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veronicamarsconfessions · 3 years

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TV remakes and reboots have seen a steady increase over the last few years. It’s gotten to the point that, long before their predecessors have had a chance to collect dust, a reboot is announced. The CW staples such as Roswell and Charmed have all been resurrected, with modern twists. The return of Veronica Mars, however, posed a different challenge.

As an eight-episode revival on Hulu, the former UPN series brought back its original cast as a continuation of not just the series, but the 2014 movie of the same name. With the writers seemingly committed to the mystery rather than their own characters driving the story, the final minutes of the season finale became a prime example of lazy writing. If nothing else, Season 4 of Veronica Mars failed its protagonist, and its antiquated ideas about relationships and race, and Logan’s shocking last-minute death, proved that being brought back from TV cancellation was a disservice.

When it premiered in 2004, Veronica Mars was hailed as trailblazing. It had a female protagonist who was capable, resourceful, and was given space to develop on her own terms (as much as a teenager could, anyway). Like so many shows, Veronica Mars wasn’t perfect, despite being lauded and securing a loyal fanbase. While it explored the class divide in Neptune, a town in southern California where the middle class was touted as being nonexistent, the series struggled to abstain from racial stereotypes, with Wallace (Percy Daggs III) as the Black best friend who never got any focus, and Weevil (Francis Capra) as the Latino gang member whose storyline lacked nuance.

Even when it got things right, the series had a lot to learn about writing women and minority characters, though it was admittedly a product of its time. The problems that plagued its original run desperately needed an update, but even with the revival set in 2019, it was 2004 all over again.

Sarcastic, sharp, determined, and often evasive of revisiting and sorting through her own trauma, Veronica (Kristen Bell) stood out like a sore thumb in Neptune. While she rubbed many people the wrong way, she was also a pillar of strength in an increasingly corrupt town, but as a show goes on, characters must evolve or else risk being fossilized in time.

Veronica Mars’ fourth season committed that exact crime when it came to Veronica’s development and her relationship with Logan (Jason Dohring). Five years after the movie, she was in the same place we left her: back in Neptune, closed off, clinging unhealthily to the past. She still had trust issues, which pushed her new friend Nicole (Kirby Howell-Baptiste) away, and she kept a safe distance from acknowledging her emotions.

When Logan suggests she go to therapy or brings up her unwillingness to move forward in their relationship, Veronica tells Logan she preferred his angry, bottled-up self to the person he is now.

His anger was something familiar to her, a facet of himself she relished in. Rather than acknowledging all of the progress he’d made to move past his demons, Veronica wanted him to remain in the past with her, unwilling to consider therapy for herself, and unable to get past everything that had happened to her. In fact, Logan, the character fans loved to hate back in Season 1, was the one who had arguably shown the most maturity and character growth in the revival.

He was seeing a therapist, had a stable job, wanted to marry Veronica, and his fist didn’t meet the wall every chance he got. When compared to every other character, his progress was startling in its authenticity and added to why his death was so frustrating.

Unfortunately, the same can’t be said for Veronica. Revisiting characters at different stages in their lives is always a treat, but no one wants to watch a show where the protagonist is the same person later in life as she was in Season 1. Season 4 of Veronica Mars ultimately stymied Veronica’s growth, choosing to recycle trauma rather than work to organically develop her into a fully realized character at a new stage in her life.

Logan’s death in the Season 4 finale gave Veronica fresh pain to contend with, without allowing her space to overcome her past agony. It was lazy writing, and skipping a whole year ahead in the last minutes of the finale left the exploration of her grief on the sidelines and offscreen, a cheap shot to eliminate the chances of falling into old patterns. Choosing to focus on the noir mystery instead of the characters’ personal relationships was detrimental to what made Veronica Mars a show fans cared about to begin with.

In an interview with Entertainment Weekly, series creator Rob Thomas insinuated that he had to kill Logan for Veronica to move forward. “There is something romantic about that solitary P.I. figure out in the world and, also, I think there’s a reason that shows tend to end when they get their romantic leads together.” However, the death played out as nothing more than shock value, rather than an emotionally impactful moment.

The idea that Veronica must always be isolated and unhappy to continue doing her job is antiquated and bleak. It exemplifies regressive ideas regarding a woman’s choice between her career and personal growth and happiness. This is a stark contrast to shows such as Brooklyn Nine-Nine, Superstore, and Jane the Virgin, all of which have done much better by their female characters and also highlight how couples getting together don’t doom a show.

It ultimately speaks to Thomas’ lack of creativity with regards to developing Veronica as a person and allowing her relationship with Logan to support her growth. Instead, Thomas subscribes to old-school thinking about romantic relationships and how they lose their impact after a couple finally gets together, when, in fact, it’s the exact opposite.

There’s so much storytelling to mine from a relationship. Logan was clearly making strides to be a better person and was persuading Veronica to do the same. With his death, that has all been thrown away and even its aftermath skipped over, sending Veronica right back to square one. Thomas’ interest is in romanticizing a woman’s pain rather than taking a beat to explore it, happy for his female protagonist to be frozen in time as opposed to allowing her enough agency to endure her present.

With the revival, the series had an opportunity to provide an updated take on a beloved heroine, and it failed. If anything, the revival proved that some shows should be left in the past rather than tarnish their relative goodwill. If Thomas isn’t willing to develop the series past its bad habits, to take Veronica to the next well-deserved stage in her life, then it has no place in the present.

#Veronica Mars #Rob Thomas #Logan Echolls #VMars #Veronica Mars Revival #news

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patiencecarter-blog1 · 5 years

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Writing Effective Poetry

Verse Defined:

Verse, which can be misleadingly basic in sound and differ long from a couple of words to a full-sized book, requires unquestionably all the more getting, inventiveness, and strategy to compose than exposition. In structure, its line endings, leaving from traditional design, don't have to stretch out to the correct edge. Portrayed by the three mainstays of feeling, picture, and music, it can, however does not really need to, join similar sounding word usage, analogy, comparison, redundancy, cadence, meter, and rhyme. Most importantly, structure, rather than substance, separates the class from all others. While composition is perused, paced, and translated by methods for accentuation and sentence structure, verse accomplishes a lot of interpretive incentive through them.

"Lyrics are not just things that we read, yet in addition things that we see," composed John Strachan and Richard Terry in their book, "Verse: An Introduction" (New York University Press, 2000, p. 24). We know initially whether a lyric is written in a standard or sporadic structure, regardless of whether its Ines are long or short, whether the refrain is ceaseless or stanzaic... Many (writers) have designed works that explicitly intend to attract the peruser's thoughtfulness regarding their visuality."

They proceed by expressing that verse is "language set in lines which show a quantifiable sound-design clear in changing degrees of consistency," (in the same place, p. 11.)

While verse isn't really simple to characterize, a few authors have caught its quintessence. "Verse is the school I went to figure out how to compose writing," composed Grace Paley for instance. "Everybody begins as a writer," resounded William Stafford. "The genuine inquiry is for what reason do the vast majority stop?" "The artist can't neglect to demonstrate to us, for he demonstrates in a split second, that we have never figured out how to contact, smell, taste, hear, and see," brought up John Ciardi. "It is the matter of the craftsman to make the ordinary great," philosophized Leon Garfield. What's more, "most importantly, we request that the artist show us a method for seeing, in case one spend a lifetime on this planet without seeing how green light erupts as the setting sun moves under, or the gauzy spread of the Milky Way on a star-stacked summer night," composed Diane Ackerman.

The requirement for any creation exudes from the author's internal center and requires a changing length of development before it is prepared to flourish on paper. He at that point waters it with words, enabling it to grow and develop to development before the peruser is prepared to cull its blossoms and make the most of its organic product in what is absolutely a cross-fertilization process.

"My first idea about workmanship, as a tyke, was that the craftsman carries something into the world that didn't exist previously, and that he does it without obliterating whatever else," John Updike once shared. "That still appears to me its focal enchantment, its center of bliss."

At the point when an essayist turns out to be so submerged in inclination, regularly the main way he can remove himself from it is to catch it on paper in verse structure, empowering him to move it to the peruser all the while. Albeit, as other artistic expressions, its worth must be controlled by its elucidation, and its impression left on, the peruser, the reason, at last, is the spirit to-soul move from originator, or essayist, to beneficiary, or peruser.

"In great verse, we get a solid feeling of the artist's self, however as opposed to being a standard or unconstrained (one), it is generally an improved self, a depersonalized (one)," composed David Kirby "Recorded as a hard copy Poetry: Where Poems Come from and How to Write them" (The Writer, Inc., 1988, pp. 10-11.) "Most extraordinary craftsmanship is an improved rendition of what as of now exists, starting with the essayist's own character."

Appeared differently in relation to exposition, verse not just relates stories and offers emotions, it embraces sound and shape, and can envelop structures that fluctuate between free-stanza and the poem.

"Verse isn't the things stated, yet a method for saying it," A. E. Housman once expressed.

"... Verse is a specific utilization of language, unique in relation to composition," as per Mary Elizabeth in "Effortless Poetry" (Barron's Educational Series, Inc., 2001, p. 3). "(It) can catch and pass on things that composition can't, and verse works through feelings, not simply through musings."

Verse Structure:

While composition is molded by expressions, sentences, passages, segments, and pages, with proper language and accentuation, verse can accept a few structures, contingent on the author's expectation, and these can expand the work's impact, reason, and sound.

Its design offers its visual picture and association as far as character style and size on a given page. At times expecting pictogram structure, it shows up with an unmistakable shape, for example, an hourglass, a precious stone, or a tail.

Its lines are the fundamental structure squares.

"Lines can be either long or short," as indicated by Elizabeth (on the same page, p. 177). "The decision of line length opens up certain conceivable outcomes and breaking points others. Short lines are increasingly helpful for communicating terse perceptions and loan themselves to sentence sections and curved articulation. Long queues can deal with mind boggling stories, philosophical talks, and compound-complex sentences."

An "end-halted line" shows that the expression or sentence closes at or before the correct edge has been come to, while "enjambment" implies that it folds over and proceeds on the following line.

Lines are assembled into stanzas, which give extra, sub-divisional representation and are isolated by blank area or skipped lines themselves. They for the most part share a similar line length, rhyme plan, and beautiful meter.

Stanzaic Forms:

Stanza length fluctuates as indicated by the quantity of lines. A couplet, for instance, is a couple of connected lines, otherwise called "refrains," which more often than not end in rhyme. Correspondingly, a tercet, which can likewise be considered a "triplet," comprises of three progressive, rhyme-based lines, and its four-line partner is the quatrain. Five-, six-, seven-, and eight-line stanzas are separately assigned "quintrain," "sextet," "septet," and "octet."

Compositional Aspects:

In spite of the fact that verse can fuse some abstract procedures that can be viewed as composition conventional, it additionally offers numerous exceptional to it.

Word request, most importantly, can be anything other than customary. Situating certain ones toward the start or the finish of a line, for instance, might be intentionally done to feature them and encourage the work's meter and rhyme.

Like the bits of verse jigsaw confounds, words themselves must fit into little scholarly spaces, convey their most extreme weight, and be collected such that will upgrade importance, sight, sound, and sense.

Rhyme, the close event of two words that contain a redundancy of the last vowel sound and have a similar last consonant, might be most connected with the verse sort and absolutely encourage stream and beat, however it is in no way, shape or form a compulsory compositional component and does not really need to have a similar spelling to accomplish. The words "bow" and "trough," for example, contrast in spelling, yet in any case rhyme. Abuse of this system can wind up constrained, fake, and stilted.

While exposition utilizes a similar vocabulary, phrases, sentences, expressions, and even metaphorical language, it keeps away from rhyme, since it very well may occupy, going astray peruser consideration from significance to sound. It tends to be similarly hostile to innovative in the event that it requires a bizarre word request in verse to achieve.

On the positive side, notwithstanding, it can set up a sound example that can nearly achieve music-going with levels and can be exceptionally engaging the ear. It similarly encourages the comprehension of youngsters' verse, as in "Raise and Jill went the slope."

Different advantages incorporate the hierarchical rule of the stanza, since its design relies on its rhyme plans. It gives the desire or expectation of a sound's redundancy, and sharpens the writer's ability to pass on importance, keep up designing, and distinguish the required words to keep up the rhyme.

Rhymes can happen toward the start (introductory rhyme), the center (average rhyme), or (end rhyme) of sentences.

On account of four-line stanzas, they can happen in "aabb" or "abab" designs that is, the words either copy the sound of that in the past or rotating line.

Normality of audio effect, another standard distinction among verse and composition, is designated "musicality." except for nothing refrain, most graceful structures highlight predictable designing.

"... Meter, (another class explicit component), is a particular type of mood, and may best be characterized as the quantifiable sound example apparent, in fluctuating degrees of normality, in a line of verse," as indicated by Strachan and Terry (operation. cit., p. 75).

"As indicated by your perspective, meter, (the fundamental example of worries in a given line), is either a welcome basic control or a lumbering straight coat," they proceed (in the same place, p. 111). It was for the last reason that free-stanza expanded in prevalence.

Verse shares a few abstract methods with standard composition, the first is tangible symbolism. In the event that regularly starts with a work's sight and sound, and afterward travels through the other three faculties of taste, contact, and smell to build its passionate engraving, as the artist moves his experience to the peruser.

"All experience wakes up," as indicated by Strachan and Terry (in the same place, p. 138). "We may later apply our brains and hearts to it, yet it enters our awareness through the faculties. Subtleties that intrigue to at least one (of them) are called tactile subtleties. Broadened portrayal of a scene with regard for tactile detail is symbolism."

Another composition verse shared component is imagery. By causing one figure, picture, or idea to speak to another, the artist can bring out various relationship in the peruser's psyche. A shading, for instance, can speak to a few feelings, while a cross can symbolize religion.

Analogy, one more gadget, contrasts one thing and another, yet isn't truly taken, as I

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hellzyeahthewebwieldingavenger · 7 years

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Strap in as I dissect this one.

I'm gonna be brutal here...Miles is a charcter with some merit and a lot of potential but his merit stems from the fact that relatively speaking he's been portrayed in a way that doesn't do a bad job capturing the feelings of a young biracial poc in modern day NYC and his relationship to his identity as a POC.

I think there are much better examples out there and there have been times where you could at least argue Miles has dropped the ball.

But overall it is Miles' greatest strength as a character.

In other aspects though....not so much.

Because as much credit as you can Miles in regards to handling race and identity...his personality outside of that, his career as a superhero and his general status quo are laughably bad.

Miles suffers from the exact same problems most of Bendis' characters suffer from (including the Ultimate versions of Peter Parker and the other Spider-Man chaacters).

That is to say he is mostly bland as bread but he is handed praise simply because Bendis is associated with him. In a similar (but not as largescale) a way Stan Lee is revered because he pioneered a new way of doing comics Bendis' name automatically makes readers and observers praise his work because when his comics career began at Marvel he pioneered a brand new way or writing comics.

Problem is a lot of the time in pop culture people confuse novelty with quality.

Because Bendis and Stan Lee both, from a creative writing point of view, tended to miss way more than they hit.

Oh sure Bendis' Daredevil and Alias runs in most respects deserve the acclaim they get as does Stan Lee's Amazing Spider-Man and Fantastic Four runs.

But if you bother to really read most of Stan's OTHER Silver Age work...it's a billion miles away from those runs. Stan's Avengers, Iron Man and Thor stories are NOT stories that come anywhere close to the brilliance of his ASM and F4 work. They have great concepts behind them for sure but they are NOT executed very well.

And yet ALL of Stan's Silver Age work is held up in reverence.

The same holds true for the majority of Bendis' work. Most of it is garbage but is revered because he pioneered a new way of doing comics and readers of the early 2000s mistook the novelty of his work for genuine quality writing.

I mean when you honestly think about it for 2 seconds the decompression style he employs is financially and creatively toxic because it literally means readers need to spend more money to get ONE complete story and the pacing of it is destroyed. Reading in trades might be satisfying but the month-to-month sales get fucked in the ass.*

But people don't see that. They see decompression and they think it's goo because bendis does it and Bendis is the best writer around right so that must mean the way he writes is he best way to right.

Except it isn't.

Because Bendis is the guy who on Ultimate Spider-Man tookt he character of Peter Parker who's whole point is that he's the every man superhero motivated by the death of his Uncle ben and decided that his biological Dad Richard parker should be like massively important to the ongoing narrative along with his pseudo father figure Nick Fury the head of the super duper secret spy organization that runs the world. And then on top of that decided that instead of having J. Jonah Jameson be you know...an important character like he has been in....oh yeah EVERY iteration of Spider-Man's story he'd rather Jameson be rarely seen or heard from.

That's not even getting into what he did to the villains. Using just one example Ultimate Venom is objectively speaking a worse version of Venom than the 616 iteration of the character.

At his worst 1990s Venom was an over the top caricature embodying everything wong with the 1990s. He was a mindlessly violent grimdark anti-hero complete with a slavering tongue and idiotic catch phrase (I'll eat your brains!).

It was godaweful personality for the character....but at least it WAS a personality.

Ultimate Venom had ZERO personality. He was nothing more than a gnarling, gnashing mass of goop, teeth and tentacles. Which is NOT what Venom is supposed to be. Venom s supposed to be a evil version of Spider-Man. He's supposed to look like a warped image of Spider-Man and have all his powers, except he doesn't in this version.

When you look at the entire point of that character and of the Ultimate version of Spider-Man overall it was a colossal failure from everything other than a financial point of view. It's job was to do a modernized and more realistic take on Spider-Man but it failed because it fucked up the fundamental points of Spider-Man's story and characters.

But people PRAISED that which underscores my point. People praise Bendis' work because it's Bendis regardless of the quality of the content.

Miles is no different except he ALSO gets handed automatic praise because he provides representation for marginalized people again regardless of the quality of the character. This isn't unique to him because the SAME thing occurs with Riri Williams who is aggressively poorly developed from a characterization POV. I mean for goodness sake we're talking about a character who doesn't seem to care about her Dad dying to the same degree she cares about her BFF. Like...what the fuck. We're talking about a character who asks her teacher to marginalise her.

And despite that, she's praised by the comic book press in general.

Because they aren't bothering to look too deeply at her personality or her characterization or her development or any of the important shit that goes into evaluating writing. They just see a black woman in the role of a prominent white male superhero and that's all that matters.

Which is exactly how the author of this article looked at Peter Parker and MIles Morales.

Peter and Miles aren't people. They aren't characters.

Those aren't the most important things.

The most important things are that one is a white person and the other is a poc.

That is the primary capacity in which their characters and their very identities are to be viewed. That's the 'right' way to view them.

Except it's not and doing so is immeasurably stupid and in fact harmful to the cause of equality.

Saying ANY given instance where a black person or a person of colour is deferring towards a white person in the way Miles does is equitable with racism is as fucking stupid as saying Boys from the Hood is prejudiced towards white people because there are very few of them in the movie.

It divorces fucking CONTEXT.

So let's look at the scene from an in and out of universe perspective with the context applied shall we?

If you bother to read up on Miles Morales goddam history you'll KNOW he has routinely defined himself in contrast to older more established heroes, trying to live up to their legends. You could even argue it's part of the core concept of Miles Morales so having Miles state Peter is the real deal Spider-Man is not just 100% in character but not doing that in this context could be argued as being the height of dishonesty for his character.

It's like complaining that Spider-Man felt guilty over Aunt May's illness in this storyline. Him NOT feeling that way would be bad writing. Because of his established characterization he is OBLIGED to react that way.

But that's an in-universe thing.

Out of universe this is saying Miles lives in Peter's shadow and Peter is the one true Spider-Man.

Yeah.

That's 100% accurate. And to explain why we need to do a little history lesson on the very foundation of the Marvel universe.

Once upon a time in the late 1930s Jerry Siegel and Joe Shuster invented the first ever superhero, Superman. The hook for the character was that he was a guy with powers beyond those of ordinary men and used them to fight crime and save people. it was a hit and soon shittons of other characters were created with every name, costume and super power gimmick you could think of being canvassed.

Times changed though and supeheroes fell out of fashion and most of those characters disappeared. Superman, Batman and Wonder Woman however hung around because they were the most popular. Why were they the most popular?

Simple, of all of the various characetrs created they were the ones with the most substance to them relative to everyone else. Every other superhero more or less was a costume and a set of powers and a flashy name and little more than that. Batman had a compelling origin story and gharish supervillains. Superman was the ultimate embodiment of childhood wish fulfillment and Wonder Woman was the definitive female power fantasy.

In contrast the Flash and Green lantern were about a due who was fast and a dude who had a ring that made glowing green shapes. Riveting.

These characetrs were so unimportant that DC comics in the 1950s revived them by basically creating all new characters to replace them. And so we got Barry Allan and Hal Jordan amongst others.

And it was fine because nobody gave a shit about the old Flash and Green Lantern because again...they were superficial. So long as someone could run fast and had a green ring they were good enough. The superficial aspects of both superhero identities was actually so foundational to them that they were replaced AGAIN by Wally West and Kyle Rayner. Because again, the Flash was about a guy who was fast and GL was about a guy with a green ring. That was the POINT of them.

But in the 1960s some guys called Stan Lee, Jack Kirby, Steve Ditko (along with others) struck upon the idea that....maybe they should NOT make superheroes who's main hooks were their flash names, costumes and powers.

MAYBE instead of their powers the point of these characters should be their personalities, their relationships, their personal lives in general and the struggles they face day to day like most of us.

Spider-Man wasn't the first experiment with this idea but he was the most successful.

The point of Spider-Man is objectively NOT that there is a guy called Spider-Man, with web spandex and spider powers running around fighting crime.

The POINT is the life story of Peter Parker. The point and the thing that made Spider-Man popular was Peter Parker's SPECIFIC personality. His SPECIFIC relationships with his SPECIFIC friends, family and colleagues. His SPECIFIC jobs. His SPECIFIC life stauts quo in general.

It wasn't the case that ANY given character with ANY given set of friends or personality could've been plugged into that role and would've been as successful because if that was true Daredevil and multiple other Marvel characters would've been as successful too.

Hell NOVA, Speedball and other characters who were deliberate attempts to be the Peter Parkers of their generations never came close to that level of success.

Because the entire CONCEPT and APPEAL of Spider-Man is rooted SPECIFICALLY in Peter Parker.

Now with all of that said let's look at MIles?

Is his personality as vibrant and fleshed out as Peter's? No, he's bland and talked up as 'just a good kid' which is to say he lacks flaws in his personality (which was you know, part and parcel of the entire fucking POINT of all the Marvel characters)

Does he have a compelling motivation and concept powering him such as the guilt and sense of responsibility stemming from his Uncle's death which he blames himself for? No, not anymore. His core concept was that he was the legacy Spider-Man who picked up Peter's role when he died, something Miles feels he could have prevented. Now though that version of Peter came back to life and MIles is in a universe where Peter Parker is alive, has never died, is still active and Miles merely co-exists with him rather than adopts his role and tries to live up to the legend of a fallen hero.

Is his powerset a fine balance of making him a formidable fighter but also far from invincible? No, he can literally win any given fight by turning invisible, sneaking up on someone with his wall crawling powers and spider sense and electrocuting them. And we know it'll work because apparently his electorcution powers are strong enough to knock out Blackheart who is literally evil incarnate and the son of the Devil...and Electro who's entire body is a living electical battery. Miles Morales has plot convenience powers up the wazoo. And if somehow none of those things do the trick it's okay...because he can like make his body explode with electricity and blast everything in his path. And on top of that (if you read the arc where Ultimate Peter Parker returns) Miles can ALSO come back from the dead. That is literally one of his powers. My...how relatable?

Does he struggle with balancing the responsibilites of life alongside the responsibility of being Spider-Man, including the immense burden of guilt, supporting his chronically ill mother, dealing with serious grief, having shit from his peers and the general public mistrusting him which makes earning money extremeley hard? No. In every way other than the fact that he must deal with the immense burden of institutionalized racism Miles' life is 100% better and easier than Peter Parker's. And he has people who can at least support him and help him through personal crises he endures. Peter for the longest time was entirely alone and had to deal with all the stuff you see in this issue and more. THAT is what FORGED him into the hero we know and love today.

He endured all this crap in his life but wasn't destroyed by it, in fact he rose above it and helped people.

THAT is what made him connect with millions of people across the world generation after generation since 1962.

So when Miles in the story, and Bendis through MIles outside of the story says Miles lives in Peter's shadow and Peter is the real deal he's 100% right.

Miles can be the best Miles Morales Spider-Man ever.

But he is NOT the measure of Peter Parker either as a hero in universe or as a character outside of it.

Because Spider-Man was never a name, a set of spandex and spider super powers.

Spider-Man WAS Peter Parker and his life.

To be Spider-Man is to be Peter Parker.

It isn't a mantle to be passed down like Cap's shield or Batman's cowl.

Spider-Man isn't a symbol or a mantle or a legend.

Spider-man is a specific person called Peter Parker and the life he leads.

So no.

It's not 'racist' for Miles or Bendis to acknowledge that or Miles place as NOT being ont he same level as Peter int he role of Spider-Man.

Because it's the truth.

*Bendis' USM work managed to survive that only because

a) It's Spider-Man, Spider-Man automatically guarantees certain baseline sales no matter what

b) At the time that deompression style had the novelty factor going for it

c) Early 2000s Spider-Man was in a state of collapse. Basically until JMS' run began it was bleeding readers badly so any vaguely decent Spider-Man felt like an oasis in a desert, even if the water wasn't exactly clean

e) Mark Bagley's art. Bags is a master artists at the best of times but more importantly his rendition of Spider-Man had been the definitive version used on most merchandise throughout the 1990s, even influencing the highly influencial 1990s cartoon that was back then very recent in people's minds. I mean is it any wonder the quality and sales dropped once Bagley left? If it was all about the writing then it wouldn't have mattered much but it 100% did

f) It was remaking old concepts. At the time that was a new thing so the idea of seeing a moderization of Spider-Man's origin or of the origin of Venom or of Spider-Man first working at the Bugle seemed enticing to readers

g) Whatever you say about Bendis as writer because he was the lone author of USM and because USM the one and only main book for that version of Spider-Man there was a consistency lent to the work that wasn't alienating people and it was easy to catch up because you just needed to follow from issue #1 then issue #2 etc. the same applies for the trades. Much like Japanese Manga USM regardless of the quality of the content was very accessible because you could just start at the beginning and gradually catch up without having to figure out that you needed to read this mini-seires over here or that crossover over there and then in your head explain any contradictions that cropped up because of it.

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kirbydevpostarchive · 6 years

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HAL Laboratory イシダHAL_Laboratory 08/25/2016 5:10 AM

Hi, this is Satoshi Ishida from HAL Laboratory. Today we'll be hosting round 2 of the Kirby: Planet Robobot Ask-a-thon and, as before, director Shinya Kumazaki is here to answer your questions!

クマザキ 08/25/2016 5:14 AM Nice to see you again. Today I'm hoping to answer behind-the-scenes questions about Planet Robobot that you wouldn't normally be able to find out from simply playing the game.

イシダ 08/25/2016 5:18 AM It seems there are a lot of people out there who read very deeply into the game as they're playing. I'd like to start us off with a question about Meta Knight: At the start of the game, we see the Halberd get shot down, but by the time it shows up again, it's in full working order. Who repaired it?

クマザキ 08/25/2016 5:20 AM The Halberd made a crash landing between the cliffs in the space directly beneath Access Ark. Meta Knight was then captured by the Haltmann Works Co., but managed to entrust the Halberd to his crew. As a result, the repairs were finished in time and the Halberd could rush to Kirby's rescue, with Meta Knight back to his old self. But when Meta Knight shouted for Kirby to get on board, he didn't expect Kirby to ignore his offer and scan the Halberd's ability instead...

イシダ 08/25/2016 5:23 AM And here I thought Meta Knight was the one telling Kirby to scan it... Speaking of Meta Knight, here's a question about Meta Knightmare Returns. Is there any connection plotwise between this mode and the main game's Story Mode?

クマザキ 08/25/2016 5:25 AM It's basically an alternate storyline. Meta Knightmare Returns is a kind of bonus mode that you unlock after finishing the main game, but that alone doesn't hold much appeal for a player so we made it into a "what if" scenario. Kirby games tend to be quite deep and have lots of content, and this game is no exception. There are two sides to the story: one for players who just want to casually play it from start to finish, and another for those who want to delve deeper into the game world. This mode fully realises that two-sided method of development.

イシダ 08/25/2016 5:26 AM While we're on the topic of Meta Knightmare Returns, Galacta Knight was supposed to be sealed away in a crystal, but he broke that seal and showed up again in The True Arena. Are Meta Knightmare Returns and The True Arena connected at all in relation to the story?

クマザキ 08/25/2016 5:28 AM The True Arena is like another ""what if"" scenario, so you can't really consider everything to be connected. Furthermore, the extra-dimensional road that opens up when Galacta Knight appears transcends space-time, so it's difficult to give it a concrete place in the timeline. But if you consider the stages in which Galacta Knight appeared in the past three games, I think that will give you some food for thought. Also, once Galacta Knight has shown up, it should be clear why he cuts down Star Dream: it forced him to travel through time and space and so he considers Star Dream his enemy. That's why Galacta Knight appears as an antagonistic sort of character.

イシダ 08/25/2016 5:29 AM The name Star Dream came up just now. Could you tell us how Haltmann got his hands on the blueprints and technology for Star Dream? Others also noted that the Security Force blueprints bore similarities with Metal General from Kirby's Return to Dream Land, and the data for Holo Defense API resembled Pix from Kirby 64: The Crystal Shards. Could you tell us a bit about those?

クマザキ 08/25/2016 5:31 AM Haltmann travelled to numerous planets around the galaxy to collect their blueprints and technology. He may have gone to Halcandra, or perhaps to a planet with strong connections to it. As for Holo Defence API, Haltmann gained access to numerous different worlds after Susie was accidentally sent into another dimension and this is how he acquired that data.

イシダ 08/25/2016 5:33 AM I see, so that's how you're making use of elements from previous games. Now for a question about Star Dream - during that fight, you can see the company logo on some of the planets in space. Did Haltmann Works Company conquer these planets? If that's the case, what happened to them after Star Dream was defeated?

クマザキ 08/25/2016 5:34 AM Those planets were under Haltmann's control, yes. The logos signify Star Dream's heartlessness and are proof of Haltmann's wickedness in invading those planets. The logo material was made using Star Dream's super-advanced technology, so when Star Dream was destroyed, the logos vanished along with it. That means that the planets should now be back to normal. I should also point out that the soulless evil weapons were wiped out, but some things that were out of Star Dream's reach escaped the destruction.

イシダ 08/25/2016 5:35 AM Like Susie's Business Suit? That reminds me, why did Haltmann lose his memories of the past along with his compassion? Did he discard them himself, or did Star Dream erase them? Also, Susie was appointed executive assistant, wasn't she? I suspect there was there some hidden meaning to this...

クマザキ 08/25/2016 5:37 AM In order to control Star Dream, you need a program controller on your head to have it directly interface with your brain. Haltmann may have suspected memory loss from the beginning, or it may have been an unknown side effect... But the fact is that he started losing his memories bit by bit. This tells you just how incomplete Star Dream really was. Later, after Susie grew up and came back, Haltmann sensed something about her and made her his assistant, but at that time he had completely forgotten that he'd even had a daughter to begin with.

イシダ 08/25/2016 5:38 AM That's really quite sad... Well, after that big revelation, here's a question about the background music. There seem to be a lot of tracks that are slightly redone versions of ones from previous games. Is this because you were trying to please old-school fans? On a related note, there are many tracks whose names people would like to know. Would you be able to disclose any of them?

クマザキ 08/25/2016 5:40 AM With regard to the re-arranged tracks, we have of course tried to cater to our long-time fans as well as newcomers. We wanted to reinvent classic tracks to create something fresh and new, something that fits the current generation's taste. I'm actually really surprised at how many questions we received about track titles. That really makes me happy because I love being able to add more depth to the world through text, be it with dialogue, ability names or music tracks. That said, there were a lot of inquiries about the tracks, so I think it would be best if we save those for later.

イシダ 08/25/2016 5:42 AM So we can look forward to a number of music-related questions next time. We're going to be having one last round of questions to conclude our Kirby: Planet Robobot Ask-a-thon. Please stay tuned!

#robobo #eu en #eu en robobo

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paoulkaye-blog · 7 years

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The Things We Pass Along

As a parent, one of my primary concerns is making sure that my children do not grow up to be awful people. There is a certain amount of awfulness implied in the early stages because children all develop and go through a stage in their life where they express themselves emotionally primarily through high volume use of their vocal chords. Mine are usually pretty good about that sort of thing, but they have their moments.

One of my lesser concerns, but one that is still in the back of my mind, is the idea of making sure that they like the things that I like. This is a powerful tool in the bag of any parent: Bonding happens more easily if you like the same things. Sharing an experience with your child bridges the generational gap and in the end will help you transition from being strictly the ‘Parent’ to that person they can always come to with their problems, no matter how old they get.

This is a two-way street. I enjoy a large portion of the TV shows they like, even if they are aimed at a young audience. Peppa Pig has just enough moments of ‘Wait… what?’ funny going on in them to make me not want to dig out my eyes. I get to watch Donald Duck be cranky on Mickey and the Roadster Racers. Wallykazam is a true delight, and I honestly find I’m a bit upset that Nick Jr. does not show more of that one. Shows like the PJ Masks and Hey Duggee and Mickey Mouse Clubhouse are all passably entertaining, and we can all easily sit on the couch and watch these shows together. But the real meat of our relationship is going to be in the things I pass along to them, and not just in these shared experiences.

I know this because I share a similar bond with my own father. He’s an avid gamer, and while I tend toward more digital pursuits, I will always appreciate a good board game because of him. Reading through rules and finding the fun in a myriad of strategy games, war games, hundreds of Catans and even the occasional CCG is arguably the greatest bond I have with my dad. He’s a superb DM, and because of that, I not only developed a love for D&D and storytelling, I became a pretty decent Dungeon Master in my own right, if I do say so myself.

Keeping this fatherly bond in mind, I have every intention of passing something in a similar vein along to my own children. Obviously, it will manifest differently for me, I have twins who have their own interests and I’ll have to juggle that when the time comes, but for now I’ve started out slow by adapting to their fanatical love for cars and trucks and trains. And here we come to the first gateway addiction I would love to share with them: Mario Kart.

As an added bonus, my wife likes Mario Kart and is erroneously convinced she can beat me at it. Mario Kart is going to be how my children learn to hold a controller, how they develop hand-eye co-ordination, and how they bond not just with myself but with each other as well. It will also be the first in a series of steps I take in passing along some of the most profound and impactful digital experiences I have ever had, and that’s how I intend to build that bridge between my generation and theirs. A good story lasts forever, and a good story you can participate in is even better.

But what moments will those be? Obviously, some avenues are closed to me. My boys will probably never play Warcraft 2, Ghosts and Goblins, Castlevania, or the Adventures of Link. It’s a long shot to assume they’ll ever touch Faxanadu, Mario 2, or even Duck Hunt (at least the way I remember it.) Super Metroid, Darkwing Duck, and probably even Kirby’s Adventure are experiences I will probably not get the chance to share with them. They will most likely never join me in a game of League of Legends, or storm the beaches alongside me in the latest Call of Duty or Halo, or hack and slash their way through hordes of hell spawn by my side in Diablo. These are all sad realizations for me, but they help me focus on the things that really matter in this regard.

Kingdom Hearts is a good example. Complicated, yes, but the action is so, so good, and the characters are ones they’ll recognize, and the story, convoluted though it may be, is a formative experience. Mario Kart, of course I mentioned earlier, but also Mario games in general, especially if I can get them to commit some time to Super Mario World from the SNES. I’m currently playing my way through Breath of the Wild, hands down the most excellent Zelda experience to me since a Link to the Past, and hopefully the boys will share that experience with me as well.

But more than anything, when they are about 8 or 9, I want to sit them down in front of a screen and have them play through the original 6 NES Mega Man titles. These games were my ultimate jam growing up. They taught me to learn from my mistakes, that solutions aren’t always obvious, and that the key to success is to get back up every time you fall down. They were some of the first games I beat by myself, without any help, and they represent a golden age of 2D-platforming that we only see occasional bright flashes of these days. Of course I would follow this exposure up with Mega Man X, widely regarded as one of the best titles in the series and for good reason. My dream is that by this point they start playing through all of the Mega Man games by themselves, actively seeking out and digging into this gaming legacy from my own childhood of their own volition. One can always hope.

I’m sure their first love will be racing games. They love cars and trucks so much, they were making engine noises and mimicking the sound of brakes squealing even before they could say proper words. And that’s fine with me, I like a good racing game. I just very much want the Venn Diagram of our video game interests to overlap as much as possible, particularly when it comes to the dozens of games featuring the Blue Bomber.

To this very day, even from 1000 miles away, if I were to walk into my father’s home with a copy of Munchkin or a Dystopia Wars army in a big suitcase, we’d be playing whatever the game was on a big fold out table within twenty minutes of my arrival. If I were to visit my mother (they live in the same place!) with 20 pages of a short story I wrote, no matter how long it had been since she saw me last, that story and its nuances would permeate the bulk of our conversation, I’m sure. My connection to my own parents runs deep, but has very specific points of interest that are easily tapped into, and can make it seem like I don’t live six states away when I darken their doorstep. That’s a powerful tool to keep a familial connection living and breathing in every waking moment of a life, and I don’t think it is selfish of me to want, more than a lot of things, to be sure I share a similar bond with my own children.

Being a parent is more than just making sure your child doesn’t grow up to be an asshole. It’s about making sure they grow up to be a wonderful person you like to spend time with. Chances are, if you like hanging out with them, other people will as well, and that ability to engage with other human beings will not only make them better people themselves, but do just that little bit to make the whole world a better place to live in. It’s a big challenge, I know, but I’ve waited my whole life for the chance to take it on. And I couldn’t have asked for two better boys, because as wonderful as they are, half of my work is already done.

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hcrsegirl · 4 years

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╰☆╮MUSE 46 — wait, is that cerise “reese” du pont? is it just me or does the twenty-one year-old look exactly like abigail cowen? last i heard, they still weren’t over being exposed by the sentinel. according to the app, they can be credulous & turbulent, but i’ve also heard they're intrepid & audacious. can’t be too sure, people have a way of surprising you. all i know is that they remind me of vape scented smoke appearing in the middle of lecture , filming viral tik tok’s in public , the brushing down of a horse , forgetting a pencil but remembering to bring the juul to class & drinking homemade moonshine for barbie movie drinking games. honestly, the broadcast communications major should try to keep their head down. after the events of last semester, i wouldn’t want to be in their shoes. ╰☆╮

wow hey hi hello!! i’m kaya and this is my lil crackhead, reese!! this got really long because i never know when to shut up but if you want to plot pls hit me up here on tumblr or on discord at medieval 4loko gang#5402

P A R A L L E L S

gigi ( booksmart ) , keanu reeves ( always be my maybe ) , serena van der woodsen ( gossip girl ) , kirby anders ( dynasty )

T R O P E S

hard-drinking party girl , cloudcuckoolander , the trickster , upper-class equestrian , fleeting passionate hobbies , naive animal lover , fearless fool , playing with fire , parental neglect , fantasy-forbidding father

S U M M A R Y

born and raised in wilmington, delaware on the du pont family ranch, reese learned how to ride and compete on her family’s thoroughbreds. she’s a seasoned equestrian who typically competed in eventing and throughout the years had accumulated a series of ribbons and trophies between dressage, cross-country, and show jumping. definitely was a horse girl growing up and tbh still is???? definitely not the type to eat grass anymore BUT if given the chance she will not shut up about them.

a veterinarian before marrying into the du pont family, reese’s mother had their ranch doubling as both a home and veterinary clinic where the kids would help with the animals and keep them company. this caused reese to develop a soft spot for them, one that contributed to her going vegetarian at the age of 12 and eventually vegan at 15. it was also this love of animals that led her to wanting to help the environment they lived in and so her parents put her in girl scouts and eventually her love for the outdoors would cause her to join steinhardt’s outing club.

while her mother, eleanor, also helps out with the du pont family business of breeding thoroughbreds as well as run her clinic, her father, pierre, is a chairman of dupont, a conglomerate who got its start in the black powder market before expanding into chemicals for agriculture, materials science, and specialty products.

he was the type to have HIGH expectations for his family, expectations that reese never met. not that she cared to. definitely not a daddy’s girl, she’ll be the first one to call her father out for being a pompous douche straight to his face. probably quoted this to her father during a thanksgiving toast of “what are we thankful for this year”.

the black sheep of her family, even at a young age she could be found stirring up some trouble and almost always dragging one of her siblings or cousins along with her. a rebellious child who didn’t like being put into a box, she lived in a fantasy world of whimsy, often playing make-believe much to her father’s chagrin. she believed in all things fantastical from fairies to mermaids and while pierre tried to stifle those thoughts, they stubbornly remained.

even through her teenage years she’s held onto the firm belief that barbie lore is real. no one knows if she actually believes that or if it’s all of the drugs and her love for the movies getting to her head, but when confronted about it she will always be adamant that it’s a legitimate form of history.

speaking of history, her concept of it is slightly skewed?? def has weird beliefs of what communists are?? like you’re an android user??? suddenly she thinks you’re a communist????

tbh you could probably tell her something about anything and she’ll believe you without a hint of doubt. research?? she dunno her!! you could say the moon is a government con-job and she’d think it’s a fact??? super gullible and it’s a mess

i guess now would be a good time to preface that she’s dumb. stupid. an idiot. the list goes on but when i say she’s lacking brain cells… i mean it. the definition of head empty, she probably has a bunch of rocks where her brain should be sdfgh. but really, she can be innovative when she wants to be but academically she just doesn’t care to do well. in high school she ditched classes more often than not and was probably the kid smoking under the bleachers.

but where she lacks in intelligence she makes up for in brawn??? def the brawn over brains type who was a jock in high school. competed for her school’s equestrian team but also was on the fencing and archery teams. she once begged to be put into archery lessons after seeing the princess diaries 2 and fencing just came along not too soon after. she also used to run track and play soccer but those two sports ended after her senior year of high school although she probably still plays for the steinhardt’s intermurral league as well as any athletic competitions her sorority, tri-zeta ( zeta zeta zeta ) enters.

definitely the jack of all trades type except she’s passable at a whole bunch of things but good at none of them. probably can change a tire but it’ll need to be changed again soon. can bake a cake but it’ll be a little dry. the list goes on. she’s just very curious and picks up a lot of things but gets bored of them easily so she changes to the next thing.

okay i know i said she could bake a cake but she really…can’t. like with supervision she probably could but she’s impulsive and following directions for that many ingredients??? impossible. she just gets tempted to toss everything into a bowl and wing it and she does that every time. she can however make rice krispy treats. especially if they’re suppose to be edibles dfghj. but ya, don’t ask her to cook bc she can. not.

a stoner and overall drug connoisseur, she’s probably most known for being that kid who forgets to bring their backpack to class but don’t worry!! she remembered her juul!! has a collection of juuls on her person at all times. definitely that party girl who shows up hungover to class whenever she did bother to show up.

calls herself an entrepreneur because she used to sell edibles and other drug-related things and definitely was that tweet where she would give discounts if you signed an environmental petition or went to a protest.

has never said no to a dare EVER. you name it and she’ll do it. and if you dare her to drink cow titty milk or eat a piece of meat she’ll do it but it just makes you a dick dfghj

gets bored easily and tends to lash out and do something chaotic because of it?? the type to spontaneously light a couch on fire because she felt like it. a mild pyromaniac who once learned how to make a molotov cocktail. she can’t do it well. at all. but the one time she did try was also the same day she realized what a dumpster fire looked like.

i’m also not saying she’s out here to ruin your life for her own whims but like home girl has ZERO boundaries for anything. if you want to say she was a homewrecker in a past relationship??? honestly full send because it probably was her. morally she’s chaotic neutral and doesn’t care to be good or evil, she just wants to live her life of chaos and whatever happens happens. it should also be noted that she’s selfish. she puts herself first and others second always.

god someone pls try to start a fight with her. she’d either pat you on the head and ignore you OR go feral and just…foam at the mouth and bite you. probably claims to have gingervitis which is where she like…sprays vegan whip cream into her mouth and just… attacks you. for fun.

WOW ALMOST FORGOT but she’s a big larper!!! loves to go to the ones that are historical-esque where she can be an elf ( because she has a collection of elf ear tips dfghjk ) and acts as a knight/ranger by using her ACTUAL fencing, archery, and equestrian skills. she learned sindarin ( elvish ) for this but also she’s a big lord of the rings fan in general so it just worked out. her character’s storyline is her acting as her cousin, taay’s, protector but she has been known to enroll in a few competitions regarding any of her three skills.

currently selling moonshine alongside her roommates of trap zeta ( also known as the residents of the moonshine & roses subplot ) and so if you saw her running around with stolen pressure cookers, that is why !! making your own alcohol is illegal, but selling it??? even worse so they only sell it to trusted customers and anyone vetted by their usual customers. they probably have secret passwords and shit just like the prohibition period.

speaking of trap zeta, with the exception of fraternities on greek row, they throw the biggest parties. their jungle juice??? fire AND strong but also, they keep it in like....these dispensing chugs with a key so the only ones with access to fill them up or trap zeta themselves. they also have a stripper pole ( or two ) around their living room so like...ya get lit, get twisted, go off ig.

let it be known that their sorority, tri-zeta, is actually known for their stellar amount of community service but after the residents of trap zeta moved in together their sophomore year, the rep for partying started to increase and that’s why the home of muse 46-50 is nicknamed trap zeta. reese has probably been sent to standards way too many times and only got in and is still in bc her mother is a very generous alumni of steinhardt’s chapter of tri-zeta.

a broadcast communications major, she’s a social media intern for steinhardt’s barstool page but most importantly has a whole tik tok account alongside her roommates dedicated to their college antics. think the hype house except it’s not pg-13 dancing and rly just their crackhead, drunk antics. might eventually make a playlist of tik tok’s that are probably posted on their account, we’ll see.

okay so you know the whole exposing of secrets from last semester??? reese doesn’t usually get mad but rn she Big Mad. like not only are they be scrutinized by the dean but their sorority is too and suddenly tensions are high between tri-zeta bc if trap zeta gets caught they all suffer and their chapter will be shut down and it’ll be a whole ass mess. atm she suspects their customers and even their somewhat rivals, the drug dealers of the ludes plot, but does she suspect anyone from the house??? no not rly

you can find her stats page here and a wc page here

you can also find her pinterest board here

i also have a reese playlist here and a trap zeta playlist here

#steinhardt:intro #is this coherent??? who knows #i sure don't #alcohol tw #drug tw #illegal activities tw

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kirbydevpostarchive · 7 years

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HAL Laboratory

イシダ HAL_Laboratory

08/25/2016 9:57 AM

Kirby: Planet Robobot Ask-a-thon - Round 2

Hi, this is Satoshi Ishida from HAL Laboratory. Today we'll be hosting round 2 of the Kirby: Planet Robobot Ask-a-thon and, as before, director Shinya Kumazaki is here to answer your questions!

クマザキ

08/25/2016 9:59 AM

Nice to see you again. Today I'm hoping to answer behind-the-scenes questions about Planet Robobot that you wouldn't normally be able to find out from simply playing the game.

イシダ

08/25/2016 10:00 AM

It seems there are a lot of people out there who read very deeply into the game as they're playing. I'd like to start us off with a question about Meta Knight: At the start of the game, we see the Halberd get shot down, but by the time it shows up again, it's in full working order. Who repaired it?

クマザキ

08/25/2016 10:03 AM

The Halberd made a crash landing between the cliffs in the space directly beneath Access Ark. Meta Knight was then captured by the Haltmann Works Co., but managed to entrust the Halberd to his crew. As a result, the repairs were finished in time and the Halberd could rush to Kirby's rescue, with Meta Knight back to his old self. But when Meta Knight shouted for Kirby to get on board, he didn't expect Kirby to ignore his offer and scan the Halberd's ability instead...

イシダ

08/25/2016 10:04 AM

And here I thought Meta Knight was the one telling Kirby to scan it... Speaking of Meta Knight, here's a question about Meta Knightmare Returns. Is there any connection plotwise between this mode and the main game's Story Mode?

クマザキ

08/25/2016 10:07 AM

It's basically an alternate storyline. Meta Knightmare Returns is a kind of bonus mode that you unlock after finishing the main game, but that alone doesn't hold much appeal for a player so we made it into a "what if" scenario. Kirby games tend to be quite deep and have lots of content, and this game is no exception. There are two sides to the story: one for players who just want to casually play it from start to finish, and another for those who want to delve deeper into the game world. This mode fully realizes that two-sided method of development.

イシダ

08/25/2016 10:09 AM

While we're on the topic of Meta Knightmare Returns, Galacta Knight was supposed to be sealed away in a crystal, but he broke that seal and showed up again in The True Arena. Are Meta Knightmare Returns and The True Arena connected at all in relation to the story?

クマザキ

08/25/2016 10:11 AM

The True Arena is like another "what if" scenario, so you can't really consider everything to be connected. Furthermore, the extra-dimensional road that opens up when Galacta Knight appears transcends space-time, so it's difficult to give it a concrete place in the timeline. But if you consider the stages in which Galacta Knight appeared in the past three games, I think that will give you some food for thought. Also, once Galacta Knight has shown up, it should be clear why he cuts down Star Dream: it forced him to travel through time and space and so he considers Star Dream his enemy. That's why Galacta Knight appears as an antagonistic sort of character.

イシダ

08/25/2016 10:12 AM

The name Star Dream came up just now. Could you tell us how Haltmann got his hands on the blueprints and technology for Star Dream? Others also noted that the Security Force blueprints bore similarities with Metal General from Kirby's Return to Dream Land, and the data for Holo Defense API resembled Pix from Kirby 64: The Crystal Shards. Could you tell us a bit about those?

クマザキ

08/25/2016 10:14 AM

Haltmann travelled to numerous planets around the galaxy to collect their blueprints and technology. He may have gone to Halcandra, or perhaps to a planet with strong connections to it. As for Holo Defense API, Haltmann gained access to numerous different worlds after Susie was accidentally sent into another dimension and this is how he acquired that data.

イシダ

08/25/2016 10:16 AM

I see, so that's how you're making use of elements from previous games. Now for a question about Star Dream - during that fight, you can see the company logo on some of the planets in space. Did Haltmann Works Company conquer these planets? If that's the case, what happened to them after Star Dream was defeated?

クマザキ

08/25/2016 10:18 AM

Those planets were under Haltmann's control, yes. The logos signify Star Dream's heartlessness and are proof of Haltmann's wickedness in invading those planets. The logo material was made using Star Dream's super-advanced technology, so when Star Dream was destroyed, the logos vanished along with it. That means that the planets should now be back to normal. I should also point out that the soulless evil weapons were wiped out, but some things that were out of Star Dream's reach escaped the destruction.

イシダ

08/25/2016 10:20 AM

Like Susie's Business Suit? That reminds me, why did Haltmann lose his memories of the past along with his compassion? Did he discard them himself, or did Star Dream erase them? Also, Susie was appointed executive assistant, wasn't she? I suspect there was there some hidden meaning to this...

クマザキ

08/25/2016 10:22 AM

In order to control Star Dream, you need a program controller on your head to have it directly interface with your brain. Haltmann may have suspected memory loss from the beginning, or it may have been an unknown side effect... But the fact is that he started losing his memories bit by bit. This tells you just how incomplete Star Dream really was. Later, after Susie grew up and came back, Haltmann sensed something about her and made her his assistant, but at that time he had completely forgotten that he'd even had a daughter to begin with.

イシダ

08/25/2016 10:24 AM

That's really quite sad... Well, after that big revelation, here's a question about the background music. There seem to be a lot of tracks that are slightly redone versions of ones from previous games. Is this because you were trying to please old-school fans? On a related note, there are many tracks whose names people would like to know. Would you be able to disclose any of them?

クマザキ

08/25/2016 10:25 AM

With regard to the re-arranged tracks, we have of course tried to cater to our long-time fans as well as newcomers. We wanted to reinvent classic tracks to create something fresh and new, something that fits the current generation's taste. I'm actually really surprised at how many questions we received about track titles. That really makes me happy because I love being able to add more depth to the world through text, be it with dialogue, ability names or music tracks. That said, there were a lot of inquiries about the tracks, so I think it would be best if we save those for later.

イシダ

08/25/2016 10:27 AM

So we can look forward to a number of music-related questions next time. We're going to be having one last round of questions to conclude our Kirby: Planet Robobot Ask-a-thon. Please stay tuned!

#robobo #en #robobo en

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