#very cool visuals and settings and really fun ways of storytelling

[paradoxgavel]

ough. just finished 100%ing the help wanted dlc, corn maze ending and all. i am so excited to never have to play another fuckin plushbaby level for the rest of my life god bless

[charcubed]

I watched Sinners in IMAX a few days ago.

I saw it after a long work day and basically had a religious experience.

My friend and I talked about it in the parking lot for an hour, and then I got home at 11:30pm and fell asleep with my phone in my hand at 1AM while writing down my thoughts about it in a doc (at the request of another friend). I took a half day off of work the next day to sleep in and wrote for 4 more hours, then finished cleaning up the doc a couple days later.

So here's about 4,000 words (?!?!) of my thoughts on this incredible fucking masterpiece of a movie.

Certainly not expecting anyone to read this but I do want to put it here for myself :) Because this is how I have fun for some reason!

Disclaimers:

I’m not Black so I’m obviously discussing topics outside the realm of my experience / culture and could be completely off the mark on anything. Apologies in advance if I am. I also assume I’m not the first to say any of this analysis.

These are my initial thoughts and interpretations before deep-diving or Googling or reading interviews about this movie! (That's my rule.) Just from my brain’s first watch and my limited knowledge of history and sociology.

---------------

-I cannot fucking wait to rewatch this movie with subtitles someday because I know for a FACT I missed some things.

-I liked how Stack drove the red car and Smoke drove the blue truck :) so cute. I was like yaaayyy, hammer home this visual separation so I can get a sense of them as individual people before we keep going, thank you <3 so many good framing and color and lighting choices throughout this movie that foreshadowed things too!

-Lowkey I totally get why people probably want sequels and spinoffs of this universe to learn more lore, but I felt very content with where it left us. The themes/subtext are so strong and so well-executed that the story feels fairly complete in that regard to me because it had things to say and said them well. Not to say the metaphors couldn’t be continued in more storytelling and worldbuilding, obviously, and I’d eat it up if they did decide to do it… But I also think what we got feels fairly satisfying to me.

-However: WHERE IS MY CHOCTAW NATION VAMPIRE HUNTERS SPINOFF. GODDAMN!!! Also love how we get them for literally 3 minutes and they embody every aspect of this movie’s messaging perfectly. Insanely cool shit

Okay anyway

-The opening intro makes such a bold claim about how the music we’re about to hear that’s so incredibly beautiful. It talks of music that transcends time and holds so much power it attracts outside dark forces. And then… when Sammie first plays and opens his mouth to sing… Stack’s reaction is our reaction in the audience, because that claim is immediately upheld as believable. You immediately believe the folklore’s validity because of his skills. Astonishing feat. Holy fucking shit. God I love blues music

-The opening sets up the unsubtle thesis, but then Slim’s story in the car (and its beautiful sound design!!!) after they see the slaves take encouragement / heart through music underscores it all. It felt like a powerful tool to further set up a grounding for the supernatural we were about to see play out, and a reminder of its intended metaphors. Slim’s brother was a blues player who was lynched for the crime of simply existing in his Black joy and trying to get to make a bigger life for himself, and (as Annie later tells Smoke) money was no true power that could save him. In fantasy and reality, when people of color are just living with authentic joy by enjoying their own unique culture and music and lives, it attracts white supremacists who want to gleefully, hatefully leech from or destroy all of it.

-And then Ryan Coogler really was like, “Just in case you missed this movie’s unsubtle messages, we are going to be loud.” The way the vampire fight isn’t the final violence or the point… God. Instead, we end on the justified KKK slaughter. The real klan, the actual reason all of this happened because they set it up, the start of it all and the white supremacy that fuels the darkness. It says, These are the true monsters, and don’t you fucking forget it.

-But, our plot’s main monster is REMMICK. He’s no Southern white man. He’s specifically Irish! I fucking love that they did this. So much nuance here. Remmick has been isolated from his own people, heritage, and language through colonialism and the rise of the Baptist Christian church. Cornbread tells him (and the 2 Klan members…) that there are plenty of other spaces for them and their banjo music, and while of course he’s right – Black people (and POC in general) deserve their own safe spaces of expression, and too often white people are trying to encroach on those – for Remmick, there’s sadness here too. Those other white spaces are not his spaces either. He’s Irish and Celtic; they’re not his culture. He’s adrift and has no place, disconnected from his home, Othered by being an Irishman and a vampire, and the loss of his own culture and family has him desperately seeking attachment to others’ – but in the worst way. His fate is what he now violently forces onto others. While he ostensibly hates the KKK, he aligns with them indiscriminately in search of connection and his own survival, and he essentially helps them achieve their goal of destroying Black people – a mirror to how, in history, Irish people benefitted from white supremacy for their survival at the expense of Black people. (And a mirror, of course, to how white people broadly try to steal from Black culture daily.) Remmick’s message is basically “just assimilate and be free,” simultaneously asking them (especially Sammie) to assimilate into his culture for his sake because it’s what he needs, yet assimilation is clearly its own form of entrapment and death. It’s a tragedy that it was what Remmick was faced with as an Irishman, but it’s a larger inexcusable tragedy that he turned around and decided to perpetuate the same cycle of violence onto others in alliance with white supremacy.

-Of course, we see this most in the contrast between the music ensembles (and holy shit, SHOUT OUT TO THE ASPECT RATIO CHANGES IN THESE!!! Religious experience!!!). Sammie’s “I Lied to You” blues music is transformative and joyful, inspiring multicultural connection and appreciation that honors history and genres. It’s filled with warmth and life, and is perhaps even a hopeful depiction of the true melting pot of America. But Remmick’s “Rocky Road to Dublin” song with the vampires he’s turned has everyone washed out, looking and sounding homogeneous in a sinister way, blending together in the perfect terrifying depiction of what assimilation does. Individuality and different cultures are gone; there is now only this, powered by the violence of whiteness. Remmick’s supposed position being “We believe in equality” is of course a farce, and though he’s not motivated by racism (like the KKK), he has no qualms with aligning with its results. More importantly, his enforced assimilation in the name of supposed equality brings to mind the harmful modern adages of “I don’t see color” and other similar positionings which erase differences in culture rather than honor them. Add to that the moments where Remmick showcases having the memories and skills of people he’s turned, who are now all “connected” to each other but in a way where they’ve lost all individuality. When he speaks Chinese, it’s a moment of horror because it’s a language he didn’t learn for genuine connection but rather stole for cultural appropriation, and then he specifically uses it as a tool of violence (and threats of sexual assault!) against Grace.

-ANNIE. I find it fascinating how she kind of embodies the movie’s critique of the Christian church and evangelism as a tool of white supremacy to placate Black Americans and encourage or enforce assimilation. Annie practices (to my knowledge) hoodoo, occult magic from African culture and a form of spirituality that Christians would obviously deem evil and sinful. But here, her mojo bags and ancestral knowledge are the only things that keep anyone safe. (Notably, Christian crosses did nothing for protection.) She’s another layer to the concepts of being in touch with your culture and ancestors… and she chooses death rather than turning/assimilation or losing her sense of identity. I couldn’t help but think about the history of African slaves jumping overboard from ships because they chose to die on their own terms rather than live in enslavement.

-SLIM. He’s the Black elder who’s seen and experienced and survived horrendous, evil things. Yet despite it all, he’s the comedic relief of the movie. While Slim drinks to repress the trauma (which is objectively not the most healthy decision and it’s constantly pointed out), it doesn’t compromise his connection to his music or to his people. Despite everything, he’s still filled with joy and good humor and wisdom – something that feels very true to life in regards to the fortitude of so many Black elders. And when push comes to shove, he puts his life and body on the line to be ripped to shreds (not assimilated!) by the destructive forces coming for his culture and his people in an attempt to protect them. I fucking loved him.

-MARY. She’d be considered Black by the One-Drop Rule / Jim Crow laws, and she’s grown up in this community, but… she’s not really Black. She feels Othered by that, yes, and it was a natural continuation (to me) to know that was going to result in her becoming a vampire in the plot. Of course there’s a level of sympathy to be given to her and her situation, in the sense that she’s also a victim of segregation, as anyone in an interracial relationship was. She just wanted to live with the man she loves but society wasn’t structured to allow that. But at the end of the day, she still had safety in the ways she was able to move through the world as a white woman — and power. (Stack tells Sammie not to look at her at the train station; if white people claim a Black man looked at a white woman the wrong way, it can turn into a lynching.) It’s notable that Mary is able to go speak to the white people/vampires with less perceived risk to her in ways none of the Black people could… and then she’s also able to be metaphorically turned to their way of seeing things. It’s not an accident that she’s the first turned, then them letting her in and Smoke fucking her is what kickstarts their collective downfall. Mary was a “safe” white person for her Black family all their lives, until abruptly she wasn’t. A too true-to-life tragic possibility.

-PEARLINE. She’s a bold, unapologetic Black woman connected to her culture who chooses her own freedom and authenticity vs Christian traditionalism. A sinner through “infidelity” – a word which can mean being unfaithful to a partner, or unfaithful to religious/Christian belief. And she dies because of it.

-[Side note: super interesting to see the scene of Pearline’s musical beats being timed with the violence of Smoke and the other men killing a guy who was threatening the haven of solidarity and community they’d built. A commentary on being distracted by in-fighting while the real enemy and evil of white supremacy is on the move]

-GRACE. The embodiment of how, when shit is going down, POC solidarity can crumble. At the start, we see her and her family being on “both sides” with the white and Black stores, and able to cross between those 2 stark worlds/realities with ease. “We didn’t sign up for this,” Grace says, when the evil white people come for the Black people; the fun and the culture, but not the fight. Then she makes the selfish and individualized decision to let the evil in at the expense of everyone else. And yet… Her name. Grace. Does the story want us to grant her a little bit of it? I’d argue Smoke gives her grace, because he includes her and her husband in his fond and motivating memories of the earlier parts of the day. Is what Grace does defendable? No, but perhaps it’s meant to be understandable. In the moment, she’s not thinking of saving her own skin or uselessly trying to save her husband; she’s thinking of wanting to protect her daughter and the rest of the town, so instead of choosing passivity, she opts to protect them by addressing and destroying the monsters head-on so they can’t continue their evil mission. But unfortunately, in another example of lack of solidarity, she goes straight to destroy her husband and her fight stops there regardless of everyone else’s fight. Her vindictive revenge turns into mutual destruction because she burns up with him. And she’s perhaps also an example of how when someone is so focused on being combative with a person who broke their tradition they forget to focus on what they still have to protect.

-Speaking of names… lol. CORNBREAD. Obviously there was intentional comedic relief happening in the scene where he’s pissing in the woods and monsters are hidden around him whispering “Is that cornbread?” lmaaaooo but also… Not just silliness! Cornbread is historical food for survival and resilience that has roots in several different cultures. It stems from making something from very little under the forces of oppression and enforced famine, and it’s what the Indigenous people, Black Southern Americans, and the Irish all made. Something that should be or could be a source of connection and a way to let each other in (as he was the doorman!), but instead becomes another tool of violence and of a right vs wrong way to be.

-SMOKE. Violence as protection, and a burden to be shouldered for tenderness and love. He killed his father to protect Stack. He killed Annie because she asked him to. He sent Sammie away to face and kill the KKK men by himself, knowing he might be killing himself in the process. I think of the scene where he’s dying and Annie in the afterlife is watching him while holding their child. As Smoke unloads bullets into the dying klan member, she doesn’t flinch at his violence, and neither do we as the audience. It’s righteous and justified, and in the very next moment, he holds his daughter softly. The violence stands in contrast to his connection to his brother and lover and daughter, but it’s not antithetical to it or a threat to it. Defense of Black culture – and Black masculinity itself – is not inherently violent. Smoke is not his violent father; he broke that cycle too. He is tender and loving, and it’s the reason for his protectiveness and informs his violence that’s directed outward in defense of his family, and especially at the vampires and white supremacists. There’s also something to be said for how Smoke has these violent skills and weapons because he was a soldier in WWI. He served a country that treats him and his people as less than human. And Grace even tells him, “Aren’t you a soldier?” Yes, he was. He shouldn’t have to be at home. And yet, this too is a war, with him and his people being constantly besieged when all they want is peace. Along those lines: At first, Smoke thought that money could be a form of power, to the point of nearly slipping into valuing it more than community when it came down to payment for drinks at the juke joint. But he internalizes and learns especially from Annie that money can’t save you; money didn’t save Slim’s brother who was lynched, and the twins throwing money at a Klan member for the juke joint didn’t stop them from pulling up to their door. Smoke comes to fully learn that All we have is family, community, and our traditions, and we can’t let them take that. Perhaps that’s also part of the reason why he couldn’t kill Stack in the end, instead killing Remmick (as he killed their father) to give Stack his best chance at freedom.

-SMOKE & STACK. The older brother looking at his now-wayward younger brother who suddenly feels like a different person. The twin who looks at his mirrored self and doesn’t recognize who he sees anymore. Who is Stack now? Did Smoke fail him? But there’s something in Stack that is still him, even though he’s forever changed, and ultimately Smoke can’t destroy that. From one sibling to another, it’s the thought of “I can’t abide by or agree with what you’ve become but I can’t destroy you either.” There’s no me without you in the sense that we’re forever tied, but also in the sense that we were instrumental in making each other who we are, for better and worse.

-“ELIJAH MOORE” VS “STACK.” Names are powerful. Smoke’s real name is used in the end as a nod to the connections to his history and roots, and also to his truest self, which he reunites with just as he reunites with Annie, their child, and spirituality in death. Contrast this with Stack, who is going by his nickname in perpetuity – a half name that’s forever cut off from Smoke as the other half, and a disconnect from his old self he’s buried. In the end credit scene, STACK is seen on his ring and visually tied to stacks of money under his hand, aka empty power at high cost. It’s a sad reversal of Stack’s prior thoughts on community and people being more important than profit, when he and Annie were united at the juke joint in pushing back against Smoke’s pursuit of “American dollars.”

-SAMMIE and “This Little Light of Mine.” My goodness. At the start of the movie, Sammie’s preacher father wanted him to sing gospel as a way to lead others in the church, but he never gets to in the context/timeline of the movie. We only hear the choir singing it in the opening instead without Sammie’s involvement. But then, the final credits scene: Sammie has his guitar, which we know doesn’t exist anymore because it’s the guitar he used to fight off demons (literal and metaphorical), and now he’s singing it as a blues song. Did he sing it in church at an earlier point before the events of the movie? Who knows. Doesn’t matter. What matters is this: Sammie’s preacher father tried to give him an ultimatum. Put down the guitar; put down the blues music and the dancing and the sex; put down the sinning. It all attracts darkness, so come back to church and return to the Lord. Be pure. The Christian church, explicitly used as a tool of oppression that benefits white supremacy. But even after the horrors and trauma Sammie experiences – some of which he even draws in through his music (and metaphorically his “sinning”), which is not his fault – Sammie won’t let it go. He can’t. It’s who he is, and it’s his culture and connection to his ancestors, and there’s nothing sinful about any of it. The music, the dancing, the fucking, or anything else. It’s all beautiful, and the embracing of it all then necessitates (because of his father’s ultimatum) a level of rejection of the church in order to continue to live. But despite all of that… The church (and perhaps some redefined aspect of faith) is still a part of him and his culture too. He carries it with him, which is a relatable notion for many people who were raised religious and either chose to walk away or were forced to because of the inherit ultimatums in its restrictions. And so: Sammie had been told to lead and use his music to shine his little light all around the world. It may not be for the church or in the way his father wanted, but by God, he still went out and did just that. In his way, on his terms, without forgetting where he came from.

-Sammie stands in church at the start of the movie. His pastor father has been pushing, Give me the blues guitar. Rejoin our congregation. Sing gospel. Sammie stands in church and it’s intercut with flashbacks of Remmick attacking him. Give me your music. Join our clan. Sing Irish folk songs for me. And yeah, Sammie’s grip on that blues guitar stays real tight.

-[Side note, mostly kidding: all vampire stories could do with a bit of queerness. As merely a fun exercise, if I was choosing to make one aspect of this movie queer in a way that naturally further services the themes… I’d make Pearline a man. Have Sammie be a “sinner” in another dramatic sense by making him queer. What if on the best day of his life in the juke joint, he connects with another man through music and then fucks a man? Much to think about. But there’s a lot going on in this movie already of course, in a specific historical context. And people would’ve gotten too distracted from the various core messages about race and culture (because no one can be normal about seeing queer stuff and understanding intersectionality). But hey, that would’ve hit! And would’ve fit. Just an interesting and extremely unnecessary what if in the privacy of my own mind.]

-STACK (& MARY). Still alive, but dead inside. How good is the life they lead? Stack, when trying to convince Smoke to join the vampire clan, referred to the assimilation they were experiencing as a form of freedom because of the (tangential-to-whiteness) power. But not only is that freedom untrue and filled with conditions, it also comes at a high cost. Eternally separated from their family, divorced from culture, their old selves and lives dead and gone, with no one but Sammie left to remember who they really were. Frozen, adrift, unable to move on or grow. But here’s the thing: was it their fault? Both Mary and Stack’s turnings were nonconsensual. Their disconnection from and erasure of their culture was nonconsensual, and they became Different before they realized what was happening. Remmick is killed and they’re free of his influence and control now, but where does that leave them anyway? They’re still ostracized and left out in the cold, and can’t be let back in unless someone lets them in, which no one is inclined to do – except for Sammie. In Stack and Mary, we see the cost of leaving your cultural roots behind, or (more accurately) having them taken from you violently, forcefully, or through the inescapable encroaching influences of colonialism and white supremacy. As foreshadowed by Sammie’s question to Mary in the juke joint: what are they now? They’re something Other, trying to make their space in the world, and dressed not dissimilarly to the genres of music seen when Sammie’s blues transcended time. So maybe they’re trying to make their own spaces work. But in particular… Stack can’t fit with the white humans, and he can also never go home. Yet he and Mary long for home and for culture, and make an attempt to reconnect with it – which, incredibly, Sammie allows. Sammie is now (visually) the elder who lets the wayward young people back in. He literally embraces Stack – and I think it’s key that he doesn’t embrace Mary. Stack and Mary may be together, but the ways in which they’ve been changed and the disconnect they’re experiencing is undeniably different, because Stack is Black and Mary is not. Its relevance can’t be ignored. This moment and this culture is not hers in the same way. Sammie takes a last parting shot at that point and hammers the themes home by changing the lyrics of his “Travelin’”: I don't know why in the hell I'm here, because the woman I'm lovin', you know she really don’t care. Fully justified? Slightly unfair to her trauma? Maybe mostly the former and a tiny bit of the latter, and heartbreakingly understandable regardless.

[icarusthecryptid]

Keath's storytelling through their art is amazing.

Like, look at these characters, these concepts, these pictures. Every bit of media used to convey a story. It's honestly brilliant!

I've got so much to say about it so let me ramble about the Harkers today!

Each of these represent something, which is very neat. But the way each character is dressed, is designed, looks even, it tells you something! It's brilliant. The personalities out of clothing and designs.

The Storyteller, their entire design is a story. Every accessory, every detail, every layer. It tells you so much about them! The hat that covers eyes, which I think is a fun way to show how the past doesn't look forward. Uncovered mouth, because historically stories/legends/history was passed by word of mouth because most people couldn't read. Also most of the time it was through songs too! That's so cool. There's so much going on in the Storyteller's design and clothing, the feather accessories, the plants, the straws, the clothes and dress like attachments. The shoes! There's a million details, and each says something without actually saying anything at all. For a mysterious figure, I believe the storyteller has the most that's actually being told purely from a visual perspective. There is a mystery, but the past illuminates (get it? Storyteller has a lamp hehe). Visually, the Storyteller lives up to its name so well! This is a being you'd find at the side of the road, along the crowd, on a stage, to sing of a past, to tell a story. A forgettable but unforgettable being. Too many details that will overwhelm you with implications, too many stories, but not extravagant, still rooted in the past, the basics if you will. Straws are important here, fields, the outside, nature. Straws in the past have been used for so much, bedding, isolation, food for cattle, to soften places, and clothing like hats. Multi-purpose and helpful.

Okay, next the Storyteller's significant other, the Bell-Ringer or also known as Yarrow. Who represents the future! A goat like being who wears Bell's and expensive clothing. If the future is commonly associated with good fortune, this is exactly how it should be conveyed! Not too simple and not too extravagant, there's a lot of details, but they're still rich in its simplicity. Ruffles, straight lines, horns and branches. Bell-Ringer is tall (but not the tallest), imposing, regal, a crown of golden really. Stitched patches on their cheeks, which convey a doll-like being, even as a goat. Their eyes are unique, like all goats, horizontal. To me their eyes are a way to have a unique play on future insight. And the patches on the cheeks can convey that these are untold. Yarrow is colorful, bright, imposing and even knowing. A representation of the future in such a beautiful way. Bell's also!!! Bell's are so important, Bell's have been commonly used to announce big news, important events and presently more for the time. Ringing Bells on a street corner for news, ringing Bells to herd cattle, ringing Bells to celebrate. A bell for attention, now more to great people too. It's important here, and it can have a lot of implications. Does the bell ringing mean that something important happens where the Yarrow is? The future is the sound of bells.

The last two Harkers are a bit harder for me as I'm not super sure I have seen all their details. So I'm hoping I'm getting it right and not misinterpreting what I'm seeing.

Okay! Third, let's go with the Enkindled. The Enkindled is the shortest. Its name can mean several things, like set on fire or to inspire (emotions). With a tree like being that is messy, that is wooden but small, pretty simple and not too extravagant. I believe the Enkindled has the least amount of detailing, oh there's a lot of it don't get me wrong, but clothing and accessory wise, there isn't much. But it represents a tree like being, so that makes sense. The wood that branches is detailed enough. Trees are mesmerizing enough. A truly rooted figure that doesn't need much, but still can inspire. The smallest of things can give the most ideas. A single tree can tell a story, a forest tells more. Again, I still don't know much, but what I know is that there is heart in this being, contrary to what you glean from a first glance maybe. But trees have represented so much, like family trees. But also strength, individuality and expression, calmness, growth and the interconnectedness of everything. It's the heart of it, the beginning maybe. They represent order(?) and that's reflected in their design! Trees might look chaotic, but they're ordered in a way that makes sense. Branches serve a purpose, the way they form is the most ideal path for a tree. The order in which a tree grows, withers, lives or dies.

Lastly the Croon, the tallest and most imposing looking. It has feathers and matches the design of a bird, the skull is bird-like. It's body looks like a bird's. But that's not the only animal trait, moose antlers, a crown of spikes and claw-like hands. The Croon looks the most intimidating. And its name can be interpreted as a tone of voice, crooning, sentimental humming/singing/speaking. The croon represents entropy, entropy can mean the end or decay of things. With a skull representing their head I feel that that's really well conveyed. There's a chaos to their design, but it all makes sense still especially with the concept of entropy. Where things fall into disarray or decline. The Croon looks dosserayed.

I love the way that the Harkers are themed after story aspects. The Storyteller as a name tells a story, respecting the past as most stories are retellings. The Bell-Ringer, the future, every story has one, what comes after. The Enkindled, the heart, the idea of a story, that what motivates, but also the order of it, there is a way to tell a story that makes sense of the chaos within these events that are linked. The Croon represents entropy, the chaos in a story or the ending of it, the challenge or the struggle that simply is.

If I got anything wrong please don't get angry! I'm very much still learning about the lore and details, unfortunately my brain is far more focused towards details in art than all the smart stuff everyone else seems to get 😭 and please do correct me if I'm wrong on anything!

End of the day, I just really love the amount of attention and visual storytelling that was put into Yaelokre, the art was addmitably what got me so into this all. It was the first thing that really caught my attention. The songs and the story I love them too!

Thanks for reading :D (if you're still here) and I hope if anyone else wants to share their thoughts on designs and stuff they will! I can't wait to ramble about the lark too, but my brains too tired to talk any more so I'll leave this here for now :D

Have a doodle page as compensation for sitting through this!

[mliter]

Zenless Zone Zero.

This is the third game to come out of post-2020 Hoyoverse.

This game spent a lot of time being teased and marketed before it's release. With me, a game to really grab my attention is character design. This company already puts out solid stuff, but it's the aesthetic that doesn't get me. Star Rail and Genshin Impact's detailed lean into fantasy, while executed well, doesn't really get me.

You're put in the shoes of two siblings, Wise and Belle, on their journey to uncover what happened in the past, and clear a loved one's name. That's so freaking cool! They're even doing illegal shit on the down-low! That's so freaking cool!

Then comes along ZZZ. It's setting allowed for more of a grindfiction (i hope i used that word right) look. I saw people describing this as Jet Set Genshin Impact, hilariously.

For one, this game's character designs are top notch. They're not quite as busy as the previous two games I mentioned. They're fun and relatively simple. Clean color schemes, big shapes, differing species and unique silhouettes can be found across the roster. (Still no black people though. At this point, I shouldn't expect it.)

Continuing on with the characters, like any gacha game, they're the stars of the show. The team puts special care into each of them.

There's a serious sense of community between a large chunk of the cast. Everybody knows somebody, somehow. Either through a shared interest, a job together, school, or childhood. Everybody's got their own thing going on, and the writers show each of them the love they deserve. Thanks to this, it is very exciting to see two characters we know well meet for the first time.

While having their own presence in the world and lore, they can also be the main character of an update, out of the blue. Either through the main story, a special episode, an event, or an agent story. What's an agent story? An agent story is a story made for that specific character. They're usually released by the update. Everything that happens within them are canon, and they flesh out the character to a satisfying degree. (most of the time.) characters grow from the point that they were before the agent story, like Anby wearing her silver squad uniform in the most recent story chapter.

So what's this one about? Surprising most people today, this is a post apocalyptic story. This takes place in a earth where 90% of humanity has been wiped out by a mysterious force that produces monsters. A majority of the game takes place in New Eridu.

The more you read into the story, the more you learn this event's effect on society, and the drastic measures that have been taken because of it. Through the lenses of two siblings, you learn that It's everywhere. In the storytelling, in the characters, and in the environment.

ZZZ's gameplay is modeled after action games. Fast paced, flashy and exciting. You can tell that the developers grew up on titles like Tekken, Street Fighter, DMC and so on There's an attack button, a special button, a dodge button, and an ultimate button. Each character has their own passive system that can be activated through any of these buttons, keeping gameplay unique. Some of them aren't even activated by these buttons, they just work in the back!

There's a lot of things the player can do to maximize unit performance. W-Engines, disks, stat watching... It's pretty well made actually. It's just that in my case, it makes my head spin. Much to both my friends & followers's dismay. Luckily i have them to help me out with the number crunching and basic common sense.

My favorite bit from it is the parry animation. Special care was put into it. A cool camera angle, satisfying sound, and an exciting visual makes for an awesome experience. There is so much love put into this game.

Now that we have that out of the way, presentation. For me, it's the best part of the game. ZZZ takes a specific kind of care in its worldbuilding, aesthetic and character design that rivals Splatoon, actually. From the marketing, to the animation, to the options menu, there’s style to be found all around. Story beats are presented with AAA artwork in the style of an animated comic book. Casual conversations have a stylish transition to another screen where every character has their own animation. Character trailers are AAA productions in the style of... well, anything. They can, and will do anything. I see it as a celebration of creativity and art. There's a lot of professionals out there working in positions that don't let them to get this radical with what they're working on. I'd imagine any creative would enjoy working on a product like this.

Speaking of art, one thing i really like is when hand-drawn art is heavily incorporated in a videogame. ZZZ does this so well. I think my favorite example of this is the mindscape cinema. This works in stages, a piece of art of the character fully clothed. As the player whales out and rolls for more versions of the unit, a greyscale version of that art will be revealed to the player, more and more. Then, a final version of the character missing some articles of clothing is revealed. With how this game goes about suggestive content, you'd expect this to be crazy, but they're actually pretty tact about it. Regardless, it's a really cool display.

Zenless Zone Zero is one of the strongest titles to ever hit the scene for me. From the art direction, to the art itself, to the presentation, to the look, to the art, to the world, to the music, to the characters... I could keep going. Whereas I'm not too good at the game, i get my fun out of it by being lost in the world, the stories told within it, and the characters this story is about.

With a dev team that seems somewhat different from what hoyoverse is given trouble for... I hope more people play this game. It's a serious gem. I'm having so much fun with this game. And i can tell these guys are having just as much fun making it. Maybe even more.

[reelvibes91]

Frantic Finale for Your Friendly Neighborhood Spider-Man

Your Friendly Neighborhood Spider-Man had the tall task of making us believe this iteration is different. Through the 10 episode first season, it definitely did just that. How did the final 2 episodes stack up with the rest of the season?

Let's start with Episode 9. It is easily my personal favorite episode of this season. It gives us solid conclusions to Lonnie's season long story and provides a resolution to the Peter/Nico situation.

This episode showcases why long-term storytelling is key. Whether you like or dislike the way the story played it, they set out with a plan and definitely stuck to it. Lonnie remains my favorite character heading into the next season as he has fully embraced his role. The way the writers took their time to change his mindset and attitude over the course of the season was great.

The final episode of the season gave us a very cool full circle moment featuring Dr. Strange and OsCorp. This made it all make sense and provided a sense of closure to the origins part of the story.

Overall, this season was a solid introduction to what this show wants to do within the Spider-Man world. It provided solid enough structure to build upon in future seasons. There were plenty of names indicated in a scene that featured Harry near the end that could be really fun moving forward. There are a few things this show could have tightened up in the middle to make the action flow better. The ending two definitely fixed some of the pacing issues the prior episodes had established. Very well done in terms of visuals, and it has me intrigued to see where we go from here.

[dayntee]

So I finished Veilguard a while back, and of course I have thoughts. I'm sure none of them are original and have been plenty stated, but hey, we all need to mourn a game when we're done with it for better or worse, so here's mine.

Note: I wrote and queued this before I was aware of the layoffs at Bioware today. This is, in no way, meant to rub salt in the wound or point fingers. If anything, I'm gutted for the people who poured their heart into this game only to be found jobless today. I'm in the exact same position myself, and have nothing but empathy for the situation. To spoil what's below - I enjoyed my time with Veilguard. It could have been better, and if you're a dev that worked on it, you probably know that. I'm sorry it's turned out the way it has, but thank you for the experience regardless. It was a fun game.

Spoilers after the break, obviously. Be aware there will be discourse, but I'm not here specifically to bash. If anything, I'm actually still grateful for the experience.

Overall, I did enjoy my time with Veilguard. After all, my final save file was around the 85 hour mark, so clearly I had no issues continuing to sink time into the game. I itched to play when I wasn't, and I got my Solavellan ending I've been waiting 10 years for, and I damn near 100%'d the whole thing (including getting the hidden cinematic after the credits). So what went wrong? What did I not like? Why do I feel so… empty now that it's over?

If I were to summarize my issues and feelings with Veilguard, it's that it felt like it gave just enough to be passable content, but never committed to being a truly exemplary experience. In every way, from system design to companion design to overarching story to itemization, everything is fine… but not great.

Knowing that DAV went through development hell contextualizes a lot of these issues. If the art book is to be believed, the project had two full blown restart buttons pushed and many leadership handoffs. I've been in conversations, though, where folks ask "Why on earth could DA2 pull off a great storytelling experience, but DAV couldn't?"

There's something else at play, and after my own experiences in the game industry and squinting between the lines to try to glean what I think may have gone wrong, I have a hunch. Pure speculation ahead: I don't think leadership ever fully agreed on a committed vision.

The broad strokes are there, and they are strong:

The Lighthouse is a cool fucking hub. It grows with your group, responds to their needs, and shapes itself around you as you experience the world. The concept of this is dope AF.

The goal is closure on all the questions left unanswered after DAI. It does get to most of these, even if not as fully and as satisfying as some of us lore nerds would have liked.

Combat is fluid and pretty engaging (at least at first). It's simple, fun, and generally fulfills power fantasies well (for context, I specialized as a full Veil Jumper Archery Rogue).

WE GET TO EXPLORE NORTHERN THEDAS. This is so cool and a place we've all wanted to go for ages. TEVINTER. NEVARRA. WEISSHAUPT. All exciting prospects.

Level design and map design are pretty A+, imo. Landscapes and set dressings are beautiful and artfully crafted. Even if there are aspects of the visual design you disagree with, they committed to it and fulfilled it well.

Exploration is fun. I rarely hunt down every chest in a game. I could not stop treasure hunting for the life of me, and some of those hidden treasures felt really special and rewarding to uncover.

The cast of characters and factions you interact with are interesting and very different - from one another and from previous casts. It's nice to see some new tropes that either haven't been used or have been out of rotation for a while.

Solas is a good antagonist. He was before, and he still is, and biased Solasmancing aside - I always looked forward to the breaks in the game where I got to banter with the Egg.

Voice over cast is fantastic. I know some folks were less fond of non-British/American accents, but honestly, I was very fine with it. It reinforced that this part of Thedas, and this time in the overall storyline, is new and different. Thedas is changing, and so are its people.

All these things said - every single positive I have above feels like they were baseline requirements for a AAA Bioware RPG. That they don't go above and beyond these bare minimums is where the game feels like it fails, especially as a payoff for a critically acclaimed entry that's 10 years old and has a passionately dedicated fanbase.

A phrase I've been using a lot with folks is that DAV feels like the Lacroix of Dragon Age games. It's got the branding, it looks like Dragon Age, and it kind of tastes like Dragon Age, but… just barely. It leaves you feeling like it's lacking. It's a hint of it, and going back to drink it again doesn't quite satisfy you.

What we call this in game development is minimum viable product (MVP), which is usually trotted out at the point by production and/or leadership when you realize you've meandered on the project for so long that you just gotta ship something. This works if you're actually going to commit to polishing it up and continuing to make it better after launch for a live service game; fix it later is fine when that's a reasonable expectation.

But Veilguard walked back on that concept. It no longer was going to be live service, but a one-and-done, and the final, late pivot meant it just had less time to cook in its final form and likely a ton of wasted work that got chucked out. There are so many places where the experience feels like an alpha or beta version of what they actually wanted to do. The Lighthouse and Companions as a whole both exemplify this; they feel and look cool, but the experience of both are shallow and underdeveloped. They felt like they were missing something.

The most egregious issues, in my opinion, in no particular order:

Apologies in advance if they're your favorite, but Rook is probably the worst protagonist we've ever been given. Not because their concept is inherently bad, but because I couldn't really make them mine. Rook has no arc, makes few decisions that truly matter, and no moral conundrums barring maybe the Treviso/Minrathous decision. Even then—it feels like there's a right answer to that decision.

To explain: Minrathous gets fucked at the end of the game anyway. If you pick to save Minrathous, you've just doomed two metropolis level cities to excessive death and destruction AND locked yourself out of a potential romance option for no particular reason.

Rook's actions in Thedas also matter the least. The end state of the game is the same no matter what: the Evanuris fall, and the Veil is preserved. How you do it is largely immaterial. In every other game entry, shit can seriously go sideways and it's always directly because of your decisions.

Companion arcs are largely shallow and so reliant on Rook, they fail to feel real. Some of these arcs are more egregious in this manner than others, and some of them have truly excellent stories to tell (oh, hi there Emmrich). But even with the best arcs, this person asks you to make utterly life-altering decisions for them and you've probably known them for like a month or two at best. It just doesn't feel like I, as the PC, have the right to make that call, or that I've earned it. There's not enough time nor enough high stakes prior to those moment.

I won't beat this one to death, but the limited amount of previous choices not mattering in this entry hurts, and I know how complicated it would have been to explore all of them. That said, there were a few that had a ton of specific investment that deserved better resolution: Kieran in particular would have mattered so fucking much if he existed as canon. I understand that's the crux of the problem, but it makes it so that if he was part of your world state in both DAO and DAI, his absence is all the more noticeable.

The South being destroyed off-screen through text will never not bother me. The Inquisitor is apparently faffing about doing fuck all with the resources they've built over time, especially if they chose not to disband the Inquisition. They didn't chase after Solas, who they knew was going to be a problem, and then they ALSO let the South fall? I'm sorry - it does a hero that the majority of this fandom is most likely heavily invested in the worst service no matter which way you look at it.

Veilguard feels like a game that couldn't get out of its own way. The part that has me grieving the most is that you can see under the surface a great game was there, but just not fully realized.

Without being one of the people who made the game, we can only speculate and can't presume the cause for why we got what we did. Hell, as someone who works in game development, sometimes you never get the answer yourself as to why things went so horribly sideways. The larger the game and studio, the more blind spots you're likely going to have on the overall project.  That said, I have nothing but empathy for the Veilguard team. It's very clear that at least the majority of folks working on it poured in a ton of work and cared a lot about it.

It's not my place to blame anyone in particular for it, because I don't have the first-hand knowledge necessary to cast that judgement. I hope the folks who worked on this don't let it get them too down; you still made a fun game. And I'm sure you're just as disappointed it wasn't the love letter to Dragon Age that you probably wanted it to be, as much as any of us fans who feel it didn't meet the bar.

You had an impossible job to do; the expectations here were so high, and you had more obstacles than any dev team should reasonably have during their project, regardless of the expected fires we all run into during development. Despite that, I still had fun, and I still care quite a bit about these characters.

That's worth something. Thank you for the experience.

[alexissara]

Top 10 Most Anticipated Games Of 2025.

It’s time to talk about what games are exciting me the most coming into next year. I will not be including any game that was on last years list because you can go read it and see the games I was excited about last year that didn’t come out. Basically the whole list remains relevant minus Peach Showtime. 6 of the games aren’t out and 3 of the games are in early access. Which is to say that these games remain highly anticipated.  It’s worth noting from the old list Rune Factory: Dragon has been updated to Rune Factory: Guardians Of Azuma and with more footage I feel more confident in my anticipation then I was on last years list.  

Much like last years list the games on it may not come out in 2025, this list is mostly indie games and even locked in release dates often are delayed due to major game releases overshadowing their game and needing to pivot, massive bugs, indie publisher issues, etc.  let’s get excited together and play some really cool games when they release. However, since Kickstarter games are kickstarter games and often take more time two games that might be number one for me Food Devils and  The Witch's Bakery are not going to be included on this list just cuz well, they are very likely to be 2026 games or further up and I want to at least try and highlight games that are probably hitting next year.  That said consider that your reminded to you know check out Food Devil and The Witch’s Bakery, they both look great.  Also quick shot out to Pokemon Legends Z-A which I am certainly thinking about but has so many ways it could drop the ball I ended up removing it. 

This list is not in any particular order, I am excited for these games for different reasons and who knows, maybe some of them I end up not picking up for one reason or another but there games I would really love to see have a big success from the promise of them all 

Monster Prom 4: Monster Con

Monster Prom is a series I really love, one of the most fun dating sim type experiences turning it into a more board game esc experience where there this fun multiplayer element. It’s a great, funny experience even alone you can enjoy the storytelling, romance and jokes in equal spades and together it’s a really fun shared experience that comes down to digestible runs that make it less intimidating than a lot of other visual novel type experiences. Monster Con adds a con setting and a ton of really fun new features to the formula that make me the most excited I’ve been for a Monster Prom Spinoff. The new character designs are great and one of the main focused returning characters being sapphic trans woman Zoey makes me even more excited. 

Abyss X Zero

The developers last game was gay and while they haven’t said if this game has anything gay in it I am pretty sure the devs are like girlfriends? So like, I don’t know feels likely. It looks cool, Like the graphics, the customization looks great, it’s got great style, I really am excited to check out the game and give it a shot. I think the art style really manages to capture a fun anime vibe and the action actually represents that same vibe making for a really resonate experience that I think is going to really going to fill some primal need in me. 

Split Fiction Last Minute addition to the list, Split Fiction sounds incredibly exciting. Two authors join a program to make their novels realities one scifi and one fantasy. An accident causes the two  to end up in one simulation fractured between the twos novels. They have to work together in order to save their own stories from being stolen by the company. It’s got perfect girlfriends potential but also like really right on the money in themes with the idea of a company trying to feed writers ideas into a machine to own them forever and make whatever they want with them. I’m extremely excited to experience this story and love the Friend Pass System. 

Sword Of The Necromancer: Resurrection 

Sword Of The Necromancer is one of my favorite games ever and I just played it this year, you can expect to see a lot more talking about it in the rest of my end of the year lists but right here what is worth noting is that this is a remake of Sword of the Necromancer in their new games Engine as a sort of stop gap product. This game retells the love story of Tama and Koko and Tama’s attempt to revive the woman she fell for on a job. Since it’s a remake I can say that this is one of the best game stories I’ve played, it’s not super bloated with stuff, it’s simple, effective, romantic and well performed. The changes to gameplay we’ll have to see if their better, worse or just a side grade from the original but this is certainly an exciting game.

Lost Records: Bloom and Rage

From the original creators of Life is Strange not the ones who wrote away the main relationship of the series or is accused of inserting nazi stuff in their games or accused of workplace harassment, no it’s the studio that made 1 and 2 and then left their series behind to Square Enix to make new ideas. Lost Records is another go at their style of narrative game aiming to hit 90s kids nostalgia while also tell a story about adults and the past and more. It’ll have gay romance in it and probably a ton of angst.  It seems like a really great time with a great story that will be able to really speak to a lot of folks so I am thrilled to see them get to bring out something with the level of ambition of this narrative game. 

Unbeatable

This is just one of the coolest looking games visually, the animation is just so damn good and honestly it alone is a selling point. Then we got the main girl looking gay, the great music, and the fun concept for a story and I am feeling like this could be a real special piece of art. Unbeatable has you brining back music to the world, fighting cops, and being badass and honestly, it’s all I need in life. 

Scholomatch 

I didn’t expect much going into the demo but in the niche heights of matching game dating sims Scholomatch seems like it’ll be something pretty fun. It and Spirit Swap should both be coming out and should both be really exciting entries next year. This games non human girls and polyamory make it lean slightly over SS to me but it’s fun that we have two casual cozy little games where we can focus on romance and just a simple little gameplay loop so it’s not all VN. This game has you being a new student at a magic college where all the students are teaching each other rather than teachers. You play match 3 to impress the other students and learn new spells all while having conversations and getting closer to the cast of characters. I fell in love with this game in the demo when a girl who could see the future saw me as her best friend and was really sweet then realized we hadn’t become best friends yet and was so apologetic. It was sweet but also I can’t imagine how hard it is for her to have seen my character as a best friend for years in visions and having to realize “That might not even happen, because I’ve seen this I might ruin this deep important friendship” and like wow, that’s I am so invested in her I have to buy this game. Also obviously I am going to kiss her and at least a few of the others. 

Crescent County

Be a witch, race on a broom, work a delivery job across a pretty open field, kiss girls, this game is pretty damn close to a perfect concept. I take qualms with any connection to solar punk when also capitalism exists but the game is super freaking pretty so I can only complain so much. I think this seems like a really fun and special game, I am intentionally waiting to play the demo until after I put this post out since i started this article before the demo was announced and didn’t want it to color it’s entry here but as I am typing I am wanting to rush so I can jump in and give this game a shake. 

Cabernet 

Speaking of amazing concepts, we really do not have enough vampire games and Cabernet is a narrative focused game about being a newly turned vampire. You have to deal with your hunger and your families ongoing issue with vices, your dad was an alcoholic and you avoided drinking but now you need to drink blood and it’s that high. It’s an extremely down to earth vampire story that has an eerie ton but it also has room for romance and hopeful stories or so it seems. I am really excited to experience this beautiful and exciting game. 

Deltarune chapter 3 and 4 2025 is finally gonna be it’s year, maybe. Deltarune Chapter 1 and 2 are contenders for my best games of all time so I mean I can’t not be excited for the next two chapters. I don’t know what will be happening, will Noelle become a full on party member, how will it handle lingering plot points, will it get weird and fucky and tie more into undertales, what’s up with the secret boss stuff, I don’t know and even post release who knows how much is answered before 5? I just know I want the purple lizard to guess the little deer girl and that’s enough for me so long as there is goofs along the way.  

[carlyraejepsans]

i feel like uty improves on things undertale did but it doesnt have the same strong foundation as the original. like all the qol tweaks and secret shit and meta flowey are all super impressive but as a whole i agree i didnt find it cohesive or consistent

eh, sorry but i don't really think UTY "improves" much of... anything from Undertale? you can make an argument for the visuals, which are more detailed and certainly better animated, but i would argue right back that undertale's rougher, retro, "kinda ugly" graphics are a deliberate design choice on Toby's part that he stuck to for a reason. not to mention, even in their ugliness, the original main cast managed to display more variety in shape language and size than the entire UTY one, which seemed unable to break past the "tall, skinny, anime proportioned humanoid" figure for anyone beyond the occasional side NPC (which, credit where it is due, DID have some really creative designs).

the secret shit is part of my critiques, actually! while conceptually cool, i don't think they appropriately distributed their story and lore at all. i feel like if we got to the end of the pacifist run and were wholly confused as to why dalv was even a character in the story, the whole "human attack" backstory was... not delivered properly. now, there's no problem with having secret lore, gaster is right there. but if you DO have it then it shouldn't be... yknow... tied to the main backstory conflict that literally set the story in motion? lol? it felt like a game with dataminers in mind, rather than players. which was unavoidably detrimental to its storytelling.

the bullet patterns and attack designs were very visually creative but what they improved from the original in their cleverness they tanked with their execution. WAYYY too unfair, counting too much on memorization and giving you no time to accustom yourself to the mechanics (shout-out to the gun tutorial that... didn't teach us how to shoot. at all. we figured it out on our own in the axis fight LMFAO)

the meta flowey stuff was a fun idea that only really delivered in the neutral run and didn't amount to enough anywhere else to justify his presence in the game imo. like, i lost my shit during his fight too, don't get me wrong, i like when fan stories let him be a little FREAK. but everything else was just so... wasted? i almost didn't see the neutral ending at all because the way pacifist handled flowey disappointed me so much.

uhhhhh running was a good addition and the music fucked hard. can't say anything against those two, nossir. not sure it'd go so far as to call them improvements tho, just nice touches

[katatty]

Non-Sims Interests

I got tagged by @episims and thought this one looked like fun. Thank you, epi! Ofc like so many of us I kind of a sims monomaniac, but I do have a few other hobbies and interests (many of them tangentally related to sims, haha...)

D&D - I started playing this back when I was at university, and later decided I missed it enough to teach my friends how to play and became a dungeon master! I actually think it is very similar to sims in a lot of ways, where you get to do a lot of world-building and setting up of interesting situations, but you don't have complete control over what happens! That's all up to the players and the game-mechanics. Unlike sims though its a social sort of hobby, which keeps me from being a total hermit lol! Currently we are playing a setting inspired by ancient/mythological Greece, which ties into some of my other interests, too :)

Wrestling & Soap Oprea - As a kid I into Neighbours & WWE, like, religiously. These days I don't keep up with WWE to the same extent, but its an interest that revives itself every so often and I'll go through phases where I am super into it. I also watch Coronation Street these days and actually when I was at university a decade ago wrote my dissertation on 1960s Corrie! If you are a fan of both of these, you might get why I lumped them together - wrestling is kind of just a soap with tons of fight scenes, lol. I am a fan of really long-running "endless" series that weave together a lot of diffient characters and plots. I think for me the fact that the writing is very inconsistent and sometimes messy is part of the fun for me! It's a very dynamic and ever-evolving kinda storytelling I just love... (And yes, this obviously ties into my love of the Sims too, rotational gameplay is like a soap-oprea generator to me!)

History - I am not as much of a knowledge-hoarder as some people, but history is interesting to me! I did study it at university but didn't enjoy uni so much which caused the interest to die off a bit, but I have noticed its revived a fair bit over the last few years, now that its something I do for fun again. I know the most about England and Europe, but really like classical Greece & Rome, and lately I have been interested in Chinese history too

Literature - I am a bit on-and-off with reading (see previous post lol) and not as well-read as some, but I like reading a lot! A few years ago I read Moby Dick & it triggered some kinda deep obsession in me which causes me to bring up Moby Dick in conversation, like, I guess a lot more than the average person. Every so often a book makes a deep enough impression that it gets etched permentantly into my personality lol

Other Games - I am not a HUGE gamer because I am always mostly playing sims lol, but I do play other titles sometimes! I go through a big Dwarf Fortress phase a couple of times a year which always obliterates all my other hobbies & my social life. I also really like Visual Novels, I think they are suuuuuch a cool and under-rated genre (but the best ones are all X-rated, so, like, I get why LOL). Oh, and I was super-obsessed with Dragon Age Origins when I played it! Sadly none of the later games made as big of an impact on me

Hiking & Nature - this is kind of a basic one, I feel like most people enjoy this? But I do love the Great Outdoors! My dad is more into it than me, he is very into gardening and also regularly goes on big walking holidays and knows a ton about plants, trees, and wildlife... I think he instilled an appreciation for nature in me as a kid and its something I get a lot out of, too! I would love to eventually live somewhere that has a garden, and hope to maybe go on a camping trip or two this year :)

I will try and tag some different people to last time, but if this looks interesting to you please consider yourself tagged, too! @deedee-sims, @strangetomato, @plumbtales, @simhealing, @simnationlifebefore, @dunne-ias

[friendly-neighborhood-furry]

birthday gifts!! a littel photo album for meself 2 remember it by :3

first was a little dino-themed blind bag my partner got for me! the paper bag was so cute :3 the sticker was also cool i might steal it for my water bottle-

here's everything that was in it! items are listed from the top-left down

dinosaur lanyard

rex and ankylosaur notepad

beautifully rendered tyranosaurid postcard

kaprosuchus print

t-rex keychain-bookmark-thing(?) not sure what it is but ive seen them around before & theyre cool. the reverse side has just the rex's eyes framed in it >:3

sticker for something called "The Devils Demons". not sure what that is but hey if theres dinos i might check it out

holographic triceratops fossil sticker (this ones def going on my water bottle)

adorable carnotaurus acrylic keychain/bagclip. i love how dino lovers have embraced the silly carnotaurus from Prehistoric Planet

edmontosaurus (?) pin, also from The Devil's Demons. guess its a character?

sonic 3 action figure set!

sonic and shadow's eyes light up if you press the button on their chests :D i cant wait to pose them in homoerotic situations

modeling clay! this thing is heavy lol

Shin Godzilla DVD! Dad got this one for me and i'm so touched that he remembered me talking about how much i wanted to watch a few months ago.

i've heard a lot of good things about it from the horror circles i'm in, so im very excited to watch it :3

fun fact about me, the first Japanese film i ever watched was Ponyo, except the Ponyo DVD we had wasn't in English, it was the original Japanese version with no subtitles.

not ideal, but i have fond memories of watching it that way as a young child. i didn't know what they were saying, but the acting and visual storytelling were so strong that i still understood what was going on and was invested in the plot and characters. a few years ago i rewatched the film in English, but it didn't feel the same. oddly enough, i prefer the version of the film i cant understand (◠ω◠) (> ω <)

this DVD being original Japanese (as in literally shipped overseas from Japan) reminded me of that, and it brought everything full circle in a nice way. even though the film itself is far from whimsical or comforting in any way haha

this one was a few days early: my friend got me the new skins for Squirrel Girl and Rocket Raccoon in Marvel Rivals! :3 i would've added a screenshot of Rocket but i hit the photo limit 😭💔

what can i say i'm a furry that likes women and the beach. sue me

okay warning: photos below are of an animal skull. if you don't like that, don't click the read more/keep reading button. thank you!

by far the coolest present is from my aunt: its an actual raccoon skull! my mom thought it was a beaver when i first lifted it out of the box lol.

surprise! i'm into vulture culture (*^▽^*)

a bit morbid, i'm aware, but i don't really have a problem with it. i'm a science nerd and i find all parts of nature uniquely interesting, including death.

for as dark as the subject is, the community is very supportive and empathetic (at least in my experience). the folks on the VultureCulture subreddit are very kind and happy to help with identifying animal remains and giving advice on preservation for scientific/artistic display.

according to the box, this skull came all the way from Nebraska! i'm in California, so that's already crazy, but it shipped to my aunt first and she lives in Georgia! this little critter had quite the journey.

it probably lived in & traveled around an area about three square miles max until it's passing, so to think this little piece of it made the transcontinental journey from Nebraska to Georgia to California... i dunno, its kind of beautiful to me. its little soul got to see the wonders of the great-wide world.

anyway, i love it and i'm very excited to put it up on display o(*^▽^*)┛also excited to post the display photos to r/VultureCulture >:3

[feladi-fority]

Happy Homestuck day everyone!

Fuck, insane I'm still obsessed with a comic THIS OLD but what can you do.

I feel like people often focus on what Homestuck did poorly or just discuss the characters or the comic abstractly, so in this post I wanna go into a bit more detail about what I think this comic did really really right which I'm yet to see done in other media.

The dialogue is just fantastic. Hussie really knows how to write naturalistic internet style dialogue and it breaths life into characters which otherwise are very flat. So many of the characters are objectively very simple but the dialogue is just so good they still feel like real people. Like Nepeta is objectively very boring, but the dialogue made her feel real enough to make past me kin her.

The format gets a lot of attention for using flash animation and games, but I think the real biggest strength of Homestuck's format is the pesterlogs. I read through Kill 6 Billion Demons a bit ago which is a very similar comic to Homestuck and despite loving it I found I didn't grow nearly as attached to the characters as I did HS. The reason I've come to as to why is that in K6BD the standard comic formatting just doesn't allow natural the characters to be normal people and have normal conversations without totally killing the pacing, so to maintain a fast pace it has to keep that to a minimum. In Homestuck, however, the pesterlogs allow characters to just kinda talk about whatever for normal amounts of time while not requiring the plot to just stop around them. John can ramble about his love of Con Air while doing important ectobiology shit. This gives the audience time to get to know these characters while maintain the lightning fast pace of acts 3 and 4 and a bit of 2 and 5.

The time travel, holy shit like I have NEVER seen time travel done so well, I used to think I hated time travel in media until I read this comic. The comedy gotten through time-traveling chat clients and the use of stable time loops for the story is just so masterfully done. The fact HS manages to have very few plot-holes in terms of its time travel internal consistency is seriously impressive compared to other stories featuring it. I crave so badly a story which can reach the peaks of the lil' Cal reveal and the conversions Karkat had with Karkat.

The fandom hooks. Like most stories are out here letting the fandom do some shipping or have a fun set of factions or a magic system to sort their fav characters into. Homestuck is here quadrupling the potential ships. "My story has 4 elements and what element you have is determined by your personality" Homestuck has a character personality sorting system with 336 possible combinations. Your story has one cool unique world to imagine being in? Homestuck has several. How would your fav react in the Hunger Games? How would they react to their entire planet being destroyed and being sent into a game designed to allow personal expression as much as possible! The lore is also overcomplicated but it does a great job at helping the audience through it. Like fuck this shit was crack to my neurodivergent ass.

The [s] pages were fucking AWESOME, like I am yet to feel the emotion the best [s] pages did since I finished reading the comic for the first time. The complexity of the storytelling means that when it's being told visually you need to actively interpret what's happening, causing strong moments of "oh shit!" when you realize what you just saw, further making an already awesome animation even better!

The way the comic mythologized the feeling of growing up online was so fucking cool to my terminally online ass. It made the worldbuilding feel so much more compelling than similarly complex fantasy worldbuilding ever has.

I might have missed a few things Homestuck did really well I'd like to bring up so I might make another post later, but like, damn. Homestuck was an incredibly unique work and I haven't seen anything like it since. One of my goals in life is to make a work that makes other feels how this comic made me feel cuz nothing has scratched that itch for me, but who knows if I'll succeed at that.

Either way, happy 413! I'm a derse sylph of heart btw <3

[sibyl-of-space]

It's time for me to go to bed. And that means everybody gets a Procrastination Essay No One Asked For About Sonic Adventure 1 for the SEGA Dreamcast!

This game is one of my super mega ultra all-time favorites. Every single time I revisit it, I am so afraid that my love for it is entirely nostalgia goggles and it will lose its charm this time around, and every single time, I just have the time of my life because the game really is great. It is so fun. It does some very cool things. It is kind of stupid but it takes itself seriously, and that is very endearing and a million times more interesting than a game that's too afraid of being perceived as cringe to be sincere.

I love basically everything about it. I painted Big the Cat on my Dreamcast and even that is not enough to communicate my vast love for this game.

MANY WORDS BELOW CUT. Visuals, audio, gameplay, I love all of it.

Visuals

The game came out in 1998. It looks like a game that came out in 1998. But the world and character designs are fantastic and the world is so detailed. I could genuinely spend hours just moving around on the Egg Carrier overworld map appreciating all the gadgets and gizmos moving around that are purely 100% set dressing. It makes up for what it lacks in polygons with cool textures and fun trinkets everywhere. The animated CGs genuinely look amazing, and you can forgive the rest of it considering the game came out in 1998.

I also love the splash screens you get after finishing each route. They're so good.

(It goes without saying that the game looks its best on a CRT. There are some really cool lighting effects CRTs just capture better.)

Audio

It obviously has an insanely good soundtrack of just nonstop banger after banger. It also has a very 1998 dub and the sound mixing and implementation are some of the worst you'll ever hear. Eggman has like 5 voice lines that are re-used in every scene he's in. But who can complain about that when they're listening to the likes of "Bad Taste Aquarium"? Literally nobody. Who cares. Every single song slaps.

"But Leo half the time the songs start and stop mid-cutscene because of how the game handles loading" who cares. I can forgive just about ANYTHING a game does in terms of audio implementation if it has a song as good as "Bad Taste Aquarium" in its soundtrack.

Narrative

Setting aside the fact that the story is kind of stupid, I really think we need to appreciate the way it tells it. The way this game has you play through the same story from everyone's different perspective, and how the scenes that overlap actually play out differently depending on who you play as, is so big brain. You don't get the full picture of what's happening until you've played as everybody, and there is no "big group of heroes collectively take on the bad guy" until the very very end Super Sonic story... until then, it's just different people having wildly different journeys that overlap here and there and are all part of a single, bigger story.

That's just cool ass storytelling. Everyone loves to bitch about my good friend Big the Cat but the entire point is that this extremely chill guy who loves to fish and just wants to save his friend was caught up in this Adventure, and he was a small but vital part of it, and it affected him differently than it affected everybody else because he had a different reason for being involved. But that goes for everybody! Everyone's story has an arc with a start and a finish, and most of them don't come close to being involved in the whole thing. Even SONIC doesn't see everything (he doesn't have a Hot Shelter level at all). Knuckles's story ends on a really cool note, with him going "I may never know the full story of what happened here, but maybe it's better that way." Or something close to that.

I also just love the concept of benevolent protector water god goes apeshit at people, as well as the concept of a ghost from thousands of years ago trying to right ancient wrongs. Chaos and Tikal are great.

Gameplay

The thing I love about Sonic Adventure is that every single character is really fun to play. This comes at the "cost" of what you might call "balance," in that half of the characters are broken as fuck and you can just disregard the very concept of platforming with most of them. I couldn't really care less about that because I just enjoy how fun it is to play as everyone.

Sonic Adventure 2 understandably put Tails in a mech because outside of it he is too damn broken. Sonic Adventure 1 lets you play as him anyway, and it rules.

The ONLY gripe I have about the gameplay is that Big the Cat does not have the means to harm robots (because he is too nice and chill to do that), but as a result he is unable to collect animals to give the chao. I cannot think of a single character in the Sonic the Hedgehog universe who would be better suited to raise chao than Big the Cat, but Big the Cat is unable to give them animals to power up. This is a tragedy.

Overall

Sonic Adventure is a masterpiece. Every time I play it I'm like "this is the greatest game that has ever been made." The parts of it that are clunky, awkward, kind of dumb, or very dated are still endearing because it tries to do so many things that you really just have to respect it. This is the kind of game that is fantastic whether you sit down and play it straight through from plot point to plot point or you spend three hours throwing that statue around Station Square into oncoming traffic.

Of course it's not polished. It tries to do way too many cool ass things all at once to be polished. It is WAY too ambitious to be polished. That's what makes it so good. It's perfect exactly the way it is and the fact that people will play this incredible game and go "lol, 3D Sonic sucks" is a good reminder that gamers will bitch about anything and you should never care about what gamers have to say when making games.

Big the Cat has glow-in-the-dark eyes. Game of all time.

[ultfreakme]

I've read the WarWorld saga and I love the twins. However, like Chris, they are also sidelined and underdeveloped. Otho is the only one with agency, while Osul feels like another version of Chris. All three characters needed more time and development beyond Clark rescuing them.

Regarding Zod and Ursa's abuse, I understand this may not be what you meant, so this isn't an attack on you, but rather a statement. No child abuse ever makes sense. There is no justification for a parent to hurt their child. Ever. Unfortunately, there are people who want kids and still end up abusing them. Abuse never makes sense—some people are just awful. Zod and Ursa are simply terrible people. A wanted child doesn't always equate to a loved child, which is a sad reality. Zod and Ursa are just bad parents—monsters without any real motive, just inherently cruel. Just like all real-life abusive parents. There's no point in trying to rationalize their abusive behavior because there is no reason parents should ever abuse their child.

Anon, again oh god I hope this does not come off as me condescending to you. I have no personal anything for Chris. I'm mostly indifferent to what he is to people in fandom, all of ym gripes lie with writing decisions. I personally disagree about Otho, Osul and Chris being similarly dismisses, and I think I have textual proof Otho & Osul got more investment as characters independently, and as children to Clark more than Chris ever was, and with more intention behind WHY they act the way they do. This will not be about Chris or Osul or Otho as characters, but about how Geoff Johns wrote Chris & PKJ wrote super twins. I'm doing this to dissect storytelling and characters. I genuinely wish you all the happiness and fun for liking Chris. I am personally simply not compelled by him and I think the text doesn't provide me nearly enough of him in comparison to his counterparts and alternatives. That's all, this is just me showing why.

Right off the bat, introduction scene; this is pivotal, this is where your character makes an impact & shows us what they're about. How they talk, what they do on the regular. This is the establishing moment.

PKJ with Otho & Osul's very first scene:

I don't need to speculate or think too hard to know that Otho's the hardass who doesn't give a crap- she's resourceful, motivated entirely by survival and being warzoon. Osul's the more empathetic one, he tries to be the same kind of tough his sister is with the way he sneers and talks, but he tells her to go easy and is clearly the more open and kind one.

Sibling dynamic establish. Individual character and action established(along with individulistic design).

What was Chris's introduction scene? I'm dismissing the very first page we get of him in the pod because he isn't really a character there, but going to the scene where he does something character-wise

K, nice dramatic shot. What does this tell us about Chris Kent? He's smiling as he says "I'm hungry" and lifting up a TV set. What does this tell us? What does this mean? Why is he doing this?

In-text, this entire issue, I don't get an answer for this. We can speculate, but it's not factual. I can make up that he's lifting the cabinet to draw attention because he comes from an abusive home but I can also just as easily defy this by saying Zod & Ursa would never allow this level insubordination and disobedience by randomly lifting objects. I can say whatever I want to explain this behaviour of smiling, lifting an object and saying hes hungry but in-text, in canon, we are given no explanation for why he does this as a character.

This scene is actually in service of the audience. This is just to show us the reader, a kryptonian feat, which is simply visually repeating a thing Clark's already verbally confirmed.

But I do have a answer for why Otho & Osul said every single thing they did in their introduction scene, down to their expressions. Otho's cool with Clark being dead because dead people have resources on them she can steal to better defend herself. She's sneering because she doesn't give a crap if he's 'Superman'. Osul is looking unimpressed up there because Clark is looking rough & he is in disbelief that this is apparently the famed "Superman" who they held admiration for. His expression softens because yeah Superman is weak, but he still admired him at some point & he's trying to calm Otho. I don't need to dig or search because the writer is telling us "hey this is their deal". Otho's the more aggressive one and we spend more time with her because she's taken on the role of being the tough one, protecting Osul.

Chris? We never learn why Chris acts the way he does. In fact, we see a page immediately after the cabinet scene that puzzles me as to why Chris was lifting it in the first place. He doesn't KNOW he has these superpowers, he tries to fly like Clark and almost falls. So why is he smiling? Is he happy he's strong now? I'm purely guessing because the writing and art don't convey anything congruent. He says he doesn't have a name. He is entirely unfazed. And we never get an actual, canon explanation for why. We need it though, because these things are character defining and this behaviour especially is highly odd for a kid who just landed in a planet he doesn't know, away from the only world he understands, among complete strangers crowding around him to observe. The entire time, he smiles serenely and for some reason, trusts Clark after an extremely brief conversation. It can't be just because he's kryptonian because Zod & Ursa are also kryptonian.

Otho & Osul's reason for trusting Clark? Established immediately in the next two chapters. Otho & Osul are the most precious things to each other > Mongul says they must kill each other > But Clark says absolutely not > Twins like Clark better than Mongul because they figure out if they must become the people Mongul wants, they must destroy one another which is NOT on the table > Clark's the better bet. This is why Otho chooses to somewhat warm up to Clark and Osul goes from "hesitant" to "yeah I trust him entirely". Their trust in Clark develops slowly, we know why they're hesitant, and we know why they open up.

Chris? Why does Chris trust Clark? Is he the first kind person he encountered? What did he mean when he say "you don't belong here either, do you?" Again I can personally hc a bunch of things but it is not clearly intended by the text. GJ doesn't ever allow Chris to talk. And when Chris does, it's singular words and are rarely insightful into Chris's psyche, even in Kryptonian. Like why does Chris want to be adopted by Lois & Clark, specifically Lois, when he himself says "Lois doesn't like m" and Lois does nothing on-page to subvert this? If kindness is what made Chris attach to Clark, shouldn't he be averse to Lois the entire time?

Chris is entirely well-adjusted with Clois. We see no evidence of abuse, the stories never discuss Zod & Ursa, or what Chris specifically thinks about them. There's nothing reflected in his behaviour or character other than "he's nice". Which is fine, but again, why?

Even Jon, who experienced extreme abuse for years is now very nice. But there's an in-text reason for this. Jon refused to bend to Ultraman and kept fighting, and this meant holding onto hope. He refuses to be unkind because then he'd become like Ultraman(which was Ultraman's point). He also shows the after effects of this time through his insecurities with his powers and abilities as a hero.

Chris? Where? I read the action comic arc and the Tim stuff, there's little to nothing. He's got your typical kryptonian struggles but every Kryptonian's got em and after that it's up to the chraracter to react how they do. Otho was frustrated and immediately getting into fights, Osul was trying but still not getting the hang of it and both of them exhibited their inability to adjust through a penchant for violence because of Mongul. Chris just, he just says "this is difficult" without any unique expression as to why. He just says it's hard and reports generic symptoms.

Otho and Osul each got a separate arc btw. Otho got the final PKJ arc with the Blue Earth Movement with Ra's Al Ghul's alternate dimension granddaughter trying to force her further into being a ruthless warrior. Osul got the opening arc on Earth where he had an entire go inside him and Mongul's lackeys were hunting after him.

Chris got.....afaik, individual arc only after his spontaneous age-up. I'm not counting it because atp he's not Clois's kid anymore.

Onto the next point.

Abuse itself is senseless, but we are not dealing with real people here. These are characters, and characters have motives, that's their entire deal. Zod isn't just generically evil, he's like that because he wants Kryptonian supremacy dictated by violence and might. Same goes for Ursa. You cannot just say "these characters are simply evil" because then I can replace Zod and Ursa with two robots if all we need is "generic evil person".

Characters, be they good or bad, stand for something. They have to, otherwise it's just bad writing.

These character motives define actions. So when I say the abuse doesn't make any sense, I'm talking about it in terms of character, and what the writers and creatives intended to tell the audience through these choices. Zod and Ursa arent just inherently cruel, there's a reason for why they're like that. Their families value military might and strategic importance, they consider kryptonians to be superior to humans and shun any intermingling with "lower species". If you paint Zod & Ursa as just "simple evil", then you dismiss the message CLARK is trying to convey by defeating them.

When Clark defeats Zod, it's not just "good guy defeats evil". It's showing that this kind of exceptionalism and what's basically an analogy for racism and colonization, THAT is what is bad. If Ursa and Zod are just evil, it's not about child abuse as a story arc. It's just "child suffers under villain".

If the message was "abuse bad", it was lackluster and stating the obvious. We all KNOW parental abuse is bad. Now what does that mean for Chris Kent? How is he impacted? You can't say Ursa and Zod abused Chris and then not explore such a severe topic. The entire Chris arc in Action Comics fully ignored this aspect until the final 2 issues, and even then it didn't show Chris's turmoil. He had all of 10 lines across the issues dealing with his abuse. There is no exploration, no insight, no genuine engagement by Geoff Johns with the topic of child abuse.

I am saying all this not because I think Ursa and Zod can in any way be justified. I want to reiterate that, nothing will justify what Ursa and Zod did. With that in mind, an explanation for their abuse is NOT a justification.

Abuse and its cruelty makes no sense. But every abuser has an explanation for why the do it (again this is not a justification, this is still bad, explanations don't make a single thing better). The point of a story is to give a believable explanation for the things that happen and Geoff Johns didn't even TRY to explain.

I feel like I grew less and less coherent as the post continued but I hope I got my point across. You are not going to make me enjoy Chris as a character. And in turn I am not going to make you hatete Chris as a character. That's not what I want, I don't care about asserting which character is better. My current favorite is an anime character who showed up for 4 episodes in a 40 episode anime who people say I need to move tf on from. I am doing this not to bash Chris, but to bash Geoff Johns, who failed to deliver a compelling story.

This is again, a criticism of writing. You can love Chris all you want, I just don't think the Chris arc is a well-crafted story, and there aren't enough well-crafted stories of him for me to try to like him.

[anthropologicalhands]

twenty questions for fic writers

tagged by @redbelles !

1. how many works do you have on ao3? 112

2. what’s your total ao3 word count? 497,546

3. what fandoms do you write for? currently, I’m still eyeballs deep in black panther (mcu). I’ll write for whatever catches my interest, but previous fandoms include naruto, yuyu hakusho, thor (mcu), mass effect, and crazy ex girlfriend

4. top five fics by kudos

vigil of the loved tales of the storyteller bring back the baby shoes sleeping arrangements pft, tradition <- biggest shocker honestly

5. do you respond to comments? i’m making more of an effort these days! I might respond late, but i do try to respond because it’s a nice way to talk more about characters and stuff with people.

6. what is the fic you wrote with the angstiest ending? probably a frozen pond alight with torches. It’s a hina fic, by nature of canon it’s doomed. I tend not to write straight angst though. Or maybe i stay up all night in your memories, where priya has to let go both of ajay and, worse, of seema so they can all move on.

7. what’s the fic you wrote with the happiest ending? by far don’t need no ammunition, aka the sif goes to midgard au. loki doesn’t fall into madness, thor and jane get to stay in contact, and sif gets a shiny sword that cuts through dimensions. everyone wins! it’s so self indulgent, but i do find it endearing.

8. do you get hate on fics?

almost never, but the only time i remember getting hate is on make me an offer i won’t refuse, where some commenter took issue with how i wrote kay and her and michael’s relationship. they clearly hated kay as a character but still read a whole fic about her, so i wasn’t even angry, i was just completely bemused by it. 

9. do you write smut?

…i do. i have a very limited comfort zone, but honestly i want to write more and get better at it!

10. craziest crossover:

I don’t really do crossovers, except for the ceg fic that ended up featuring jean ralphio from parks and recreation. that was super fun, but i think it’s too tonally consistent to count as crazy. I’m more likely to write fusion fic than crossovers

11. have you ever had a fic stolen?

Not as in someone else tried to take credit for it — i have had my fics uploaded onto other websites w/o my permission though

12. have you ever had a fic translated?

I have! In the Naruto fandom, someone translated one of my fics into Vietnamese. that was pretty cool, but i think i lost the link.

13. have you ever co-written a fic before?

just for fun! And there was one sasusaku/uchiha family round robin fic i was fortunate enough to participate in. 

14. all time favorite ship?

nah, can’t do it

15. what’s a wip you want to finish but doubt you ever will?

rip telepathy au. I had so much written but i couldn’t figure out a couple key parts and then i lost steam for writing ceg fic. I’ll never say never, but i think that one is gone.

16. what are your writing strengths?

i think emotions, how characters relate to each other, moments of high intensity and catharsis

17. what are your writing weaknesses?

Setting! i hate it, because i loooooove a good vivid setting, but i have such a hard time visualizing places! Especially new places!

18. thoughts on dialogue in another language?

probably only a good idea if you are fluent. I have used honorifics in anime fics, but i worry that i apply it too inconsistently and not as thoughtfully as i should have, so these days i try to move away from it.

19. first fandom you wrote in?

unpublished, probably teen titans or sailor moon. published, naruto

20. favorite fic you’ve written?

I think understand the edge of this desire is one of my favorite things I’ve written, just because i think i got the voice and the mood right, and it took a long of agonizing over both.

tagging anyone who wants to do this meme!

[sarnakhwritesthings]

Halo TV Show Classified 2

ok technically these are DeClassifieds but I've already set a tag and so im sticking with it lmao

Distinguished guests and those of you who got past the guards, welcome to Halo Declassified Numero Dos ‘This mission is deploying right now’ is a repeat thing (editorial note: watched the third one today, this is not the case. She must have wised up)

Guest interviewee is Bokeem Woodbine, Soren’s actor Hes a very sedentary speaker Wanted to ‘bring Soren to life in a very organic way’ 2-3 months of flying back and forth to London for armor fitting All armor custom made Guessing that includes for the stunt doubles also Wore a weighted vest to help train For several hours a day Present day perspective on Spartan program: Feels sorry for them, freedom and individuality are blessings and he can’t take them for granted like others do ‘[soren] Probably teases them’, they ‘don’t know what living really is’

Jokes Pablo probably ‘sleeps standing up’ Rubble is apparently a real practical set (editoral note: more details in the next declassified) Shot of behind-the-scenes includes a rack or two of dusty Battle Rifles so they probably got very widespread after 2525 Loves their set designer, says she’s amazing The sinks and doors work Completely functional sets Which is really fucking cool ‘Annoying little sister’ re Kwan But thoroughly determined to make sure she doesn’t get hurt ‘Lot of unexpected changes’ yeah you can say that again LMAO Next segment footage from the red carpet Lot of really cool cosplays and stuff They had fully functional warthogs And Kate’s accent is whiplash, lol She is very British and Kai is… not that And Keyes’s actor also has a different accent I think

And of course visual storytelling with masks on a lot of the people in the background shots and some people talking to the camera with their masks on

Next segment is ‘look at the hearts and minds behind the scenes’ which should either be very interesting or very horrible Billed as ‘the creators are fans too’ and I’d love to know exactly what she means by that Oh good we’re starting with the actors Bentley—superhero fantasy Natasha- craziness, fun and excitement. A fascinating glimpse into the human psyche Pablo-heroic, upstanding Yerin - big issues in a scifi way. Hits a special point in her heart. People fight for what they believe in

‘Vehicle for memories’ from someone on the crew un-IDed ‘Filming on madrigal’ Sangheili guys in mocap, on stilts and with energy swords Wanted to match game production values Over 1k ppl working on it Looks like some of the faceplates on the bottom come off so the actors can drink/talk without taking the whole thing off Visors stay on End

I watched this a few months ago (back in september!) but never got around to posting my notes.

I think there's a few different versions of the helmets, that or the helmets are modular, because there are a lot of shots of the actors in and out of the helmets, in various stages of disassembly.

Was glad to see and hear Bokeem, he's a great perspective because he's not really aligned with the 'main' storyline beyond this episode, and he's got a great outside perspective.

[reelvibes91]

Road House Remake a Smashing Success

Remakes are always a questionable endeavor from Hollywood. You have to find a movie people are okay with remaking. Fans of the original have to accept that idea and you have to find a way to modernize that while staying true to the original.

Road House does all of those. Starring Jake Gyllenhaal, Daniela Melchior and Billy Magnussen the remake has a new set of visuals that definitely don't look as dated in todays age. The change of locale plays a big part in the plot and helps differentiate the two films. We all know the original from 1989 starring Patrick Swayze. Perhaps when you think of all the movies out there that could be modernized this not the first one that comes to mind but it certainly is a fun.

There are a lot or positives in this movie. One is of course Jake Gyllenhaal being in peak physical form as well as giving one of the best performances of his career. He has a lot to choose from but this one to me is an instant classic. His chemistry with Daniela Melchior is what sealed the deal for me. She is becoming a must see actress and her presence immediately elevates a film for me.

It goes without saying that the action is very much over the top but that is part of the charm. The fight sequences are brutal and it really helps give you sense of what these people have at stake. Conor McGregor in his film debut brings an absolute absurd psychotic performance. He is built for this kind of role. He brought the extreme parts of the plot to life while Gyllenhaal and Melchior kept it grounded.

It's fun because at the end of the day it is what is great about storytelling. You can get lost in these characters and this fun little romp for a little over two hours. Movies should allow you the ability to disconnect from the real world and fully immerse yourself in these fictional worlds. This one provides that. The story is simple yet effective. The cast is phenomenal. It's fun. Very well shot, very cool action sequences. Truly all you could want.