Barney the Dinosaur and let you take out your frustrations with an automatic weapon.) The id boys debated fiercely among themselves whether they should crack down on the modders, but John Carmack, who had read Steven Levy’s landmark book Hackers at an impressionable age and thoroughly absorbed its heroes’ ethos of openness and transparency, insisted that people be allowed to do whatever they wished with his creation. And when Carmack put his foot down, he always got his way; at the end of the day, he was the one irreplaceable member of the id collective, and every one of the others knew it.

With Wolfenstein 3D‘s popularity soaring, the id boys started eyeing the territory of the boxed publishers greedily. They struck a deal with a company called FormGen to release a seventh, lengthier installment of the game exclusively as a boxed retail product; it appeared under the name of Spear of Destiny in September of 1992. Thus readers of magazines like Computer Gaming World could scratch their heads that fall over two separate luridly violent full-page advertisements for Wolfenstein 3D games, each with a different publisher’s name at the bottom. Spear of Destiny sold at least 100,000 copies at retail, both to hardcore Wolfenstein 3D addicts who couldn’t get enough and to many others, isolated from the typical means of shareware distribution, who came upon the game for the first time in this form.

Even Nintendo came calling with hat in hand, just a couple of years after summarily rejecting id’s offer to make a version of Super Mario Bros. 3 that ran on computers. The id boys now heeded Nintendo’s plea to port Wolfenstein 3D to the new Super Nintendo Entertainment System, whilst also grudgingly agreeing to abide by the dictates of Nintendo’s infamously strict censors. They had no idea what they had signed up for. Before they were through, Nintendo demanded that they replace blood with sweat, guard dogs with mutant rats, and Adolf Hitler, the game’s inevitable final boss, with a generic villain named the “Staatmeister.” They hated this bowdlerization with a passion, but, having agreed to do the port, they duly saw it through, muttering “Never again!” to themselves all the while. And indeed, when they were finished they took a mutual vow never to work with Nintendo again. Who needed them? The world was id’s oyster.

By now, 1992 was drawing  to a close, and they all felt it was high time that they moved on to the next new thing. For everyone at id, and most especially John Carmack, was beginning to look upon Wolfenstein 3D with a decidedly jaundiced eye.

The dirty little secret that was occluded by Wolfenstein 3D‘s immense success was that it wasn’t all that great a game once it was stripped of its novelty value. Its engine was just too basic to allow for compelling level design. You glided through its corridors as if you were on a branching tram line that had been mashed together with a fairground shooting gallery, trying to shoot the Nazis who popped up before they could shoot you. The lack of any sort of in-game map meant that you didn’t even know where you were most of the time; you just kept moving around shooting Nazis until you stumbled upon the elevator to the next level. Anyone who made it through seven episodes of this — and make no mistake, there were plenty of players who did — either had an awful lot of aggression to vent or really, really loved the unprecedented look and style of the game. The levels were even boring for their designers. John Romero:

Tom [Hall] and I [designed] levels [for Wolfenstein 3D] fast. Making those levels was the most boring shit ever because they were so simple. Tom was so bored; I kept on bugging him to do it. I told him about Scott Miller’s 300ZX and George Broussard’s Acura NSX. We needed cool cars too! Whenever he got distracted, I’d tell him, “Dude, NSX! NSX!”

Tom Hall had it doubly hard. The fact was, the ultra-violence of Wolfenstein 3D just wasn’t really his thing. He preferred worlds of candy-apple red, not bloody scarlet; of precocious kids and cuddly robots, not rabid vigilantes and sadistic Nazis. Still, he was nothing if not a team player. John Romero and Adrian Carmack had gone along with him for Commander Keen, so it was only fair that he humored them with Wolfenstein 3D. But now, he thought, all of that business was finally over, and they could all start thinking about making a third Commander Keen trilogy.

Poor Tom. It took a sweetly naïve nature like his to believe that the other id boys would be willing to go back to the innocent fun of their Nintendo pastiches. Wolfenstein 3D was a different beast entirely than Commander Keen. It wasn’t remarkable just for being as good as something someone else had already done; it was like nothing anyone had ever done before. And they owned this new thing, had it all to themselves. Hall’s third Commander Keen trilogy just wasn’t in the cards — not even when he offered to do it in 3D, using an updated version of the Wolfenstein 3D engine. Cute and whimsical was id’s yesterday; gritty and bloody was their today and, if they had anything to say about it, their tomorrow as well.

Digging into their less-than-bulging bag of pop-culture reference points, the id boys pulled out the Alien film franchise. What a 3D game those movies would make! Running through a labyrinth of claustrophobic corridors, shooting aliens… that would be amazing! On further reflection, though, no one wanted the hassle that would come with trying to live up to an official license, even assuming such a thing was possible; id was still an underground insurgency at heart, bereft of lawyers and Hollywood contacts. Their thinking moved toward creating a similar effect via a different story line.

The id boys had a long-running tabletop Dungeon & Dragons campaign involving demons who spilled over from their infernal plane of existence into the so-called “Prime Material Plane” of everyday fantasy. What if they did something like that, only in a science-fiction context? Demons in space! It would be perfect! It was actually John Carmack, normally the id boy least engaged by these sorts of discussions, who proposed the name. In a scene from the 1986 Martin Scorsese movie The Color of Money, a young pool sharp played by Tom Cruise struts into a bar carrying what looks like a clarinet case. “What you got in there?” asks his eventual patsy with an intimidating scowl. As our hero opens the case to reveal his pool cue, he flashes a 100-kilowatt Tom Cruise smile and says a single word: “Doom.”

Once again, Tom Hall tried to be supportive and make the best of it. He still held the official role of world-builder for id’s fictions. So, he went to work for some weeks, emerging at last with the most comprehensive design document which anyone at id had ever written, appropriately entitled The DOOM Bible. It offered plenty of opportunity for gunplay, but it also told an earnest story, in which you, as an astronaut trapped aboard a space station under assault by mysterious aliens, gradually learned to your horror that they were literal demons out of Hell, escaping into our dimension through a rift in the fabric of space-time. It was full of goals to advance and problems to solve beyond that of mowing down hordes of monsters, with a plot that evolved as you played. The history of gaming would have been markedly different, at least in the short term, if the other id boys had been interested in pursuing Hall’s path of complex storytelling within a richly simulated embodied virtual reality.

As it was, though, Hall’s ambitions landed with a resounding thud. Granted, there were all sorts of valid practical reasons for his friends to be skeptical. It was true enough that to go from the pseudo-3D engine of Wolfenstein 3D to one capable of supporting the type of complex puzzles and situations envisioned by Hall, and to get it all to run at an acceptable speed on everyday hardware, might be an insurmountable challenge even for a wizard like John Carmack. And yet the fact remains that the problem was at least as much one of motivation as one of technology. The other id boys just didn’t care about the sort of things that had Tom Hall so juiced. It again came down to John Carmack, normally the least articulate member of the group, to articulate their objections. “Story in a game,” he said, “is like story in a porn movie. It’s expected to be there, but it’s not that important.”

Tom Hall held out for several more months, but he just couldn’t convince himself to get fully onboard with the game his friends wanted to make. His relationship with the others went from bad to worse, until finally, in August of 1993, the others asked him to leave: “Obviously this isn’t working out.” By that time, DOOM was easily the most hotly anticipated game in the world, and nobody cared that it wouldn’t have a complicated story. “DOOM means two things,” said John Carmack. “Demons and shotguns!” And most of its fans wouldn’t have it any other way, then or now.

Tom Hall doesn’t look very happy about working on DOOM. Note the computer he works with: a NeXT workstation rather than an MS-DOS machine. John Carmack switched virtually all development to these $10,000 machines in the wake of Wolfenstein 3D‘s success, despite their tiny market footprint. The fact that the DOOM code was thus designed to be cross-platform from the beginning was undoubtedly a factor in the plethora of ports that appeared during and after its commercial heyday — that in fact still continue to appear today any time a new platform reaches a critical mass.

Making DOOM wound up requiring more than three times as many man-hours as anything the id boys had ever done before. It absorbed their every waking hour from January of 1993 to December of that year. Early on in that period, they decided that they wouldn’t be publishing it through Apogee. Cracks in the relationship between the id boys and Scott Miller had started forming around the latter’s business practices, which were scrupulously honest but also chaotic in that way dismayingly typical of a fast-growing business helmed by a first-time entrepreneur. Reports kept reaching id of people who wanted to buy Wolfenstein 3D, but couldn’t get through on the phone, or who managed to give Apogee their order only to have it never fulfilled.

But those complaints were perhaps just a convenient excuse. The reality was that the id boys just didn’t feel that they needed Apogee anymore. They had huge name recognition of their own now and plenty of money coming in to spend on advertising and promotion, and they could upload their new game to the major online services just as easily as Scott Miller could. Why keep giving him half of their money? Miller, for his part, handled the loss of his cash cow with graceful aplomb. He saw it as just business, nothing personal. “I would have done the same thing in their shoes,” he would frequently say in later interviews. He even hired Tom Hall to work at Apogee after the id boys cast him adrift in the foreign environs of Dallas.

Jay Wilbur now stepped into Miller’s old role for id. He prowled the commercial online services, the major bulletin-board systems, and the early Internet for hours each day, stoking the the flames of anticipation here, answering questions there.

And there were lots of questions, for DOOM was actually about a bit more than demons and shotguns: it was also about technology. Whatever else it might become, DOOM was to be a showcase for the latest engine from John Carmack, a young man who was swiftly making a name for himself as the best game programmer in the world. With DOOM, he allowed himself to set the floor considerably higher in terms of system requirements than he had for Wolfenstein 3D.

System requirements have always been a moving target for any game developer. Push too hard, and you may end up releasing a game that almost no one can play; stay too conservative, and you may release something that looks like yesterday’s news. Striking precisely the right point on this continuum requires knowing your customers. The Apogee shareware demographic didn’t typically have cutting-edge computers; they tended to be younger and a bit less affluent than those buying the big boxed games. Thus id had made it possible to run Wolfenstein 3D on a two-generations-behind 80286-based machine with just 640 K of memory. The marked limitations of its pseudo-3D engine sprang as much from the limitations of such hardware as it did from John Carmack’s philosophy that, any time it came down to a contest between fidelity to the real world and speed, the latter should win.

He still held to that philosophy as firmly as ever when he moved on to DOOM, but the slow progression of the market’s trailing edge did give him more to work with: he designed DOOM for at least an 80386-based computer — 80486 recommended — with at least 4 MB of memory. He was able to mostly ignore that bane of a generation of programmers, MS-DOS’s inability to seamlessly address memory beyond 640 K, by using a relatively new piece of software technology called a “DOS extender,” inspired to a large extent by Microsoft’s recent innovations for their MS-DOS-hosted versions of Windows. By transparently shifting the processor between its real and protected modes on the fly, Rational Systems’s “DOS/4GW” could make it seem to the programmer as if all of the machine’s memory was as effortlessly available as the first 640 K. DOS/4GW was included in the latest versions of what had heretofore been something of an also-ran in the compiler sweepstakes: the C compiler made by a small Canadian company known as Watcom. Carmack chose the Watcom compiler because of DOS/4GW; DOOM would quite literally have been impossible without it. In the aftermath of DOOM‘s prominent use of it, Watcom’s would become the C compiler of choice for game development, right through the remaining years of the MS-DOS-gaming era.

Rational Systems, the makers of DOS/4GW, were clever enough to stipulate in their licensing terms that the blurb above must appear whenever a program using it is started. Thus DOOM served as a prominent advertisement for the new software technology as it exploded across the world of computing in 1994. Soon you would have to look far and wide to find a game that didn’t mention DOS/4GW at startup.

Thanks not only to these new affordances but also — most of all, really — to John Carmack’s continuing evolution as a programmer, the DOOM engine advanced beyond that of Wolfenstein 3D in several important ways. Ironically, his work on the detested censored version of Wolfenstein 3D for the Super NES, a platform designed with 2D sprite-based games in mind rather than 3D graphics, had led him to discover a lightning-fast new way of sorting through visible surfaces, known as binary space partitioning, in a doctoral thesis by one Bruce Naylor. It had a well-nigh revelatory effect on the new engine’s capabilities.

That said, the new engine did remain caught, like its predecessor, in a liminal space between 2D and true 3D; it was just that it moved significantly further on the continuum toward the latter. No longer must everything and everyone exist on the same flat horizontal plane; you could now climb stairs and jump onto desks and daises. And walls must no longer all be at right angles to one another, meaning the world needed no longer resemble one of those steel-ball mazes children used to play with.

The DOOM level editor was a much more complicated tool than its Wolfenstein 3D equivalent, reflecting the enhanced capabilities of John Carmack’s latest engine. Most notably, the designer now had at his disposal the third dimension of height.

On the other hand, walls must still all be exactly vertical, and floors and ceilings must all be exactly horizontal; DOOM allowed stairs but not hills or ramps. These restrictions made it possible to map textures onto the environment without the ugly discontinuities that had plagued Blue Sky Productions’s earlier but more “honest” 3D game Ultima Underworld. Texture mapping in DOOM, while by no means perfectly perspective-correct, was at least closer to that ideal than in the older game. DOOM makes such a useful study in game engineering because it so vividly illustrates that faking it convincingly for the sake of the player is better than simulating things which delight only the programmer of the virtual world. Its engine is perfect for the game it wants to be.

In a telling sign of John Carmack’s march toward a more complete 3D engine, the monsters in DOOM were sculpted as three-dimensional physical models by Adrian Carmack and Greg Punchatz, an artist hired just for the task. (The former is shown above.) The id boys then took snapshots of the models from eight separate angles for insertion into the game.

The value of the simple addition of height to the equation was revealed subtly — admittedly not an adverb often associated with DOOM! — as soon as you started the game. Instead of gliding smoothly about like a tram, your view now bobbed with uncanny verisimilitude as you ran about. You might never consciously notice the effect, but it made a huge difference to your feeling of really being in the world; if you tried to go back to Wolfenstein 3D after playing DOOM, you immediately had the feeling that something was somehow off.

But the introduction of varying height was most important for what it meant in terms of the game’s tactical possibilities. Now monsters could stand on balconies and shoot fireballs down at you, or you could do the same to them. Instead of a straightforward shooting gallery, the world of DOOM became a devious place of traps and ambushes. A clever hack allowed for portals such as windows, adding another level of tactical depth. (Walls with windows were actually implemented as free-standing objects in the engine rather than “real” walls; the same technique allowed for many other types of partial barriers.) Carmack’s latest engine also supported variable levels of lighting for the first time, which opened up a whole new realm of both dramatic and tactical possibility in itself; entering an unexplored pitch-dark room could be, to say the least, an intimidating prospect.

This outdoor scene nicely showcases some of the engine’s capabilities. Note the fireball flying toward you. It’s implemented as a physical object in the world like any other.

In addition, the new engine dramatically improved upon the nearly non-existent degree of physics simulation in Wolfenstein 3D. Weight and momentum were implemented; even bullets were simulated as physical objects in the world. A stereo soundscape was implemented as well; in addition to being unnerving as all get-out, it could become another vital tactical tool. Meanwhile the artificial intelligence of the monsters, while still fairly rudimentary, advanced significantly over that of Wolfenstein 3D. It was even possible to lure two monsters into fighting each other instead of you.

John Carmack also added a modicum of support for doing things other than killing monsters, although to nowhere near the degree once envisioned by Tom Hall. The engine could be used to present simple forms of set-piece puzzles, such as locked doors and keys, switches and levers for manipulating parts of the environment: platforms could move up and down, bridges could extend and retract. And in recognition of this added level of complexity, which could suddenly make the details of the geography and your precise position within it truly relevant, the engine offered a well-done auto-map for keeping track of those things.

The DOOM automap, an impressive technical achievement in itself.

Of course, none of these new affordances would matter without level designs that took advantage of them. The original plan was for Tom Hall and John Romero to create the levels. But, as we’ve seen, Hall just couldn’t seem to hit the mark that the id boys were aiming for. After finally dismissing him, they realized that Romero still needed helped to shoulder the design burden. It arrived from a most unlikely source — from a fellow far removed from the rest of the id boys in age, experience, and temperament.

Sandy Petersen was already a cult hero in certain circles for having created a tabletop RPG called Call of Cthulhu in 1981. Based on the works of the horror writer H.P. Lovecraft, it was the first RPG ever to convincingly transcend the kill-monsters-to-level-up-so-you-can-kill-bigger-monsters dynamic of Dungeons & Dragons. But Call of Cthulhu remained a cult game even when the tabletop-RPG boom was at its height, and by the early 1990s Petersen was serving as an in-house design consultant at the computer-game publisher MicroProse. Unhappy in this role, he sent his résumé to the upstart id.

The résumé was greeted with considerable skepticism. It’s doubtful whether any of the id boys fully grasped the significance of Petersen’s achievement with Call of Cthulhu; while they were hardcore tabletop-RPG players, they were perfectly happy with the traditional power-gaming approach of Dungeons & Dragons, thank you very much. Still, the résumé was more impressive than any other they had received, and they did urgently need a level designer… they called him in for an interview.

Their initial skepticism wasn’t lessened by the man himself. Petersen was pudgy and balding, looking even older than his already ancient 38 years, coming across rather like a genial university professor. And he was a devout Mormon to boot, washed up among this tribe of atheists and nihilists. Surely it could never work out.

Nevertheless, they decided to grant him the favor of a test before they rejected him; he had, after all, flown all the way from Baltimore to Dallas just to meet with them. They gave him a brief introduction to the DOOM engine and its level editor, and asked him to throw something together for them. Within minutes, Petersen produced a cunningly dramatic trap room, featuring lights that suddenly winked out when the player entered and a demon waiting in ambush behind a hidden door. He was hired.

Romero and Petersen proved to complement each other very well, with individual design aesthetics that reflected their personalities. Romero favored straight-up carnage — the more demon blood the better — while Petersen evinced a subtler, more cerebral approach in levels that could almost have a puzzle-like feel, where charging in with shotgun blazing was usually not the best tactic. Together the two approaches gave the game a nice balance.

Indeed, superb level design became DOOM‘s secret weapon, one that has allowed it to remain relevant to this day, when its degree of gore and violence seems humdrum, its pixels look as big as houses, and the limitations of its engine seem downright absurd. (You can’t even look up or down, for Pete’s sake. Nor is there a “jump” command, meaning that your brawny superman can be stopped in his tracks by an inconveniently high curb.)

It’s disarmingly easy to underestimate DOOM today on your first encounter with it, simply because its visual aesthetic seems so tossed-off, so hopelessly juvenile; it’s the same crude mixture of action movies, heavy-metal album covers, and affected adolescent nihilism that defined the underground game-cracking scene of the 1980s. And yet behind it all is a game design that oozes as much thought and care as it does blood. These levels were obsessed over by their designers, and then, just as importantly, extensively critiqued by the other id boys and their immediate hangers-on, who weren’t inclined to pull their punches. Whatever your opinion of DOOM as a whole and/or the changes it wrought to the culture of gaming — I for one have thoroughly mixed feelings at best on both of those subjects — one cannot deny that it’s a veritable clinic of clever level design. In this sense, it still offers lessons for today’s game developers, whether they happen to be working inside or outside of the genre it came to define.

Subtle DOOM isn’t…

DOOM‘s other, not-so-secret weapon went by the name of “deathmatch.”

There had been significant experimentation with networked gaming on personal computers in the past: the legendary designer Dani Bunten Berry had spent the last half-decade making action-strategy games that were primarily or exclusively intended to be played by two humans connected via modem; Peter Molyneux’s “god game” Populous and its sequels had also allowed two players to compete on linked computers, as had a fair number of others. But computer-to-computer multiplayer-only games never sold very well, and most games that had networked multiplayer as an option seldom saw it used. Most people in those days didn’t even own modems; most computers were islands unto themselves.

By 1993, however, the isolationist mode of computing was slowly being nibbled away at. Not only was the World Wide Web on the verge of bursting into the cultural consciousness, but many offices and campuses were already networked internally, mostly using the systems of a company known as Novell. In fact, the id boys had just such a system in their Dallas office. When John Carmack told John Romero many months into the development of DOOM that multiplayer was feasible, the latter’s level of excitement was noteworthy even for him: “If we can get this done, this is going to be the fucking coolest game that the planet Earth has ever fucking seen in its entire history.” And it turned out that they could get it done because John Carmack was a programming genius.

While Carmack also implemented support for a modem connection or a direct computer-to-computer cable, it was under Novell’s IPX networking protocol that multiplayer DOOM really shined. Here you had a connection that was rock-solid and lightning-fast — and, best of all, here you could have up to four players in the same world instead of just two. You could tackle the single-player game as a team if you wanted to, but the id boys all agreed that deathmatch — all-out anarchy, where the last man standing won — was where the real fun lived. It made DOOM into more of a sport than a conventional computer game, something you could literally play forever. Soon the corridors at id were echoing with cries of “Suck it down!” as everyone engaged in frenzied online free-for-alls. Deathmatch was, in the diction of the id boys, “awesome.” It wasn’t just an improvement on what Wolfenstein 3D had done; it was something else from it that was genuinely new under the sun. “This is the shit!” chortled Romero, and for once it sounded like an understatement.

The excitement over DOOM had reached a fever pitch by the fall of 1993. Some people seemed on the verge of a complete emotional meltdown, and launched into overwrought tirades every time Jay Wilbur had to push the release date back a bit more; people wrote poetry about the big day soon to come (“The Night Before DOOM“), and rang id’s offices at all hours of the day and night like junkies begging for a fix.

Even fuddy-duddy old Computer Gaming World stopped by the id offices to write up a two-page preview. This time out, no reservations whatsoever about the violence were expressed, much less any of the full-fledged hang-wringing that had been seen earlier from editor Johnny Wilson. Far from giving in to the gaming establishment, the id boys were, slowly but surely, remaking it in their own image.

At last, id announced that the free first episode of DOOM would go up at the stroke of midnight on December 10, 1993, on, of all places, the file server belonging to the University of Wisconsin–Parkside. When the id boys tried to log on to do the upload, so many users were already online waiting for the file to appear that they couldn’t get in; they had to call the university’s system administrator and have him kick everyone else off. Then, once the file did appear, the server promptly crashed under the load of 10,000 people, all trying to get DOOM at once on a system that expected no more than 175 users at a time. The administrator rebooted it; it crashed again. They would have a hard go of things at the modest small-town university for quite some time to come.

Legend had it that when Don Woods first uploaded his and Will Crowthers’s game Adventure in 1977, all work in the field of data processing stopped for a week while everyone tried to solve it. Now, not quite seventeen years later, something similar happened in the case of DOOM, arguably the most culturally important computer game to appear since Adventure. The id boys had joked in an early press release that they expected DOOM to become “the number-one cause of decreased productivity in businesses around the world.” Even they were surprised by the extent to which that prediction came true.

Network administrators all over the world had to contend with this new phenomenon known as deathmatch. John Carmack had had no experience with network programming before DOOM, and in his naïveté had used a transmission method known as a broadcast package that forced every computer on the network, whether it was running DOOM or not, to stop and analyze every packet which every DOOM-playing computer generated. As reports of the chaos that resulted poured in, Carmack scrambled to code an update which would use machine-to-machine packets instead.

In the meantime, DOOM brought entire information-technology infrastructures to their knees. Intel banned the game; high-school and university computers labs hardly knew what had hit them. A sign posted at Carnegie-Mellon University before the day of release was even over was typical: “Since today’s release of DOOM, we have discovered [that the game is] bringing the campus network to a halt. Computing Services asks that all DOOM players please do not play DOOM in network mode. Use of DOOM in network mode causes serious degradation of performance for the players’ network, and during this time of finals network use is already at its peak. We may be forced to disconnect the PCs of those who are playing the game in network mode. Again, please do not play DOOM in network mode.” One clever system administrator at the University of Louisville created a program to search the hard drives of all machines on the network for the game, and delete it wherever it was found. All to no avail: DOOM was unstoppable.

But in these final months of the mostly-unconnected era of of personal computing — the World Wide Web would begin to hit big over the course of 1994 — a game still needed to reach those without modems or network cards in their computers in order to become a hit on the scale that id envisioned for DOOM. Jay Wilbur, displaying a wily marketing genius that went Scott Miller one better, decided that absolutely everyone should be allowed to distribute the first episode of DOOM on disk, charging whatever they could get for it: “We don’t care if you make money off this shareware demo. Move it! Move it in mass quantities.” For distribution, Wilbur realized, was the key to success. There are many ways to frame the story of DOOM, but certainly one of them is a story of guerrilla marketing at its finest.

The free episode of DOOM appeared in stores under many different imprints, but most, like this Australian edition, used the iconic cover id themselves provided. John Romero claims that he served as the artist’s model for the image.

The incentives for distribution were massive. If a little mom-and-pop operation in, say, far-off Australia could become the first to stick that episode onto disks, stick those disks in a box, and get the box onto store shelves, they could make a killing, free and clear. DOOM became omnipresent, inescapable all over the world. When you logged into CompuServe, there was DOOM; when you wandered into your local software store, there was DOOM again, possibly in several different forms of packaging; when you popped in the disk or CD that came with your favorite gaming magazine, there it was yet again. The traditional industry was utterly gobsmacked by this virulent upstart of a game.

As with Wolfenstein 3D, a large majority of the people who acquired the first episode of DOOM in one way or another were perfectly satisfied with its eight big levels and unlimited deathmatch play; plenty of others doubtless never bothered to read the fine print, never even realized that more DOOM was on offer if they called 1-800-IDGAMES with their credit card in hand. And then, of course, there was the ever-present specter of piracy; nothing whatsoever stopped buyers of the paid episodes from sharing them with all of their DOOM-loving friends. By some estimates, the conversion rate from the free to the paid episodes was as low as 1 percent. Nevertheless, it was enough to make the id boys very, very rich.

Sometimes $100,000 worth of orders would roll in on a single day. John Carmack and John Romero each went out and bought a new Ferrari Testarossa; now it was the turn of Scott Miller and George Broussard to look on the id boys’ cars with envy. Glossy magazines, newspapers, and television news programs all begged to visit the id offices, where they wondered over the cars in the parking lot and the unkempt young men inside screaming the most horrid scatological and sexual insults at one another as they played deathmatch. If nothing else, the id boys were certainly a colorful story.

The id boys’ cars got almost as much magazine coverage as their games. Here we see John Carmack with his Ferrari, which he had modified to produce 800 horsepower: “I want dangerous acceleration.”

Indeed, the id story is as close as gaming ever came to fulfilling one of its most longstanding dreams: that of game developers as rock stars, as first articulated by Trip Hawkins in 1983 upon his founding of Electronic Arts. Yet if Hawkins’s initial stable of developers, so carefully posed in black and white in EA’s iconic early advertisements, resembled an artsy post-punk band — the interactive version of Talking Heads — the id boys were meat-and-potatoes heavy metal for the masses — Metallica at their Black Album peak. John Romero, the id boy who most looked the part of rock star, particularly reveled in the odd sort of obsequious hero worship that marks certain corners of gamer culture. He almost visibly swelled with pride every time a group of his minions started chanting “We’re not worthy!” and literally bowed down in his presence, and wore his “DOOM: Wrote It!” tee-shirt until the print peeled off.

The impact DOOM was having on the industry had become undeniable by the time of the Summer Consumer Electronics Show in June of 1994. Here everyone seemed to want in on id’s action. The phrase “first-person shooter” had yet to be invented, so the many soon-to-be-released games of the type were commonly referred to as “DOOM clones” — or, as Computer Gaming World preferred, “DOOM toos.” The same magazine, still seeming just a trifle ambivalent about it all, called it the “3D action fad.” But this was no fad; these games were here to stay. The boxed publishers who had scoffed at the shareware scene a year or two before were now all scrambling to follow id’ lead. LucasArts previewed a DOOM clone set in the Star Wars universe; SSI, looking for a new lease on life after losing their coveted Dungeons & Dragons license, had multiple games of the type, including one using a rented version of id’s own technology.

And then, inevitably, there was id’s own DOOM II: Hell on Earth. As a piece of game design, it evinced no sign of the dreaded sophomore slump that afflicts so many rock groups — this even though it used the exact same engine as its predecessor, and even though John Romero, id’s rock-star-in-chief, was increasingly busy with extracurriculars and contributed only a handful of levels. His slack was largely taken up one American McGee, the latest scruffy rebel to join the id boys, a 21-year-old former auto mechanic who had suffered through an even more hardscrabble upbringing than the two Johns. After beginning at id as a tester, he had gradually revealed an uncanny talent for making levels that combined the intricacy of Sandy Petersen’s with the gung-ho flair of John Romero’s. Now, he joined Petersen and, more intermittently, Romero to create a game that was if anything even more devious than its predecessor. The id boys had grown cockier than ever, but they could still back it up.

John Romero in 1994, doing something the other id boys wished he would do a bit more of: making a level for DOOM II.

They were approached by a New York City wheeler-and-dealer named Ron Chaimowitz who wanted to publish DOOM II exclusively to retail. He had never had anything to do with computer games before; he had made his name in the music industry, where he had broken big acts like Gloria Estefan and Julio Iglesias, then moved on to publish Jane Fonda’s workout videos through his company GoodTimes Entertainment. But he had distribution connections — and, as Jay Wilbur has so recently proved, distribution often means everything. GoodTimes sold millions of videotapes through Wal-Mart, the exploding epicenter of heartland retail, and Chaimowitz promised that his new software label would be able to leverage those connections. He further promised to spend $2 million on advertising. He would prove as good as his word in both respects. Chaimowitz’s new software label, which he named GT Interactive, manufactured an extraordinary 600,000 copies of DOOM II prior to its release, marking by far the largest initial production run in the history of computer gaming to date.

In marked contrast to the simple uploading of the first episode of the original DOOM, DOOM II was launched with all the pomp and circumstance that $2 million could provide. A party to commemorate the event took place on October 10, 1994, at a hip Gothic night club in New York City which had been re-decorated in a predictably gory manner. The party even came complete with protesters against the game’s violence, to add that delicious note of controversy that any group of rock stars worth their salt requires.

At the party, a fellow named Bob Huntley, owner of a small Houston software company, foisted a disk on John Romero containing “The Dial-Up Wide-Area Network Games Operation,” or “DWANGO.” Using it, you could dial into Huntley’s Houston server at any time to play a pick-up game of DOOM deathmatch with a stranger who might happen to be on the other side of the world. Romero expressed his love for the concept in his trademark profane logorrhea: “I like staying up late and I want to play people whenever the fuck I want to and I don’t want to have to wake up my buddy at three in the morning and go, ��Hey, uh, you wanna get your skull cracked?’ This is the thing that you can dial into and just play!” He convinced the other id boys to give DWANGO their official endorsement, and the service went live within weeks. For just $8.96 per month, you could now deathmatch any time you wanted. And thus another indelible piece of modern gaming culture, as well as a milestone in the cultural history of the Internet, fell into place.

DOOM was becoming not just a way of gaming but a way of life, one that left little space in the hearts of its most committed adherents for anything else. Some say that gaming became better after DOOM, some that it became worse. One thing that everyone can agree on, however, is that it changed; it’s by no means unreasonable to divide the entire history of computer gaming into pre-DOOM and post-DOOM eras. Next time, then, in the concluding article of this series, we’ll do our best to come to terms with that seismic shift.

(Sources: the books Masters of Doom by David Kushner, Game Engine Black Book: Wolfenstein 3D and Game Engine Black Book: DOOM by Fabien Sanglard, and Principles of Three-Dimensional Computer Animation by Michael O’Rourke; Retro Gamer 75; Game Developer premiere issue and issues of June 1994 and February/March 1995; Computer Gaming World of July 1993, March 1994, July 1994, August 1994, September 1994. Online sources include “Apogee: Where Wolfenstein Got Its Start” by Chris Plante at Polygon, “Rocket Jump: Quake and the Golden Era of First-Person Shooters” by David L. Craddock at Shack News, Benj Edwards’s interview with Scott Miller for Gamasutra, Jeremy Peels’s interview with John Romero for PC Games N, and Jay Wilbur’s old Usenet posts, which can now be accessed via Google Groups. And a special thanks to Alex Sarosi, better known in our comment threads as Lt. Nitpicker, for pointing out to me out how important Jay Wilbur’s anything-goes approach to distribution of the free episode of DOOM was to the game’s success.

The original Doom episodes and Doom II are available as digital purchases on GOG.com.)

source http://reposts.ciathyza.com/the-shareware-scene-part-4-doom/

[thesteadydietofeverything]

Video Game Year in Review: Remakes, Remasters, and Re-releases

I’ve never made a list of remakes, remasters, and re-releases before, but then again, I don’t think I’ve ever played so many in a single year to even be able to. 2018 was a particularly busy year in this end of video game releases, nearly exclusively due to the Nintendo Switch. Now in its second year, the Switch may have been light on brand new first party titles, but the rush of seemingly every developer to get new and old games alike on the portable console came into full swing. “When’s that game coming to Switch?” has turned into a question that could be reasonably applied to...just about every game, but perhaps no more so than great Nintendo games originally released on their previous, unsuccessful console, the Wii U. These games enjoyed a second life in 2018, with many, including myself, playing 2014 games that we never got to as if they’re brand new. Switch re-releases don’t account for every game on this list, but they are a very clear majority...

5. Bayonetta (Switch remaster) - This is the one game on this list that I actually didn’t like. But I tried. Like it’s spiritual cousin, Devil May Cry, Bayonetta is a game that makes you feel shitty for not being good at it. I consistently got low grades on my combat performance, but didn’t feel like the game was offering any particularly helpful guidance in how to improve. It just kept pushing me forward, with dwindling currency, supplies, and patience, all the while just being a bit of a dick to me. If I found gameplay to be more fun, maybe I also would have been more willing to be entertained by its puerile, edgy aesthetic, but as it was, that just became another thing to grate on my nerves. If there’s one thing I gained from this game, it’s the assurance that not every popular game from the late 2000’s that I missed out on while I was barely playing video games is worth catching up on.

4. Donkey Kong Country: Tropical Freeze (Switch re-release) - The Donkey Kong Country games have always eluded me. I never had a SNES, so I couldn’t quite get into the bizarre proto-3D graphics of the originals once I finally checked them out. Tropical Freeze is the game that finally proved to me why people love these games so much. Donkey Kong is an unusual platforming star - his hulking frame gives him a slightly out of control momentum that is off putting until it’s suddenly satisfying, and that moment within the first couple hours of play where how to control him suddenly clicked was the start of two weeks of compulsively playing this game to completion during my summer break.

3. Captain Toad: Treasure Tracker (Switch re-release) - What a unique game. A puzzle platformer whose main mechanic sometimes feels like your player character’s lack of an ability to jump. With a perfectly minimalistic mobility design ethos, this delightful experiment encourages you to explore the little 3D dioramas that make up its levels to completion. I’ve been obsessively mining each of them for all they’ve got before moving on to the next one, and it’s slow going - I’ve still probably got about ⅔ left of the game to go. But the thought of it is actually making look forward to my upcoming, otherwise painfully long flight to Japan, because absorbing myself in this seems like the perfect way to make hours go by without notice.

2. Dark Souls: Remastered - Before this remaster, I had played brief moments of the original Dark Souls on a friend’s PS3. Really, though, Bloodborne is where I fell in love with Souls-style games, and last year I obsessed over the excellent, overlooked Nioh. Finally coming to this game after more recent games in its style was a mixed experience for me. Obviously, the rather plain, blocky textures of the last generation are already aging quickly, but the game still has enough style and atmosphere that I wasn’t particularly bothered by that aspect of it. The combat, however, felt...bland. I know, I know, this game and its predecessor, Demon’s Souls, are praised for revolutionizing action RPG combat, with their tight controls and deliberate moves. If it weren’t for this game, the combat I love in Bloodborne and Nioh wouldn’t exist. But having put so many dozens of hours into Nioh, a game with combo attack strings and multiple stances, made the switch back to a game where each weapon basically only has two attacks, feel just kinda elementary. Not easy, mind you - despite my experience with this style, I still found this game to be welcomingly challenging, but performing the same moves over and over again just wore thin.

Nevertheless, this game has something that no game inspired by it has quite been able to replicate, or even, seemingly, really tried to, and that’s the incredible, interlocking level design. Yeah, Dark Souls 3 and especially Bloodborne obviously pull some similar magic tricks in connecting separate sections together, but regardless, feel like fairly linear games. Firelink Shrine in this game has three separate directions you can head in to start with, and the paths just keep branching from there. This game puts remarkable trust in the player in her ability and desire to explore, experiment, and undoubtedly die many times before finding the path of least resistance (because even that path offers plenty of resistance). This is the aspect of Dark Souls that kept me going. Not only has it not aged a day, it’s almost even more impressive in retrospect, a lightning-in-a-bottle kind of  flash of creative genius.

1. Yakuza Kiwami 2 - Last year’s Yakuza 0 was my first Yakuza game, and this year’s Yakuza Kiwami 2 was my fourth. As you might have guessed, I’ve fallen very, very hard for this series. For those not familiar, Kiwami 2 is a remake of Yakuza 2, originally on PS2, just as last year’s Yakuza Kiwami was a remake of the original game. While that game used 0’s engine, which was made for PS3 originally, Kiwami 2 uses the brand new, very pretty engine used for Yakuza 6: The Song of Life, which was released earlier this year. This game recreates just about everything in the original game, and adds a hell of a lot more. This feels so much like a brand new game to me that I considered just putting in on my main top 10, and honestly, the reason that I didn’t had less to do with the fear of breaking any non-existent rules about what qualifies for a year-end list, and more to do with the fact that The Song of Life was already on there, and I just wanted more space to talk about how much I love the shit out of Yakuza.

This game improves on Kiwami in just about every aspect. The main story is a lot more compelling, and it’s obvious that Yakuza 2 is tonally where this series really came into its own, with its so-serious-it’s-actually-kinda-funny Japanese gangster soap opera, mixed with deliberately silly as hell sub stories. In particular, there are two very deep and expansive side stories built around mini-games added to this game: the cabaret club management game borrowed and modified from 0 and the Majima construction clan battles borrowed and modified from The Song of Life. While I appreciated these in those respective games, something about the execution in this game just got me absolutely obsessed. Kiryu’s roll that he fits into with the misfit hostesses of the cabaret club and their scrappy underdog story is my happy place. The older professional wrestlers that play the mumbly, grumpy businessmen/fighters in the clan battle mini-game led to a couple of scenes that had me gleefully cackling out loud. Starting this game out, I had arguably already spent more than enough time playing Yakuza games over the last couple years, but it’s a testament to just how endearing this game is that after 40 or so hours of play, if Kiwami 3 were to suddenly be surprise announced and released, I would have been happy to jump straight into it.