#i absolutely love doing big blocky shadows like this it turns out

[weaverofink]

an eye for an eye.....

#arrowette #cissie king jones #young justice #young justice 1998 #yj98 #dc #dc comics #dc fanart #young just us #arrowfam #POV u fucked up and cissie's got an arrow with ur name on it #rereading yj and reminding myself of how much i love cissie king jones #shes such an interesting character #i love her revenge arc and all of the consequences that come of it #its just so GOOD #but also. i do wish we could have seen a bit more of dark arrowette she looked so so cool #i absolutely love doing big blocky shadows like this it turns out #art #my art #weaverofink

[0poole]

I LOVE No Straight Roads

Honestly it’s hard to keep me away from a game with great visuals and even greater character design. I knew from the INSTANT I saw these characters that I was going to love it. I just finished it because it’s (unfortunately) pretty short, and even though I cheesed the final boss through it’s very lenient death mechanics (Instant respawn at the cost of a good rank) I actually appreciated that it wasn’t a pure cake walk. I’ve yet to rematch all of the bosses, but since I had genuine trouble with the later ones I’ll hold off on that.

But who cares about gameplay, am I right? I sure as hell don’t. I would’ve bought the game no matter what the hell it was. I wanted the characters (and the music, although I realized that second) and that was it. 

First of all, I love any world that is super fantastical but cheesy in its concept, ala a city powered by music, and battles between artists using music. Ideas like this only spawn from a mind that wants to create a fun atmosphere, if nothing else, and it was sure as hell fun. I genuinely love when someone goes so far into a crazy idea and doesn’t waste your time explaining it with real world logic. Wanna know how a city can be powered by music? Shut up and look at the cute virtual mermaid. Lord knows I did. Every once in a while, it does you good to just let the player/reader/viewer just revel in the idea without having to go out of your way to make things seem realistic. It’s not about “turning your brain off” or whatever, it’s picking your battles.

Also, I can seriously love a world with great background characters to it. Any game with the right situation to insert the random nobodies you find onto the streets into the art in the credits really played into the greatness of the world’s less important characters, and that’s always a good thing. It’s technically world building. But, since I always love to pick favorites, I’d have to say my favorite background character is easily Mia, the NSR infodesk assistant. It’s funny, because you can literally search “nsr characters” into Google and she’s the third image result. I love how jumpy she is when you first interact with her, since NSR probably spread the word about B2J suggesting they’re rock thugs who’d beat up anyone, so for all she knows she could die right then and there with a guitar lodged in her skull. She’s probably just some intern trying to pay for college. She don’t want trouble.

Also, I just realized that 90% of the characters in this game have the same body structure that I always love, that being having arms/legs that sort of fan out in width into relatively large hands/feet. It’s a kind of limb structure I fall into so much because it just really hits me right for some reason. I really can’t explain why.

Anyways, I gotta talk about the big boys individually:

Mayday and Zuke are an amazing duo. I’m always a sucker for a cute and crazy girl, but honestly Zuke hit so many of the right notes too. I will say it’s weird to pair the martian Zuke with the humanly-skinned Mayday, but honestly it doesn’t even matter because he looks so cool on his own. I love his weird blocky blue dreadlocks, and his weirdly shaped shirt which bares his chest in the weirdest way... And, oh my god, Mayday’s weird Spongebob background flower eyes? It’s little tidbits like that that really make me jealous. How could I have ever thought of that? It looks so perfect, and I don’t know why. And her little booty jig she does in her idle animation? Adorable. I played as her as much as was reasonable not only because I’m a filthy button masher with little strategy but also because she’s so damn cute. I can also appreciate how she has a tough-as-nails persona while still keeping a semi-girly attitude, like with her falling for 1010 and Sayu. Characters are so much better when they’re a perfect blend of characteristics, instead of being all one-note, like how Zuke is the quiet one but gets heated against DK West, and all. 

Honestly the voice acting for every character is great, but I love when Mayday’s VA’s accent shows through. It’s a perfect twang to accent (consider this the only acknowledgement of a pun in this post) her snarkiness. 

DJ Subatomic Supernova was going to be an easy favorite since he’s all space-themed. Also, I don’t know why I always end up liking the egotistic characters. Not in the sense that I like their egotistic-ness, but in the sense that I like everything else about them and they just so happen to also be egotistic. The same applied with Empoleon (maybe like my 2nd favorite Pokemon) and Rarity from MLP, probably among others. Either way, I’ll never not love space themes. Not to mention he’s got a funky disco theme, and I’m slowly starting to realize that I am in extreme love with techno-funk styles of music. The instant I heard his music he cemented his place into my playlists. 

As for design, I still have no idea what the fuck he is. Clearly AI is at human levels in this world, but if he’s a robot why does he still have hairy legs? But, if he’s a human, is that weird orb his head? Is it just some sort of puppet which he controls from inside his giant jacket? I know I dissed explaining things realistically but I actually want to know with this guy. Even the wiki doesn’t say. Either way, he’s clearly the logical extreme of “being at the center of your own universe.” Even his jacket depicts a solar system, with his hood being the sun. Didn’t see that until I tried to draw him. I really wish this guy wasn’t so tied to his DJ stand so I could reasonably draw him without it. I don’t want to draw his hairy ass legs. It is a great touch for his design though (although I prefer his beta look with pants and long boots, another design trait I tend to gravitate to) since DJs could reasonably not wear pants, since they’re always behind a table.

Sayu is my favorite. It’s so plainly obvious. It’s weird to say that sometimes, because some characters like Sayu are so clearly engineered to be as adorable as possible, to the point where they’re basically a parody of whatever they’re supposed to be emulating, but then they do that so well that they are still likable for what they’re trying to parody. Also, even though I’ve never looked into any vocaloid superstars myself, the fact that they exist and are loved in real life is absolutely perfect to be used as a character design in a world like this. It’s so weird conceptually, but we all know it’s normal and realistic. But yeah, she’s a giga-cutie whom I’ve already drawn and I’ve listened to her theme on loop on many different occasions. Favorite character, favorite track, favorite weapon of choice (What did I say about Empoleon?), which, and I wouldn’t have noticed this myself, looks like the USB symbol you see above USB ports on computers. How crazy perfect is that?

Even apart from my unbridled love for cute monster robot(?) girls, her boss fight is probably the 2nd greatest of them all, at least conceptually. She’s just a hologram, so you can’t touch her, but you CAN disconnect the artists which control her in order to defeat her. It’s the kind of concept for a boss fight that could only work for this type of character. I’m a sucker for the cute girl that provides her voice, but I love how the animator (video editor? the yellow one) actually attacks you with a mouse and lowers the brightness of the setting once he appears. Also, the mocap guy being the deeply-voiced type but still providing the adorable movements of her body. It’s such a great combo of characters, and their little extra art in the credits makes me like them even more. I just wish we could interact with them individually.

DK West was probably one of the most interesting characters visually, especially since I knew of every other NSR member long before the game came out, but I only just heard of him closer to the release. I wasn’t sure where he was placed, but I definitely assumed his gig was the weird shadow demon we saw in the trailers. When I finally saw him in game, I was shocked to hear him speak an entirely different language most of the time, which was really cool. Also, finding out he was tied to Zuke and wasn’t strictly an NSR artist really made him more interesting. You know, if his fucking shadow clone magic didn’t make him crazy cool enough. Even though I suck at his game and am not especially fond of his raps, the visual of him rapping with this giant monster behind him and dozens of weird shadow wingmen by his side hyping him up was probably one of the coolest in the entire game. The dark way they were hyping him up too gave such a bizarre atmosphere, especially since it parallels his seemingly chill and smiley demeanor. 

I definitely hope they’ll introduce new bosses as DLC in the future, and make them sort of in the same vein as DK West, where they aren’t the biggest artists ever, but they want to pick a fight with B2J. I’d kill for any extra content this game can provide.

Yinu is obviously special since she was the subject of the demo they put out for the game. Even though I knew all her bells and whistles, she and her mom still beat me a few times in the full game. Considering she’s semi-tied to story-ish spoilers I kinda want to go more into her in a separate section. It is worth considering playing the game first since it’s not hard (with the easy going deaths) and it’s short length.

1010 seriously grew on me as I learned more about them and interacted with them. I got their shtick when I first looked at them, but after seeing that animation of them touring the city on Youtube I was kinda falling for them. Then, I learned that they’re apparently repurposed navy war robots? I mean, maybe not them specifically, but it seems to heavily point in that direction, with the warship cars and “attention!”s and all. It took me a bit to get into their music too, but once I actually fought them and put their actions to the music I fell in love with it. I swear, Neon J’s weird dancing can has some of the smoothest moves in all of gaming. I don’t know whether they mocapped out those movements or got one of the greatest animators ever, but it looks so impossibly clean his part of the song gets me like 30x more hype than it would normally. 

Also, their little art piece of them looking at fan mail in the credits is probably one of the most adorable things ever. Even if they’re just Neon J’s puppets, that piece of art really makes it seem like they love every one of their fans. I’m not gonna lie, I might swoon a bit too if they picked me out and gave me some special attention.

Oh yeah, and the fact that Mayday was super sad in her showstopper against them was adorable and hilarious at the same time. The little tweaks they made to the showstopper for each fight were great.

Eve just has to be Lady Gaga, right? Like, an even crazier Lady Gaga. DJSS is Daft Punk (or any artist with a helmet persona, you know what I’m talking about), Sayu is Hatsune Miku, DK West is Kanye West, Yinu is a generic child protege, 1010 is a KPop boyband (just pick one) and Eve is Lady Gaga. That’s just how things are. But, again, this is the kind of boss fight that only this type of character could provide. It’s not just surreal imagery, it’s ARTISTIC surreal imagery. The fight is so mesmerizing in every way, especially by how it starts off so slow and calm and progresses to insanity, as well as the increased emotional investment in the fight making you feel so much more into it than just “That’s the boy band. Let’s fight.” Not only does it get you more invested, but it makes her artistic persona go deeper than just “she looks weird.” She is genuinely conflicted about her relationship with Zuke, and naturally that leads her to literally split him and Mayday apart. That mechanic specifically was the coolest, although I do wish they made it more obvious when you needed to switch over to a different side. I was getting pulverized by her fight too, since there were so many things to pay attention to. Her fight was definitely the best one. 

Tatiana and Spoilers:

Let’s be real with ourselves, the twist was so obvious. I do also think, though, that obvious twists aren’t bad if they’re just good reveals. At some point, a person just has experienced so many stories that “only pretty good” twists are easy to spot. It doesn’t mean that the twists are bad, it just means you yourself experienced.

I feel like her transition from rock to EDM was pretty understandable, even as a non-musician. She was so caught up in what she assumed was popular that it basically consumed her. It’s easy as an artist to want to forgo what you truly want to make in favor of what makes you popular, and clearly since her transition to EDM made her the CEO of the biggest company in the city (world?) that probably made her think she truly needed to change her outlook. Then, when she saw B2J try to bring it back, she sort of coined them as being as misguided as she was and knocked them down a peg. Plus, they were kinda being jerks about it.

It’s kinda like the Trolls sequel, where everyone pegs rock music fanatics as being too stuck up in their own heads to appreciate other types of music, which honestly seems more like the case than the alternative. When I first heard of the story of the game, I was seriously hoping they did put an asterisk on B2J’s ambitions because they were a bit sketchy from the start. 

That’s kinda where I want to talk about Yinu, because she was the true turning point in what they were doing. She’s literally 9 and yet she’s getting dragged into all this BS. When she said “I hate you all” at the end of her fight, and played a somber tune on her broken piano after the fight destroyed it, you kinda got a kick in the face to realize you’re kinda being an asshole to some of them. Sure, they fight back, but they wouldn’t fight in the first place if they didn’t have to. They are just people who play music under a joint name that B2J just so happened to get in hot water with. 

Then, of course, there’s Kliff, who also reeked of surprise villain, and who’s basically the embodiment of the bad side of B2J, where he just wanted to destroy for his own sake and not for the actual greater good. Once B2J realized their mistake, they backed off, but Kliff was so hard pressed to do what he planned on in the first place he wouldn’t stop. I kinda wish he got a bigger fight to his own since he’s clearly a big enough tech genius to divert a whole satellite into one specific building. Maybe the Elliecopter chase bit was his thing, but I do kind of wish he was there to fight against them too.

Even though Tatiana did kind of reform a bit quick, It’s still not too crazy to assume she could see that B2J was just misguided and the fact that they worked to revert their wrongdoings for her sake would make a pretty strong impressions. They clearly can hold their own, so it’s not like she wouldn’t want them to join NSR too. 

Oh yeah, and her boss fight was clock/time themed. If there’s a theme under space that I love, it’s clocks/time. 

And If I am to be respected by the internet, I must provide a negative opinion to balance out my positive one. I will say that the character model physics (like Mayday’s braids, DK West’s vest thing, Neon J’s fluffy neck thing, etc) got kinda funky at times. Especially DK West’s vest, which was completely messed up for every scene he was in... Also, even though the voices are mostly great, some lines felt a bit off. Just a bit. That good enough? Good.

But yeah anyway that’s another favorite game to add to the pile. Eventually I’m gonna have to compile a true list of my all-time favorite games/movies because I do kind of want to have a solid idea of what my all-time favorites are.

#nsr #no straight roads #bunk bed junction #dj subatomic supernova #sayu #yinu #dk west #spoilers #1010 #eve #tatiana #rambling #review #poole #etc #opinions #rant

[madamewriterofwrongs]

Vena Amoris

911/Buddie

For @zeethebooknerd because I promised her, and I (eventually) keep my promises

Eddie had never been very particular about his handwriting. He learned from his mother, to loop his letters and write his name, and he helped to teach his sisters when it was their turn. His teachers never complained about his legibility so it wasn’t something he thought about beyond having the ability to put pen to paper and get his point across. It was just another form of communication; he wrote his essays, forged his mother’s signature when he failed his history tests, and signed birthday cards for his abuela whom he got to see once or twice per year once she retired to California. His hand was simply a vessel for the words in his mind.

His hand paused over the ‘z’, staring at the all the memories that came before.

The letters were straight and small, close, with spots of spilled ink where he’d pressed too tightly into the paper. He always pushed too hard. “Too precise”, Shannon had teased him once. The older he got, the tighter his signature became – the less space it took up. Even the tiny letters, all sharp edges and square curves, looked too big on the page he never wanted to sign. But there was no one else. In this moment, he was meant to be alone, and take responsibility for the weight of the world he’d loathed to share. It made his steady hands dig deeper.

When he blinked away tears, he couldn’t recognize the swirls and lines that supposedly identified him as the next of kin. This wasn’t his name; this wasn’t his signature signing away the last of his wife. These letters were for a man who had everything put together – who had hope, and control, and a future with a woman he wanted to love forever.

Eddie had none of that. He had a piece of paper and a plastic bag filled with final belongings that he’d have to unpack alone. There would be a lot more things he had to do alone from now on. This was simply day one.

He put his name in place of the man’s signature and handed it back to the nurse.

-

Buck hated his handwriting. More accurately, adults hated his handwriting. His parents, his teachers, everyone kept asking him to slow down and write neater. For a while, he didn’t care what they thought (so long as he could read it, what did it matter?) but the more they said it, the more the series of spirals and interconnected letters started to bother him. So, he tried to be more precise; tried to be intentional with every line and dot. What resulted was a series of uneven, blocky letters that seemed to be racing towards the right side of the page. After a while, people stopped criticizing his writing and he learned to live with it.

He tilted his head as he stopped in the middle of the room, boxes still in hand.

At the time of signing, he had been more focused on the intention behind the words rather than how they would look stacked next to so many different scrawls. He could pick out his two phrases with uncomfortable ease. It looked like a child’s handwriting (not that he’d ever blame Christopher, but the option was there). Messy and disconnected. It shouldn’t bother him – it hadn’t bothered him in a long time – but he’d always considered a person’s signature to reflect their personality and his was…

Startlingly accurate.

And now May would stare at this conglomeration of everyone’s personalities on her wall for as long as she kept it while at college. Maybe his disastrous writing didn’t matter so much, then. She’d be able to look at that poster and pick out everyone in her life who supported her. She would never be alone. Just as she had a team of people helping her move things into her dorm while she and Athena dictated from the corner, the people he’d come to consider his family would never abandon their loved ones.

Buck smiled at the poster resting against the door, and asked Athena where to place the boxes of books he’d been holding for too long.

-

Ultimately, it had been Buck’s suggestion but he would later admit, that he’d only been 75% serious. After all, it would hurt like hell (and he had been absolutely right about that). At the time, he’d argued that with their jobs, they wouldn’t be able to wear rings, but they still wanted to acknowledge their commitment to one another – “and keep the horny citizens at bay” Hen had teased. Bobby rolled his eyes, reminding them that most of the people at the station were married or in committed relationships, but none of them felt the need to take this extra step.

Then he remembered that he was talking to Buck and Eddie, who had their first kiss on top of a malfunctioning Ferris Wheel after Buck’s rope had snapped and Eddie had barely pulled him to safety. The boys were made for each other in rather dramatic fashion.

The pair spent all of their downtime for nearly a week, perfecting their designs before presenting them to the artist on their last afternoon off. Eddie had been incredibly nervous. He had plenty of tattoos – so did Buck – but this felt more permanent; this was symbolic of a deeper commitment. So, it had to be perfect. He had dozens of crumpled words thrown in the recycling that he refused to let Buck see until he had it exactly right. Not that Buck was in much of a hurry to share his own creation. Knowing it would be on Eddie’s skin forever, kept him awake at night, drawing at the kitchen table with the overhead light shadowing his hand. It took multiple threats of early mornings and caress-less nights to get him to keep his fretting to the daylight hours.

Finally, they settled on two designs that weren’t perfect, but they were close enough. The moment the needle pierced his finger, Buck regretted his decision despite the rush of excitement under his skin. The happy anticipation was singed by the burn of pain as the artist hit bone again and again. Proudly, he kept his hisses to a minimum and held Eddie’s hand all the tighter. The former-medic was much less composed as he sat for his own torturous experience. On several occasions, Buck had to press his newly bandaged hand into his husband’s thigh to keep him from squirming out of the chair – much to the artist’s annoyance.

The old wives’ tale about the left ring finger having a vein directly to the heart may have been less than anatomically correct, but seeing their spouse’s signature circling the joint in a thin, black ink, carried a special significance. No longer were those loops and lines just a means to an end or a reflection of failure. They were a symbol of commitment and (some said overdramatic) devotion to one another.

Everything that came before was inconsequential to the band across their finger with those eleven letters branded into their skin forever.

#realizing both of them had eleven letters in their name made me ridiculously happy #fluff #tattoos #buddie #911 fox #911 fic #cj writes things #zeethebooknerd #love zee #handwriting #wedding ring

[banshee-cheekbones]

i loved your recent fic about snyder cut!barry allen, would you ever write a shipfic with that barry allen/iris west? their meetcute in the snyder cut was soooo cute

hey nonny! I loved this prompt and took a crack at it! I ended up going with nonbinary Barry again, using they/them pronouns. please enjoy!

also used for the fluff square on my @transbingo card. 

~1800 words, on ao3 here.

second chance at a first impression.

At first, when Barry steps into the coffee shop at the edge of campus, they don’t notice anything out of the ordinary.

It’s just a normal coffee shop, part of a chain with two dozen locations spread across the city. Most of the tables are occupied by students, surrounded by textbooks and papers and laptops. While most of the customers are wearing headphones, there’s still a steady murmur of conversation filling the air, weaving perfectly with the lo-fi music playing over the speakers. The place smells absolutely decadent, like fresh roasted beans and sugar and chocolate, and even though they ate a full pizza for breakfast (after going for a quick run to Gotham and back in the hopes of burning off some of the nervous energy fluttering through their body), Barry's stomach still rumbles loudly.

It’s unlikely that eating anything other than the full contents of the glass display case lining the counter is going to have any impact on their hunger, but at the very least, maybe it’ll keep them satiated long enough to keep their stomach from interrupting their first class of the semester.

They get into line, absently glancing down at the time on their phone, only barely aware that there are a handful of people queued up in front of them. They still have half an hour before they have to get to class – plenty of time to get some coffee and enjoy a muffin (or three). Realistically, it could be a minute before class and they’d still have time to eat and end up in a front row seat, but they want to avoid using their powers on campus if possible. It’s probably not completely possible to keep their two identities separate, to keep The Flash from bleeding into Barry Allen, college student, but if they don’t try, then they’ll regret it.

They make a note to ask Clark about it, the next time they have a League meeting. They’re closest with Arthur, but seeing as he doesn’t give two shits about his secret identity being known, Barry doesn’t think he’s the best person to consult in this case.

Once they’ve decided on which three muffins to get, they turn their attention to the intimidating drink menu hanging above the counter. By the time they parse through the options and settle on something that sounds packed to the gills with sugar, they’re second in line, and they lower their eyes from the menu just in time for the person standing directly in front of them to turn around.

Barry’s stomach drops to the floor, but this time, it has nothing to do with hunger.

Standing in front of them, eyes wide, mouth partially open, dark curls spiraling away from her face, is the woman. The one that they saved a mere month ago (although, with everything that happened after that, with them resurrecting Clark and saving the world from Steppenwolf and discovering that, if they run enough, they can completely destroy the flow of time, it feels more like a year has passed since that day). The one that Barry has thought about almost every day. The one that they thought they would never see again – Central City may be small compared to Gotham or Metropolis, but it’s still a damn city, big enough that Barry has a hard enough time running into people they actually know, let alone people they’ve encountered for a handful of seconds.

They were long seconds, though. Long enough that Barry noticed how beautiful the woman’s dark eyes were, noticed how the smile that spread across her mouth once she was out of harm’s way lit up her round face, noticed how soft her hair was when they moved it away from her eyes.

They may have been mere seconds, and Barry may not have found out her name, but that hasn’t stopped them from thinking about her.

And now, here she is. Standing right in front of them.

Barry is faintly aware of the barista speaking to them, probably asking them to move forward and order, but for the first time in years, even though their brain is screaming at them to do something, to move, they feel physically rooted to the spot.

They don’t know what the chances of meeting like this are, but they’re sure that, if they asked Vic to run the math, his answer would be something like astronomically low.

They need to move. Not only because they’re holding up the line, but because this has to be weird for the woman. They only had a few seconds together, and Barry would be surprised if she remembers them in any real detail, which means that she’s probably wondering why she’s being openly stared at by some weirdo when she just wanted to get some breakfast.

And yet, despite the energy they can feel flickering through their body, Barry can’t move. They can’t get over the sheer unlikeliness of the situation, can’t stop themselves from flicking from one what-if situation to the next.

If they had decided to skip coffee and a snack, if they had decided to wait until the last minute and then bolt across the city straight to class, if they had been delayed for any reason, then this wouldn’t be happening.

Why is the universe so unfathomably strange?

Just when they think that the only way to move forward is to give into the Speed Force, shoot through the plate glass window at the front of the shop and hope that the crash causes enough of a distraction that everyone in the nearby vicinity forgets that they were there in the first place, the woman speaks.

“It’s you.” Her voice is soft, influenced by the smile curling her mouth, nearly as bright as the gold, silk scarf tied around her neck. She steps away from the line, over to the small counter stocked with sweeteners and lids and stir sticks, and Barry automatically follows her. Even though they're definitely moving, it still feels like they’re walking through molasses, like time hasn’t fallen back to its regular pace yet.

“You remember me?” they ask, still not entirely convinced that this isn’t some wild kind of fever dream or vision. Maybe they lost their concentration on the way to campus and got mowed down by a truck, and this is a last gift from their brain to make up for the whole dying thing.

If that’s the case, it might be the nicest gift Barry has ever received.

The woman nods. “I do. You saved my life.”

She’s right – Barry may be full of self-deprecation, but even they know that their abilities are the only thing that saved her from certain death. But still, hearing her say it so frankly, so gratefully, makes them feel off-balance, like the world is tilting right underneath their normally so sure feet.

“I was just in the right place at the right time,” they manage to stammer, seizing one of the pronoun pins decorating the front of their black denim jacket and twisting it back and forth, trying to keep their fingers moving at normal human speed. It’s a poor substitution for running, but for the time being, it’ll have to do. “Sorry I couldn’t save your car. It, um, looked like a nice one. I think. I don’t really know much about cars.” Instinctively, they wince at their own words – it may be a true statement (they've never been a car person, even before they gained their powers), but still, it being the truth doesn’t make it any less embarrassing.

Thankfully, the woman just shrugs.

“It was a nice car. But that’s what insurance is for. I have a better one now.” She waves out the window at a yellow convertible, long and blocky and definitely older than Barry is, parked outside the shop, before she says, “I looked for you, afterwards.” As someone approaches the counter, she takes a step forward, so that she’s out of their way. It puts her close enough to Barry that they can smell her citrus perfume, see the flecks of gold glitter mixed into her burgundy eye shadow. “I wanted to thank you. But it was like you disappeared into thin air.”

Close enough, Barry thinks.

“Sorry about that. I… I had to run.” It’s a lame excuse, but it’s not an entirely inaccurate one - they had unfinished business with the dog groomer after all.

(Even if their business didn’t end with a job offer, they got to feed the dogs some sausage from the vendor whose cart got destroyed, which was, frankly, almost as good as landing a job.)

“Well, it’s not too late.” The woman’s full lips turn up into another smile. “Could I buy you a drink? If you have time, I mean. I don’t want to keep you if there’s somewhere you need to be.”

Barry’s heart stutters as they glance at the clock behind the barista counter and confirm that there’s still plenty of time until they’re supposed to get to class. Not that it matters, really - even if they’re late, it’s only the first class. They probably aren’t going to miss anything more exciting than the instructor reading through the syllabus, which is something they can do later (not to mention faster.

They don’t intend on slacking off on their degree – they want to make their dad proud – but they’re pretty sure that the universe has given them a pass for today.

“Okay,” they say, feeling their own lips curl up into a smile that mirrors her. “Yeah, I’d, um, I’d really like that.”

“Me too,” she replies. Waving at the lineup, she says, “After you.”

The line has grown while they were talking, reaches almost all the way to the entrance now, but Barry is more than happy to wait – not only because they’ve completely forgotten what drink they planned on ordering and need to look at the menu again, but also because it means they get to spend a few more minutes with the woman.

Whose name they still don’t know.

“Hey,” they say, looking away from the menu, all thoughts of coffee forgotten for the time being. She’s a few inches shorter than they are, and when she tilts her head up to look at them, they lose their train of thought for a few seconds. Thankfully, they’re able to snatch the train before it completely leaves the station and ask, “What’s your name?”

“Iris.” She shifts her coffee and the bag containing a muffin into one hand and holds out the other. “And you?”

“Barry.” They take her hand and quickly shake it, trying not to notice how soft her skin is, how glossy her deep orange nail polish is.

“It’s nice to properly meet you.” Fingers trailing across their palm as she lets go, she says, with a teasing glint in her eyes, “Don’t run off on me again. Not before I can buy you a coffee at least.”

“Don’t worry,” they reply. Their stomach is fluttering again, but this time, it’s less from hunger and more from the butterflies swarming through it, butterflies that aren’t going to go away anytime soon. “I won’t.”

#transbingo #barry x iris #dc fanfiction #justice league fanfiction #mine #mine: fic #thank you so much for this prompt!

[aotopmha]

Sonic the Hedgehog turned 30 years today.

In celebration, I downloaded all 3 classic games available for mobile and tried to get as far as I could before getting a game over.

For Sonic 1 it was Marble Zone Act 1, for Sonic CD it was the Collision Chaos boss and for Sonic 2 it was the Chemical Plant Act 2 boss.

I'm much better at these games on an emulator/PC, using the arrow keys rather than a controller (or apparently with the android touch controls) because that's how I've played them the most.

Sonic is probably the franchise I've (on and off) followed the longest and I remember fairly precisely when I played my first Sonic game: it was in my second year in school, but I stopped because the crusher section in Hydrocity terrified me and I couldn't get past it.

I also have vague memories of both of the most famous old cartoons and briefly trying the PC version of Sonic CD and Sonic 3D Blast.

My next notable experience with a Sonic game is actually the old Newgrounds game Ultimate Sonic Flash.

This is what opened the Sonic floodgates with other stuff for me, too.

Besides that game there were the flash animations like Nazo Unleashed and Super Mario Bros Z that also appealed to the Dragon Ball fan in me.

Through that stuff, I got into the Sonic Advance games and I was particularly drawn to Sonic Advance 2.

It's strange because Sonic Advance 2 seems to be considered the most "hold right to win" game in the Sonic Advance series, but I find the stages in that game to be the most satisfying to perfect and play.

I also dig Advance 1 and 3, but I remember having the most frustration with 3.

Discovering the Advance series lead me back to the Classic series. Sonic 1, CD, 2, 3 and Knuckles.

Somewhere around here, I also remember the demo for Sonic Adventure DX.

After that I got to the Rush games (which I also found satisfying to complete despite, again, being called "hold right to win" games).

I just found doing as good runs as possible to be satisfying to pull off.

Then I got to Sonic Adventure and Sonic Adventure 2.

I think I spent hours replaying and perfecting the Sonic Adventure 2 speed levels in particular. I think those games were absolutely worth it for just the replay value of Sonic's/Shadow's stages. Any frustration with the other gameplay styles was worth all of the play time I got out of those stages and I think the only truly bad gameplay style was Big's fishing stages.

Even then, in Adventure 1 all the other campaigns were also pretty short.

In Adventure 2, I think the only source of true frustration for me were some of Knuckles/Rouge stages.

I think the reason why the other gameplay styles are so frowned upon is that they're not what you come to Sonic for, but I think only Big actually controls badly in terms of the fishing mechanics – the frustrations really come from level design.

After those two comes Heroes, which I think could've been my favourite out of these "adventure style" games, but the controls just were too stiff to not get in the way of enjoyment.

The long stages would've actually been awesome instead of frustrating if I didn't have to fight the controls (and occasionally camera) along the way.

It had some great level design with some really good level themes.

But it just wasn't as responsive as I would've liked it to be and movement over-adjusted really often, leading to deaths and a bunch of frustration not of my own making.

If any game deserves a remake with better controls, I think it is 100% Heroes.

But I still did get some fun out of it when everything worked as well as it could. I kind of love the Haunted House level and all of the interesting things it did.

This is the point where I no longer could play the games for a while.

Shadow the Hedgehog, Sonic 06 and Unleashed HD are the games I've never gotten to play in this gap. But the only bit I'm truly actually interested in are the day stages of Unleashed.

I feel like they have the Rush games effect that despite some of the cheap stuff in those stages, they are very satisfying to complete.

The next games I got to play were Unleashed and Colours Wii (though I never got to finish Unleashed Wii). I like Colours Wii more than Unleashed Wii.

Colours might be mostly 2D and more "generic" blocky stuff, but I still had fun blasting through it.

Unleashed Wii's day stages didn't really have that satisfaction of perfecting the stages like the Advance or Rush stuff. The Werehog was okay and I think sometimes actually better than the day stages, so the game as a whole was just okay.

But I think Colours DS is my favourite of the "Rush-style" games. The Wisps are really satisfying to use and the level design is more involved and less "cheap" than in the other Rush games, where sudden spikes and death pits are much more common.

Somewhere in here is Sonic Chronicles. I actually liked executing the moves with the characters for a little bit, but not much else about it. I think it's the only game in the series to this point I truly dislike.

There are more like okay games, good games and great games in this series for me because it looks like I've managed to avoid the biggest duds.

The final two games in the series I've actually played chronologically are the PC versions of Sonic Generations and Sonic Mania.

And I think both are really good!

Generations still wasn't 100% there with the controls, but I think it was the closest to Adventure series controls. Probably my favourite 3D Sonic game next to Sonic Adventure 2. I spent ages replaying all of the stages. I adore all of the open space and alternate routes there.

Sonic Mania is the best game post transition to 3D to me, though and would maybe even tie for my favourite Sonic game with Sonic CD if it was completely new.

It fixed some of the dated level design of the classic games – unfair spring and spike placement is at an all-time low, it evolved the usage of shields in a really cool way and added some really interesting level-specific mechanics, my favourite is probably the bouncy gel in Chemical Plant.

I 100% want a completely original Sonic Mania 2.

I have not played Sonic Generations 3DS, Lost World, any of the Boom games or Forces.

All of which are supposedly okay/terrible, too and honestly even don't have anything interesting going on to catch my eye in footage. Forces especially looks frustrating to me because it just looks like hallways and doesn't even look to have the satisfaction of perfecting a stage the other boost games have.

I really seem to be in a position where I've missed all of the worst stuff.

I actually probably find Secret Rings and 3D Blast to be the worst Sonic games because I remember being the most frustrated with them. Chronicles is still just mostly boring.

Black Knight has the really satisfying spin slash attack and you can keep the flow and control Sonic much, much better.

In-between all of this I've tried some of the 8-bit games which I liked just fine, but which all really blended together.

I've also tried the Sonic 4 parts, which I also find okay. Not good Genesis-style games, but okay, functional enough Rush-styled games.

So I can say that I don't think Sonic has ever "jumped the shark". There are good old games and good modern games.

From leaks, the upcoming game at least sounds much more ambitious than some of the previous games like Forces or Lost World.

I predict something like Unleashed where there is a sound foundation in there, but it is unrefined, as there seems to be talk that it's another really big switch-up – it possibly being an open world game.

I think I really appreciate the series' willingness to switch things up even if it doesn't always work out.

The Classic, Adventure, Advance, Rush/Boost games all are very different styles.

I've had a lot of fun over the years with this series and I hope I'll have more fun in the coming years.

I think the Adventure + Heroes remakes are 100% overdue. Also please, Sonic Mania 2 with all-original stages.

#Sonic #Sonic the Hedgehog #Sonic Adventure #Classic Sonic #Sonic Advance #Sonic Rush #Boost Sonic

[eledritch]

Since you mentioned that Altea Creek slowly becomes a ghost town in one ask, which buildings are still standing for tourists and ghost hunters to snoop around in? Are there any urban legends like how people can hear the sounds of horses racing in the night, how a woman with white hair appears in the windows of the old brothel, or how people who get lost in the desert find a shack surrounded by corn stalks to stay in for the night, only to wake up in the old sherrif's office come morning?

ok fine i admit it i love the btsats universe...please send me more fun prompts for it!

ARIZONA; AUGUST 13th, 2017

She’s heard the tales they tell about this place. 

She never put any stock in them, of course - at nineteen, she’s way too old to believe in old wives’ tales anymore. Her grandma Dolores, who married some cowboy up in Page after her grandpa died five years ago, always has some new yarn to spin at family reunions in Sedona. She thinks the sun is probably getting to Dolores’s husband’s head when he tells her about the huge wildcat prowling the outer reaches of his ranch at sunrise, followed by a young man on a red horse. Makes no damn sense, and that’s not even the craziest of it. 

They say this town is haunted by a woman with long white hair and piercing blue eyes, by a herd of phantom mustangs no one can ever catch but a few swear they’ve seen, by a huge creature with horns and yellow eyes, and, perhaps strangest of all if only because of its comparative normalcy, by a lean boy with shaggy black hair, or sometimes white hair; no one can seem to agree.

Altea Creek, the town was called, or at least that’s what the faded wooden sign says. It’s not even big enough to warrant an actual road sign, one of those green highway signs with blocky white letters, and that makes her real nervous. It means this place is really and truly in the middle of nowhere, and therefore she is in the middle of nowhere, and it’s in the middle of desert nowhere, which makes it even worse. At least when people go missing in forests and mountains and swamps and things, people go looking for them. But she’s never heard of people braving the Sonoran to find a teenage girl who was left behind at a midnight bonfire that was supposed to be fun. 

It was fun, she thinks sullenly, at least until she’d woken up hungover to the rising sun and all her so-called friends gone. Serves her right, for thinking Arizona State frat bros and sorority girls would actually look out for a scrawny NAU freshman. Then again, her NAU sisters had been there, too...ugh. Sororities are dumb, anyway. Sisters definitely aren’t supposed to accidentally leave each other passed out in the stupid cave Josh Whats-His-Face had declared was, Like, Totally The Perfect Hookup Place, C’mon, It’ll Be Sooooo Fun Oh My God Lighten Up, Will You?

“Fuck you, Josh,” she says to a passing tumbleweed, and then feels bad, because tumbleweeds are really pathetic-looking as it is; they don’t need her harsh words, too. 

She stops walking. She really doesn’t want to go into that creepy little ghost town. But she also doesn’t want to get heat stroke and die. Ghosts, or horrible agonizing death? Tough choice. 

Dolores and her husband have so many weird stories about this area, though. It doesn’t just stop at wildcats. Apparently random cornstalks just...grow out here, sometimes. And, well, she doesn’t know much about corn, but she does know that it’s dry as shit out here, and not much more ever grows except cacti and weird stunted trees. So corn seems pretty unlikely. But Dolores swears there’s corn. And also, rabbits. Like, tons of rabbits. Rabbits with glowing eyes. Who look at you like they know you.

Grandma Dolores is clearly off her rocker.

She resolutely does not think about the darker stories - the stories of mangled bodies showing up beside the highway, and sure, maybe they had all been probable child molesters with a plethora of witnesses testifying against them, but she still doesn’t love the idea of a violent vigilante roaming the desert with intent to kill. 

Nervously, she tugs her shirt closer, not that it does much good - it’s August, and she’s only got her short shorts and a faded Stranger Things tanktop. She can feel her shoulders getting crispy already. How long has she been wandering out here? A hour, two? The sun looks way higher in the sky than it was before. Yet the town seems no closer...it shimmers in the distance, just out of reach. Mirage, she thinks, hazily. But she was so sure it was right in front of her...

She wracks her brain for what to do. Her dad gave her a bunch of weird survival books, back in the day, despite the fact that they lived in the middle of Phoenix and she wasn’t exactly in danger of getting lost in the desert. But oh, how the tables have turned. 

Prickly pears...she thinks they have water in them, or maybe that’s barrel cacti. Or maybe she’s completely fucked. All she knows is that her throat has never been this dry, and her lips are so chapped they’re bleeding when she bites at them, and she’s suddenly terrified. She doesn’t want to die out here, all alone where no one will ever find her. She feels tears prickle at her eyes and blinks them back hastily - she has to conserve water, she can’t cry, even if it’s saltwater, how the hell does that work, anyway -

There’s a black cat standing in front of her.

She blinks down at it stupidly. “Hi,” she croaks. The cat is fluffy, with a white splotch on its head and a ouchie looking scar over its muzzle. It’s missing its front right paw, and she scrunches up her face in sympathy. “Guess you’re having a rough time out here too, huh?”

The cat meows and winds around her ankles, rubbing its head against her bare calf and staring up with wide grayish eyes. She smiles tiredly and kneels down to pet it, and as she kneels she’s struck with the awful realization that now she and this cat are going to die out here, and she can’t even do anything to help!

She bursts into tears and the cat looks distinctly alarmed as she hiccups out between sobs, “I’m so - I’m so sorry, kitty, you’re...you should go run off somewhere else, ‘kay, find someone with water who can take care of you ‘cause I, I can’t, I can’t watch you die, too -!”

She’s falling onto the ground; her head is swimming and she’s feverish, shaking as a firm hand presses to her brow and a shadow falls over her. The cat paws gently at her cheek and gives her sweaty, clammy skin a soft lick. “Heat exhaustion,” a woman’s voice says, floating through the air like a blessedly cool breeze. “She’s very dehydrated; another two hours and she’d be gone.”

Another voice, this one deeper, male; she feels it as if from the earth. “Hmph. City girl, huh?”

She doesn’t understand when a third, even deeper voice joins them, this one coming from the cat, which is staring sternly upward at the man she can’t see. “Keith, don’t be rude, she got lost and panicked. She’s young and afraid; can’t be much older than you were.”

The second voice makes a thoughtful sound. “I know. But look, she’s burnt bad. Allura, you still have that aloe?”

“Of course.” The cool hand on her brow sweeps back her hair; the woman’s touch is comforting, like a lullaby; it reminds her terribly of her mother. “Come now, let’s get her inside.”

She has no strength left in her body when they lift her up - the woman is carrying her, and when she looks up blearily she sees long white hair and piercing blue eyes, though there is no malice in the woman’s steady gaze. The cat is curled up warm and soft atop her chest, in her limply folded arms, and purrs when she pets it clumsily. “Good kitty,” she mumbles, and the second voice, Keith, chuckles. 

“Fishing for compliments, I see,” Keith says.

“She likes cats,” the cat replies primly. “And I like being petted. It all works out nicely.”

She passes out.

*

When she awakes, she is in an unfamiliar little house, in a cozy bed, and there is a lean boy with shaggy black hair polishing a knife at the kitchen table. She sits up, confused, and he turns to look at her, calm and quizzical. 

“Hello,” he says. “Sleep well?”

“Where am I?” she says. 

“Safe,” he says, and for some reason, she absolutely believes him.

He puts down the knife. It is a strange knife, she thinks, shiny and black. Obsidian? “I like your knife,” she blurts, and flushes when he shoots her a small, lopsided smile. 

“Thank you,” he says. “It was a gift.” He tilts his head. “What do you remember?”

She tells him about her friends leaving her. He frowns, and tells her to get new friends. She agrees. She cannot stop looking at him. There is something...other, about this boy. He is serene, radiant in a way she cannot quite describe, and she has never felt so at peace in her life. 

Then she says, “And there was a cat.” She furrows her brow. “At least, I think there was a cat...”

“Oh, yes,” the boy says, and nods to the fluffy black heap at the end of the bed. The cat is sleeping soundly, and rolls happily onto its back when she reaches out and scratches its little chin. The boy grins, oddly amused by the exchange. “He likes you.”

“What’s his name?” she asks, enchanted. The cat sneezes and blinks sleepily up at her. 

The boy hesitates, then says, “Shiro. His name is Shiro.”

“Shirooo,” she coos, and is disappointed when the cat butts its head against her palm once before hopping off the bed, padding off into the house and around the corner. “Oh. There he goes.”

“You ought to go, too,” the boy says, standing up and offering her a hand. She takes it; his hand is warm and calloused, with a faint white scar across his palm as he lets go. “I’ll take you back home.”

“Home?” she says, and shakes her head. “I don’t live around here.”

“But you live in this desert, don’t you?” he asks. She nods slowly, and he smiles. “It’s our desert,” he tells her, quietly, like a secret. “We can take you home.”

“Do you need an address?” she asks, although deep down she knows he doesn’t.

Sure enough, he shakes his head, and touches her face, carefully, the barest brush of fingertips. 

“Goodbye, Katie,” he says, and in the blink of an eye the boy is gone, and she is standing in her childhood bedroom, breathless and believing.

“Goodbye,” she whispers, but she knows they will never really leave.

#ask me things #btsats #sheith #ficlet #voltron #THIS WAS SO FUN AND I HAD TO #Anonymous

[britesparc]

Weekend Top Ten #480

Top Ten Videogame Logos

I like games. I’ve been playing them for a long time; since the 1980s, which was over seven years ago. In that time I’ve seen many ages of gaming come and go – remember full motion video? – but one thing I have noticed is that game packaging has shrunk and shrunk and shrunk. From large sturdy cardboard boxes the size of two hardback books back in the early nineties, to slim ‘n sexy DVD cases around the turn of the millennium, to – well – absolutely nothing these days as we oxidise games from the air. And one of the things that used to – and, I guess, still can do – make a game’s box art really pop was a sexy, elaborate, or otherwise just really frickin’ cool logo.

Now, by “logo” I’m basically talking about the design and typeface of the title itself. I don’t really mean the lambda sign from Half-Life, or – to step outside specific games for a second – the famous Ghostbusters symbol. Some games do actually end up with iconography incorporated into their title design, and you might see a little bit of it here; but for the sake of argument, I’m using “logo” to mean “title”, and how pretty that title is.

And I gotta say, some games had very, very pretty titles.

Now, I know, from research, that 8-bit games released in the eighties often had wild and wacky logos. However, there’s precious little of that on my list, because I didn’t really notice it at the time. I can appreciate it now, looking back, but it meant nothing to me forty years ago because, well, I wasn’t born or was simply far too young to notice. I didn’t really pay attention to box art until I had my Amiga, and that was about 1990. So there’s precious little here that’s genuinely old. That being said, I do seriously think that the golden age of logo design was that late eighties/early nineties period, as we transitioned from 8-bit to 16-bit home computers, with a legacy that continued into the PC dominance years of the mid-to-late-nineties. I think at this point the industry benefited from beginning to have certain established patterns and artists, but was still loose enough to allow a huge deal of experimentation and a feel of general lawlessness. It was in this era that Roger Dean reigned supreme, a vastly talented artist whose airbrush style defined the Amiga 500 for me. His work can be seen on this list, and – surprise – it’s at number one. Dean was so good that not only did his artwork grace dozens of boxes, but he also designed the greatest logo for a game developer of all time.

(Just as an aside: I had a lot of Psygnosis games for the Amiga. I remember vividly my cousin and I would desperately try to parse the wording of that logo – “Is it a P-S-V? P-S-V-C?” – during the brief time it appeared on screen whilst the game loaded. Ah, those exotic early years, full of wonder and possibility… but I digress)

Anyway, there were loads of bright, bold, colourful logos in those days. I think they mostly wanted box art that leaped out from a crowded computer shop shelf, and generally there was probably an assumption that the audience would be either young or nerdy, so there was no outward desire to be elegant or minimalist. Huge, chunky logos were popular; large text, airbrushed artwork, characters incorporated into the logo itself; plenty of shading and embossing effects were used to make a logo stand out proud on the box.

As time wore on, and the target audience aged and maybe wanted to appear a bit cooler, logos seemed to grow smaller. 3D extruded block text was replaced with simple white font work and elegant design. As such, into this new millennium, there are very few really exciting logos nowadays. Even my beloved Half-Life has a really minimalist design, which works, yeah, but it’s not exactly an all-timer. We do still get some very good logos now and again; I’ll go to bat for Halo any day of the week, but even that is twenty years old now. BioShock’s was pretty cool, too, with its rusted brass façade, but even that’s, what, 14 at this point? Blimey.

I think the evolution of the game logo can best be illustrated by comparing the original Doom logo to the one used in the 2016 remake. Vibrant colour versus flat white. I know which I prefer.

So there we are; my ten favourite game logos. And as these are game logos, I’ve banned anything that’s adapted from external media, whether it’s a Star War or Spider-Man or even Cyberpunk 2077 (which does have a cracking logo but is more or less a version of the one used in the original role-playing game). Anyway. Let’s have at it.

Shadow of the Beast (1989): not the first Roger Dean box art, but arguably the most famous, and certainly the one that caught my attention. Well, actually, it was Beast II in 1990 that I saw, but I’m picking this original logo as it’s a bit cleaner without the “II”. Anyway, what’s not to like? Dean’s fantasy-metal style is evident, with a logo that’s kind of threatening to look at, the pointed curls descending from the letters connoting teeth or claws, but the brushed, metallic detailing giving it a technological bent. Supremely cool, freakish, and a style carried very strongly into the game (and moreso the sequel).

Elite (1984): a rare example of a relatively minimalist piece of box art for the eighties, but all the same this logo is something else. Huge and bold, carved out of solid gold, its eagle wings suggesting the power of flight whilst the strangely-crowned head suggests something almost majestic or godlike. It’s the perfect logo for a game about space exploration, yet it also has echoes of Nazi symbolism or even Judge Dredd, giving the game a subtle sense of menace.

Lemmings (1991): unlike the other two, this was a fun, bouncy game, whose childish, cartoony stylings hid a dark and fierce puzzling heart (and also supremely distressing scenes of Lemmings getting mutilated). But this logo is beautiful, its jolly, chunky green typeface reflecting both pastoral beauty and the hair of the little critters; the misaligned letters reminiscent of the undulating hills the levels hint at (but don’t actually contain, particularly). And we get the heads of the Lemming poking out, squarely cementing them as an important part of the experience, their character the defining characteristic of the game itself and all its associated art.

Doom (1993): a seminal moment in gaming, and a seminal logo too. Surprisingly colourful for a game about the ravages of hell, this is a bold and bright bit of typography, the extruded letters suggestive of the 3D nature of the game itself; the almost terracotta tiles meshing with the complex mechanical geometry on the letters reminiscent of the game’s merging of the supernatural with the highly technological. And there’s the pointed extremities of the word, directed down like fangs, hinting at the horrors and dangers to come. Quite simply brilliant.

Minecraft (2009): the most recent game on the list, but its logo is almost a throwback. Thick, square, blocky letters reflect the cuboid nature of the gameworld; the angle away from the camera suggests height and importance, subtly hinting at the scale of the game itself. This is an iconic piece of iconography, instantly recognisable by children – to the extent that trying to draw a logo like Minecraft, or recreate the Minecraft logo itself, is fairly common in our house. I also like that one of the letters appears to be a Creeper.

Pac-Man (1980): and here we have the oldest logo! But so iconic. The chunky font, with letters comprised of thick shapes, devoid of some of their detailing, is cool enough; despite being released at the beginning of the eighties it has an almost sixties vibe. The “C”, of course, looks like Pac-Man himself. But what really makes it art is the offset colours, giving it the air of a misprint or of looking at 3D without glasses. It’s a deeply cool effect and helps make the logo feel timeless.

Dizzy (1987): another oldie, making its first appearance in ‘87’s Dizzy: The Ultimate Cartoon Adventure, although the logo design was very slightly tweaked and refined by the follow year’s Treasure Island Dizzy. Simplistic 3D block letters, but what makes it sing is that they’re dizzy; linework suggests them spinning, but it’s how the perspective differs from letter to letter, giving them a confused and discordant feel, that gives it just that little bit extra.

Zool (1992): perhaps a lesser-known and less iconic logo, unless you were a huge Amiga game in the early nineties. The airbrushing to give it a metallic, embossed effect is very of the moment, but what I love is the eyes. The double-O is rendered as Zool’s cross-looking eyes in his ninja bandana. On one hand, making the Os eyes is rather first-base, but partly it’s how they’re executed that I like; it’s also just because the big angry eyes are rather funny.

Pokémon (1996): first appearing on the cover of Pokémon Red and Green in ’96, the general Pokémon logo is a beaut. Again, it gives the appearance of simplicity, but the execution is complex. Chunky, friendly lettering, yellow like kid favourite Pikachu; kids’ll love that. The blue outline and drop shadow help it pop and give it a subtle, almost 3D effect. And the letters are discordant; rather than a regimented logo, it’s all over the shop, different sizes and weights of letter, all jostling for position on the page. It perfectly encapsulates the tone of the game.

Deus Ex (2000): I’ve more-or-less steered clear of the sci-fi design of “metallic logo that’s otherwise just the title”. I like logos with a bit of something extra; hence no Perfect Dark or Halo, despite those being great in and of themselves. Deus Ex takes the spot, though, partly because the letters seem built out of something, cobbled together in a dystopic, cyberpunk-y way. As you play a cyborg, this feels apt. And then there’s the logo itself, a towering corporate-looking edifice, a brilliant juxtaposition of two shapes that together suggest a D and an X. It’s slick and shiny, and is present in the game itself as a gently rotating loading screen, reflective of the advanced 3D graphics the game possessed.

Honourable mentions go to Theme Park, with a logo that’s suitably corporate and also reflective of a roller coaster, and Quake, just for that really cool nail-through-the-Q effect.

#top ten #games #gaming #logos #artwork #titles #box art #retro games

[tinymixtapes]

Feature: Favorite 15 Video Games of 2017

Let’s face it — art is escapism. We might feel like we’re doing serious work when we catch up on arthouse films or when we listen to music that preaches values we believe in. But at the end of the day, sitting on the couch is just something we all need sometimes. The old guard has a vested interest in inflating the significance of the media we consume in our spare time, in making us feel as if it’s our collective duty to remain caught up with the season’s latest rehashes on contemporary issues. But is escapism in itself really so shallow? Is it so low to seek visceral immersion in this terrifying and numbing reality we’ve found ourselves in? And more importantly, if we’re going to burn away our hours staring at a screen, why just absorb when we can participate? Amid another year wherein it seemed as if the amount of music to listen to and TV to watch reached a breaking point, video games pushed forward yet again as one of the defining platforms of our time. After all, we’re talking about a medium that distinguishes itself from other artistic formats in the agency it gives to its recipient, placing the experience of a video game as much in the hands of the player as in the hands of the developer. And never before has there been so much freedom in how we create that experience: Between AAA titles that pushed the boundaries of the open-world concept to unimaginably beautiful new heights (The Legend of Zelda: Breath of the Wild) to indies that sent us tunneling down absurdist rabbit holes (West of Loathing), the games we played in 2017 reflected the expanding chaos of our world, trading in linear pathways for freeform silliness (Super Mario Odyssey) and easy relaxation for carpal tunnel-inducing mindfuckery (Getting Over It With Bennett Foddy). Even if we couldn’t control what was happening beyond our front door, we were the masters of our domain, as far as our living rooms were concerned. Of course, in the end, it’s all fun and games, and sitting at home isn’t going to fix all of our problems. But rarely have we felt as nourished as we have after picking up one of these 15 gems, each one as inspired and invigorating as any film or album or book from last year. It’s with that in mind that we present our Favorite Video Games of 2017, with a little reminder that if you’re going to escape reality, do it right. –Sam Goldner --- 15 Animal Crossing: Pocket Camp Developer: Nintendo [iOS, Android] In 2017, it often felt like our most basic sense of community and fellowship to one another continued to deteriorate. It was a small but powerful relief when Animal Crossing: Pocket Camp hit the app store. Beyond the purely nostalgic appeal of hopping into a camper and getting away from it all, of hearing the sound of leaves crunching underfoot as we ran errands for all our cute animal friends, Pocket Camp distinguished itself with a simple goal for players: give to others, unconditionally, purely for the sake of giving. The fact that the game drew such ridicule for this suggestion of unreturned generosity is telling of our world in and of itself; but even in the face of its haters, Animal Crossing felt like a big bear hug from an old friend, the sort of neighborly, low-stakes game that championed a kind of calm that seems to be disappearing from our lives. Best of all, it was essentially free, with pay options only cropping up if we felt the need to speed up our steady furniture accumulation — as if the game itself was asking us, hey, why are we always in such a rush? –Sam Goldner --- 14 Hellblade: Senua’s Sacrifice Developer: Ninja Theory [PlayStation 4, Windows] Hellblade boasted a range of state-of-the-art technical features, from expressive motion capture to miasmic binaural sound design, but its most effective trick was decidedly old school: a disorienting, medium close third-person point of view. Unlike first-person walking simulators, which often dissolve the nuances of character in service of narrative simplicity and reduce the experiences of being, of embodiment, to mere avatardom, Hellblade never let you forget whose story you literally stand in the shadow of. Considering that one of Hellblade’s core mechanics involved the manipulation of perspective, there was a harmony of theme and structure, a rare achievement, even in consideration of the whole history of the medium. That these devices were utilized in service of a melancholic, Herzogian fever dream of love, loss, trauma, and hereditary psychosis was more astonishing still. As VR tides continued to rise throughout 2017, Hellblade made a convincing argument for the ascendancy of those smaller stories yet untold, over the paradigm-shifting promises of vulpine industrialists. Best of all, Hellblade’s commercial success proved that there’s a market for games as immersive, empathy-building experiences, which is perhaps the most impressive of its tricks and achievements. –embling --- 13 Puyo Puyo Tetris Developer: Sonic Team [Nintendo 3DS, PlayStation 3, PlayStation 4, Xbox One, Nintendo Switch] I copped Puyo Puyo Tetris on a whim, hoping to eke a few hours of portable puzzle-solving between classes. Turns out, I’d underestimated just how much longevity this title packed within its cartridge: it’s the Switch game I’ve most frequently returned to this year. Whether I’m playing it on a TV at a friend’s get-together, getting decimated while attempting to play competitively online, or just plugging my way through a ridiculously written story mode, I never seem to get bored with its simple and succinct gameplay, which pits two classic stacking puzzles against each other, side by side. Puyo Puyo Tetris was a straightforward title that breathed new life into veteran concepts. The learning curve’s quick, but there are hours and hours worth of strategic depth built into the game’s blocks and blobs. –Jude Noel --- 12 Prey Developer: Arkane Studios [PlayStation 4, Windows, Xbox One] Who would have thought that a first-person, sci-fi horror throwback under the premise of an alternate reality (wherein JFK was never shot and the space race flourished) could be so captivating? Touted as a “space horror version of Groundhog Day” at E3 2016, Prey certainly delivered in story, but it became a true standout through its slick, immersive atmosphere, inspired by films like Moon, Starship Troopers, and The Matrix. It was such a joy to play an original property that recalled playing Doom for the first time, but the game complemented its retro aesthetic with interrogations into morality and artificial intelligence. While Prey is that rare, underrated gem likely to be buried among similar genre titles, it was nonetheless an alternate reality worthy of being lost in. –Emceegreg --- 11 Golf Story Developer: Sidebar Games [Nintendo Switch] Golf Story was one of the biggest surprises on a system that was itself one of 2017’s biggest surprises. The game sported a typical hero story, but twisted such that your golfer was old and unlucky instead of young and plucky. And instead of townspeople cheering you on, the crowd consisted of a crew of sarcastic golfers rooting for your failure, in the most pleasant way possible. The story was amusing, but it never got overly involved, present just enough to introduce new courses and rivals with flair while letting the excellent gameplay speak for itself. Traditionally, sports games don’t have stories, but the bizarre combination offered by Golf Story led to an intriguing mix of genres that was absolutely worth the low $20 entry fee. –Munroe [pagebreak] 10 Thimbleweed Park Developer: Terrible Toybox [Xbox One, Android, Windows, Nintendo Switch, iOS, Linux, Macintosh OS] The 1990s were the golden age of the point-and-click adventure game, largely due to companies like LucasArts and Sierra Entertainment. But the genre has persisted over the years and even thrived with the recent popularity of tablet devices. Indie developers of all stripes have embraced these casual (and sometimes frustrating) games, often applying a pixelated aesthetic in homage. Thimbleweed Park, from the creator of Maniac Mansion and Day of the Tentacle, was this year’s standout example. All the aspects of the classic gameplay were there: the crosshair cursor, the blocky verb actions at the bottom, the humorous dialogue, and of course, the bizarre use of objects to advance the story. Thimbleweed Park gave us control over two secret agents plucked right from The X-Files, a female video game programmer, a foul-mouthed clown, and a ghost, all humanized with superb voice acting. And at its core, the game’s logic was pleasantly goofy, much like its predecessors. –Tristan Kneschke --- 09 Getting Over It With Bennett Foddy Developer: Bennett Foddy [Windows, Macintosh OS, iOS] Part B-game, part Sisyphean metaphor, part pop psychology, tough-love therapy, and meme generator, QWOP mastermind Bennett Foddy’s latest absurdist platformer carved out an unexpected niche in the 2017 zeitgeist thanks to the revival of tired conversations about difficulty in games sparked by Cuphead’s punishing, retro-style gameplay. But Foddy’s incredible, impossible, holy mountain-climbing abstraction brought new life to old discourse by challenging the nature of simulated obstacles in gaming, testing the player’s perseverance by delegitimizing itself as just another emblem of gamer credibility, and actively questioning why we’re even playing. Foddy created a game that could’ve used its quick novelty and high meme potential to cash in on a voracious Twitch and YouTube market. But with theming that blends a delightfully clumsy control setup, slapstick physics, and existential horror/psychological torment courtesy of Foddy’s alternatingly abusive and encouraging voice-of-God commentary, the game also proved to be one of the most unique interactive experiences of the year. As for my own quest up the mountain, I still haven’t hit the top, and I honestly probably never will. But I’m fine with that. I think Camus would understand. –Colin Fitzgerald --- 08 NieR: Automata Developer: Square Enix [PlayStation 4, Windows] A tree in the vastness of a broken future, its many branches varied and reaching toward an open-ended sky. It’s these visuals in the bleak fast-forward of NieR: Automata that best exhibits how rich and entrenching the storytelling was with the latest in the series. And though the multiple endings and perspectives (and the chase therein) were the top-level canopies of NieR: Automata, it was the interactions and revelations drawn by 2B and 9S that truly stripped you of your own cynical bark. There were plenty of post-apocalyptic games littering the gaming market, each fitted with its own emotional gimmick, yet it was the lack of a gimmick that set NieR: Automata apart. The branches of its storytelling reached into the futuristic ether, a towering coniferous that brightly blossomed the higher you climbed it. Much like that tree, NieR: Automata shouldn’t exist in this prophetic space of humanity’s not-so-distant landing spot — and yet it did. And I’m glad it did. –Jspicer --- 07 Night In the Woods Developer: Infinite Fall [Windows, Macintosh OS, Linux, PlayStation 4] Here’s an Indie Game Mad Lib: Night In the Woods was a self-aware, slice-of-life adventure game with an ironic sense of humor about millenial social fatigue, set in a 2D cartoon world populated by morose talking animals. The game also mercifully swam against the rushing currents of contemporary gaming culture. While the industry at large continued to thrive on unquestioning nostalgic dogma, Night In the Woods sought out the true value of reminiscence in an era of profound disconnect; while most games took on social issues with a myopic perspective and a heavy hand, Night In the Woods was, if anything, too muted in its depiction of the communication breakdowns plaguing a generation buckling under the weight of modern strains of anxiety, depression, and socioeconomic disenfranchisement. The game was stocked with authentic characters whose stories you learned gradually through awkward encounters and halted conversations, all simultaneously desperate for something meaningful to happen and terrified of making themselves even the slightest bit vulnerable. It was either an empathy machine for a society automating itself into isolation or a quirky little story about how we’re all just confused idiots floating directionless in space. The result was the same. –Colin Fitzgerald --- 06 West of Loathing Developer: Asymmetric [Windows, Macintosh OS, Linux, iOS] The Western is America’s answer to European medieval fiction. Both genres are essentially fantasy that romanticize the unwritten reality. Both possess a certain character that reflects ideals for each location. Some would argue they whitewashed the truth, a claim for which there is some validity. However, what truth it hid was more mundane: These times were actually boring. In Europe, knights were spoiled rich boys, marriages were political and financial transactions, and the life most people had was tending to a farm. The American West was not full of gunslingers, cowboys, and prospectors, but immigrant farmers, bored Civil War veterans, and cattle ranchers just getting by. Sometimes it’s important to reflect on the absurdity of these fictions in subtle ways. Meat as a currency. A necromancer raising dead saints and antipopes — taking back their “holy relics” in the process — only for them to be instantly killed by a lady with a bone saw. Crowded trains waiting for the continental railroad to finish. A ghost town’s bureaucracy denying cow-punchers a shot of whiskey. A great cataclysm occurring when The Cows Came Home. It was all so goofy. But when you think about it, aren’t Westerns just as ridiculous? –Ze Pequeno [pagebreak] 05 Persona 5 Developer: P Studio [PlayStation 3, PlayStation 4] Although its core gameplay wasn’t a revolutionary departure from the JRPG subgenre’s tropes and traditions, Persona 5 kept me coming back to its magical-realist incarnation of Tokyo on aesthetic strength alone. Visually, aurally, and ethically, the game’s cast of delinquent teens had their finger point-blank on the pulse of 2017, bumping future-funk jams in the background as they dealt vigilante justice to their oppressors, all the while decked out in high-fashion fits equally inspired by Victorian literature and late-70s punk. The game oozed style down to its animated menus, bordered by sketchy illustrations: though much of the game took place in a surreal meta-reality populated by demons, an elegant charm stitched the torn fabric between its fantasy and beautifully mundane reality. Give Persona 5 a try for yourself: you’ll exorcise ancient evil, buy soylent from vending machines, date the two-dimensional character of your dreams, and have uninterrupted fun through it all. –Jude Noel --- 04 Horizon Zero Dawn Developer: Guerrilla Games [PlayStation 4] Horizon Zero Dawn might not have offered the best open world of 2017 — hi, Breath of the Wild; hello, Assassin’s Creed Origins — but no matter what it appeared to lack, in the superficial and reductive comparisons that commonly pass for game criticism, it more than compensated for with hope, hard-earned humanism, and technical polish. 2017 being a banner year for the format, there were plenty of games that did more, but few that did better. Whether in terms of the satisfying tactility of its weapons, the impossible, magic-hour glow of every single in-game moment, or the unexpected, hard sci-fi implications at the core of the narrative’s parallel mysteries, Horizon Zero Dawn presented itself with more craft, care, thought, theme, and feeling than any other escapist entertainment this year. Sure, the characters’ photo-realistic wax figure faces could be jarringly unnatural from time to time, but what this game had to say — about faith, our relationships to technology, and the very concept of the uncanny valley — was so much more impressive than any mere graphics engine could ever be. While I came to fight robot dinosaurs, I stayed for the mechanical flowers that pollinate poetry. And during a year that consistently dimmed belief in our collective myths — such as peaceable resolutions to decades of cultural Balkanization or the prospect of a decent, sustainable future for humankind — Horizon Zero Dawn served as a balm, a worry stone, a bright and vital reminder that, no matter what, life rarely fails to find a way. –embling --- 03 Super Mario Odyssey Developer: Nintendo [Nintendo Switch] All due respect to The Young Bucks, The Usos, and The Beatdown Biddies, but Mario and Cappy were the greatest tag team of 2017. Mario games tend to have a central gameplay conceit, and with its “Mario’s hat is a sentient being now” mechanic, Super Mario Odyssey was no different. In order to save Princess Peach (as well as Cappy’s sister Tiara the tiara) and restore balance to the universe, Mario and Cappy must join forces. With Cappy by his side/on his head, Mario was able to jump higher, accumulate more coins, and of course possess unwitting enemies before using their abilities toward his own purposes. The resulting body horror made for one of the single-best platformer experiences ever, which might be a little hyperbolic, but I mean come on, it’s-a him, Mario! That name carries a lot of prestige with it, and this latest adventure more than lived up to the pedigree. Collect hundreds upon hundreds of Power Moons, wear a variety of fun costumes, take over a human’s free will and force it to drive an RC car around a racetrack in under 30 seconds. Along with another game that shall remain nameless because this blurb isn’t about it, Super Mario Odyssey made the Nintendo Switch a console worth owning. –Jeremy Klein --- 02 Cuphead Developer: StudioMDHR [Xbox One, Windows] The little Xbox One champion that could this year was also one of 2017’s biggest surprises: a run-and-gun platformer based on rubber hose animation. If you asked if we wanted to play a game that looked like Steamboat Willy, we’d probably be a little reluctant at first, but usually the best and most unique games are the ones you didn’t know you wanted. Cuphead had truly stunning animation that convincingly reimagined what playing a 1930s video game would be like (thanks to independent Canadian studio StudioMDHR). But besides the delightful aesthetic quirk, there was also an impressive difficulty to the game that made it pleasantly addictive rather than annoyingly impossible (see Crash Bandicoot N. Sane Trilogy). So many indie side-scrollers rely on the same tricks from decades before, but Cuphead had mechanics that didn’t allow players to simply remember patterns. In the end, Cuphead was a reminder that all we really want in a game is to have a fun and be challenged. –Emceegreg --- 01 The Legend of Zelda: Breath of the Wild Developer: Nintendo [Wii U, Nintendo Switch] “Games and play are not identical categories. Games are organized forms of play; they have elements that might not be playful. Finite games are games that come to some kind of conclusion, and the conclusion governs how the game is played and what the game means.” The above quote comes from a book about baseball (Fail Better, by Mark Kingwell). It’s strange to me that, in 2017, I’d be looking to a book about a physical sport for a way to understand a video game, but it’s also not surprising that the lines of philosophy in sport, video games, and art run concurrent (hence why you’re reading a video game feature on a website that focuses on music). It’s often what we do when we try and grasp various forms of art: we end up looking back as well as across to see the permutations of ideas run through their forms and related ideas. Sometimes we look at Cage and say Duchamp, or visa versa, as often it seems as if one is looking back at the other, even though often (almost always) they were both working simultaneously. Shared philosophies are reflected in aesthetic permutations in various mediums, but it’s less interdependent and more of reaching to an idea of why we talk and write about our experience with art. Forgive the digression, but I personally find this above point important, at least for myself, when I try to understand what I find so enjoyable, invigorating, impactful, and remarkable about Breath of the Wild. In all ways, it shouldn’t be: another franchise game in the running output stream of a mega-sized corporation that specializes in spectacle and entertainment, etc., etc. But against an understandable skepticism against large-scale video game producers (cf. loot boxes, the existence of EA), we often forget companies like Nintendo were at the start of the medium, or in fact were the start. Breath of the Wild was not a swoop-in project from the outside, even if it’s open-world construction bears some resemblance to games like Skyrim or Assassins Creed. BOTW’s true predecessor exists in its own lineage: the original Legend of Zelda. Before the term “sandbox game” was coined, Shigeru Miyamoto referred to the original Zelda as a “miniature garden that they can put inside their drawer.” I love this quote because it reflects how games at the time were built around experimenting with the experience rather than the presentation of a cinematic, linear plot. Zelda was approached more like a garden than a book. Early games, in their limitation, had to find new ways to approach a person’s interaction with it, and after the limitations of platform games became obvious, why not make a game wherein a person just might miss one of the game’s crucial objects because it’s not explicitly laid out for them to grab? For those who are unfamiliar, the original Zelda puts a sword, your main weapon, in the care of an old man inside a cave. This cave is in the first screen you start on, but nothing stops you from not getting it, save for an extreme difficulty navigating the surrounding areas full of enemies (it is possible to make it all of the way to Ganon, the final boss, without the sword, and to play the rest of the game without it). Everything about the original Zelda was so antithetical to a guided experience. Sure there are numbered dungeons and even one that requires an item from another to gain entry, but the closest dungeon to the start (arguably) is the one marked “2,” and there’s nothing to stop you from entering it. So what might have looked like a technical limitation initially ended up being a source of liberation for the Zelda series. As Kingwell states how the interaction with finite games is governed by their conclusion (think of games that bait you with multiple endings, how the result is dependent on very specific interactions within the game, and how a player is rewarded with this ending by behaving a very specific way), at what point does a game lose its sense of play? In a game like the original Zelda, and especially in BOTW, play is created by the absence of organized form. To free-jazz enthusiasts (and many, many other art forms) this is definitely not a new concept. Even to video games, hell, even to the Zelda franchise it’s not new. So why then does BOTW’s sense of play give me the feels so much? Here’s an example: BOTW contains a physics engine that lets you essentially “break” certain puzzles. There’s a puzzle in one of the game’s shrines that works by way of the motion controller; you attempt to move a ball from point A to B by rolling it through a maze. However, if you take your controller and flip it upside down, the maze turns around as well, revealing a maze-less, smooth backside that makes guiding the ball to the point much easier (at least for me). But no approach to this puzzle is exactly the same; I’ve watched videos of people pan-flipping the ball like a fried egg to its goal; I’ve seen people try and hit it like a baseball as it dropped from the sky; and I’ve also witnessed doing shit. Expectation colors experience; try as hard as we may, what we expect will always bleed into how we see/hear/read anything placed in front of us. Every now and then, we experience a work of art that goes out of its way in both methods subtle and unsubtle to break us from this cycle. It might be outside of the realm of possibility to be a true blank slate and, in the reality of humanity and history, only possible in ignorance, but it’s often a work’s subtler transgressions that last beyond those of a more obvious flavor. I can’t help but think of works by Cage when I play this game, and it might be that a video game’s strong suit is how far removed it is from the problem of authorship/auteur theory. BOTW is not a new entry into this idea, but rather a reminder of what was there while we were taking an artistic format for granted as a children’s toy. Maybe BOTW will signal a movement into which we quit expecting to be constantly rewarded for participating in a work, asking that we turn inward to study our own experience rather than constantly criticize works on the grounds of delivery and feed. Cynically, I doubt this, but if I could interact with every artwork at the level on which I can interact with BOTW, both myself and the experience will be better off for it. Credit to Joe Davenport for bouncing off ideas and helping me find secrets. –Riboflavin http://j.mp/2ElLuva