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thiswasinevitableid · 4 years

Note

For the Meet Ugly Prompt: #23 Sternclary NSFW if you can :)

23: our mutual friend has been talking us up to the other and when we finally meet, we have to tell them that we’ve been in a feud for the last six years (and I can’t stop thinking of all the nice things our friend has said about you). NSWF

“EeEEH, I’m so excited for you to finally meet him.” Aubrey tugs her uncle down the hall, “he’s practically like another uncle to me, and he’s really such a fucking amazing cook--he made all the stuff tonight--so he’ll go with your whole foodie thing-”

“Critic, firebug, food critic” Stern smiles at her.

“Right, right, and he’s got the hunky lumberjack thing going that you know you love.”

“Geez, you buy one calendar-” he elbows her, chuckling. Then the world screeches to a halt.

“Mr. Cobb.” He nods, polite as he can manage with rage-horns blaring in his head.

“Stern.” The bearded man nods back, pushing off of the counter where he’s leaning, glass in hand, talking to Dani.

“Why do I have the bad feeling you two know each other.” Dani looks at her uncle nervously.

“You remember when Amnesty was first getting off the ground and we were struggling to get anyone to take us seriously? This” he points to Stern, no anger or ice in his voice but plenty in his eyes, “is the fucker who gave us the bad review that set us back months.”

“I was doing my job, I’ve told you that a dozen times since then, it was nothing personal. Unlike what you did afterwards.” He replies coolly.

“Oh for fucks sake, I apologized for that.”

“Yes, two years after the fact, which hardly makes up for arguing with every review I wrote so forcefully that Hayes pulled me from the review circuit for months and made me do cookbook reviews instead.”

“Poor Stern, had to do a slightly different desk job while I was terrified the restaurant would go under.”

“You ended up fine, and if the food at Hornet is any indication, you improved.”

“Lucky me, getting such kind words from the illustrious Joseph Stern.”

“I was trying to-”

“Nevermind. I gotta go check the stuff on the grill.” He reaches the screen door to the back yard, then turns, “and I appreciate the thought, kid, but he’s just not my type.”

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

The problem is, of course, that Stern is exactly Barclay’s type. Or maybe he’s everyone’s type, all nice suits and handsome face and perfectly slicked down black hair. They’ve run across each other at plenty of food functions in the city over the last six years, and Barclay always feels like a scraggy mountain man standing near him. It doesn’t help that Stern talks about food the way other people talk about fine art, and Barclay could listen to him do it all day.

He also tells really, really corny jokes when he thinks no one is listening, and Barclay hates his mouth for how many times it’s laughed at them.

Making amends is the right thing to do, but every time he considered it his whole being--piloted by his ego-- recoils.

But they’re going to be family soon. And his niece doesn’t deserve to deal with their feud. He picks up his phone, Stern’s number on his desk thanks to Dani’s wedding planning list.

Me: This is Barclay. If you’re still reading, I think we should meet and talk things over. For real, not in the way we keep fucking up.

Stern: Why?

Me: Because your niece and my niece are getting married and I don’t want us bickering like jerks at the wedding.

Stern:Good point.

Me: Meet me at the Arch? Bar there is good.

Stern: Ok. 8 tomorrow work?

Me: See you then.

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

Stern fights the urge to shred his napkin as he waits at the bar. Maybe this is a set up, or a trap, or-

“Hey.” Barclay announces himself with a tap on the shoulder. His auburn hair is hanging loose, and the blue shirt he’s chosen brings out the brown of his eyes and the copper in his beard.

Stern should stop staring.

He picks up the drink menu as Barclay sits down next to him, “Um, the, um, I can buy. Consider it another apology. What do you get?”

Barclay gives him a mild smile, “How about you pick for both of us?”

It’s an olive branch wrapped in a challenge, and so Stern studies the menu carefully. Chooses the Bigfoot, a mixture of bourbon, chocolate bitters, with a splash of cherry soda, for Barclay and and the Roswell (smoked prickly pear juice and tequila) for himself.

“Good choice.” Barclay smiles at him over the rim of his glass, the first genuine smile he’s ever sent his way, and he straightens proudly at the praise.

“I remember the drink menu at Hornet was bourbon heavy.”

“Goes with the food, but yeah, it’s my booze of choice.”

“So…” Stern swirls the toothpick in his drink, “how do you suggest we go forward?”

Barclay sighs, “Was kinda hoping you had some ideas.”

“Look, how about we agree that when we’re together for wedding planning stuff, we don’t talk about our history, restaurants or food that isn’t specifically related to the wedding menu?”

“Deal.” Barclay finishes his drink, “what do we talk about instead?”

“Books?” Stern signals the bartender, orders them both another round.

“Works for me. Hmm, lemme guess, you read those big-ass historical ones.”

Stern snickers, “I prefer mysteries, or well done travelogue.”

“You’ve read Bourdain, I’m guessing?”

“Of course. He put me on to a cooking memoir by, by, oh damn it all, he wrote that Madeline series.”

“Bemelmans! Shit, I love his memoirs. They’re my comfort reads along with My Life in France.”

“Classic.”

Before Stern even knows it, an hour has gone by, they’re three drinks in, and he has a new reading list. He also sees now why Aubrey thought to set him up with the cook; Barclay is easy-going and friendly, even stopping their conversation to exchange hellos with several staff that recognize him, a needed counterpoint to his own professional demeanor. That soft, deep voice slips under his skin, sets his nerves humming, and Stern wants to move closer, let those capable hands do whatever they wished to him if it meant Barclay would keep stealing appreciative glances at him.

Then he puts his foot in it.

“....food was just a little heavy, like how it is at Amnesty.”

Barclay frowns, “have you even been back there lately?”

“No, I assumed I’d be forcibly shown the door.”

“I would’ve been tempted, but I’m a fucking professional, thank you very much.”

“Besides, it wouldn’t prove your point; I know you’re the exec, but you don’t cook there anymore.”

“Hold the fuck up, it’s my cooking you think was the issue?”

“I didn’t mean that, just that...no, actually, I did mean it. That menu never played to your strengths.”

“That so.” Barclay slams his glass down, the dram undercut when he flashes an apologetic look at the waitstaff before standing in Stern’s space and looming over him, “my house, Tuesday at seven. I’ll show you exactly how good that menu can be in my hands.”

“I look forward to it.”

Barclay leans closer and whispers “bring an appetite” in his ear, voice just shy of a growl.

Somehow, Stern doesn’t think he’ll have trouble doing so.

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

Stern knocks on the door of the modest house. He knows Barclay is now worth quite a bit of money, so the fact he’s chosen an A-frame that looks like it belongs in Tahoe is charming. As was the afternoon they spent with their (clearly relieved) nieces testing out wedding cake ideas. Barclay even laughed at his corny puns and complimented his flavor choice (and how the suit he’s having fitted for the ceremony fit him).

“Come in.”

He steps into the house, finds the kitchen off to the right, just beyond the dining room. There’s only one place set at the table, and when Barclay comes into view he sees why. The taller man is in his chefs whites, hair tied back, making Stern relieved he’s wearing a suit.

“Should I…”

“Take a seat, first course is gonna be out shortly.”

“Right, of course--what’s that sound?” Something is whining behind a door down the hall.

“Hmm? Oh, just Sass, he heard someone come in and wants to be the welcoming committee. He’ll chill out in a sec, he has a dog puzzle there to keep him occupied.” Barclay turns back into the kitchen as Stern sits down. Thanks to the pass through, he can watch as he pulls down a plate and sets three parcels of dough on it.

“You’re getting tasting portions” he sets the plate down, “I’m not blowing through a bunch of ingredients just to prove a point. Smoked salmon pierogies to start.”

Stern takes one bite and knows he’s beaten. The filling is perfectly seasoned, feels like butter in his mouth, and the dough is impeccably made. Maybe it’s a fluke, but all three are gone before Barclay sets the next plate in front of him.

“Bacon, arugula, goat cheese, and blueberry jam on sourdough.” The aroma from the sandwich is intoxicating.

The first course was not a fluke, and he moans after taking a bite. Barclay chuckles, turning back to the kitchen.

“So, Aubrey told me something interesting.” Barclay says casually as he slices what looks like lamb, “she said you don’t only write about food.”

“Oh lord.” Embarrassment creeps up his back, so he focus on his meal.

“Weekly World News is almost as good a byline as the Times.”

“Please don’t say more.”

“Bigfoot is my boyfriend’ was especially good.”

“Oh lord, you looked them up?”

“Yep, Aubrey gave me your pen name. I had a blast reading them, you should, uh, let that funny side out more.” The oven shuts and he returns to the table leaning against the counter of the pass through, “gonna be a minute more on the third course. How is it so far?”

“Incredible.”

“Glad to hear it.” Barclay wipes his hands on his apron and Stern has a moment of clarity; the cook is nervous.

“Can I tell you something nobody else knows? I, um, I’m working on a pitch that combines the two. I want to travel to famous paranormal locations and write about local food at the same time.”

“That sounds amazing.” Barclay pulls out a chair, “do you know if anyone’ll take it?”

“I’m trying some magazines and websites first, to see if they’ll pick it up as a series, which’d make it easier to jump to a book later on.”

A timer dings and Barclay stands, returning with a lamb pot pie for one that Stern eats without concern for how conspicuous his sounds of delight are getting.

Dessert arrives on a small, round plate. Stern tucks into the airy chocolate strawberry cake with raspberry sauce on the side, notice Barclay already washing up. Pity, he was hoping he could stay and talk awhile. There’s only a bite or two left when he decides to admit defeat.

“This is one of the best meals I’ve ever had, Barclay. Whatever you were trying to prove, you proved.”

“Good.” Is all he gets in reply.

“Barclay, I have to know: I wasn’t the only critic to give a less than stellar review of Amnesty when it opened. We both know that. So...why me? Why act as if I was the one who wronged you.”

Barclay turns, wiping his hands on his apron before hanging it up as he sighs, “yeah, you weren’t the only bad one, but the Times held more weight than any other food section in the city. When you reviewed us we were floundering, and when I saw it I just, I almost gave up; I’d put everything, my heart, my soul, my last dime, into Amnesty. And here was some critic basically dooming us. But once I was done being upset, I got pissed, threw myself into proving the bad reviews wrong and you, uh, you became the avatar for every critic who wrote us off as not being fancy enough to compete in the food scene here.”

“Are, did you make me your fucking mental punching bag?” Stern stands just as Barclay leaves the kitchen.

“Yeah, and I’m not fucking sorry. That spite was the kick I needed.”

“And it nearly cost me my job, and my reputation!”

“Maybe you should have lost both, given that you helped Hayes shoot down anyone who threatened the old guard.”

“No I fucking didn’t! I fought him time and again to let me review new chefs, feature them, praise them. Lord almighty Barclay, I’m not some soulless fucking machine who just does as I’m told. In fact-” they’re toe to toe, his lower back to the table, as he pulls out his phone and searches, “even in my review, the one you hated, I was defending you, telling people to give you a chance.”

“Like hell you were.” Barclay snorts.

“I’ll prove it, here” he clears his throat, reads off an excerpt, “Chef Cobb is clearly talented, with a sense of flavor that’s at once exciting and comforting. It is my hope that as Amnesty leaves it’s growing pains behind, we will see incredible offerings from him. There.” He tosses his phone on the table, “see?”

Barclay stutters once, twice, then mutters, “finish your meal, Stern.”

“No, not until you apologize.”

“Jesus christ, just eat the fucking cake!”

“Make me!”

Barclay inhales, long and measured, as he reaches around Stern and picks up the bite of cake. When he holds it to Stern’s lips, he keeps them in a firm line.

“Open. your fucking. Mouth.”

“Fuck youOghm” he flails backwards, hand landing on his plate as Barclay shoves the cake into his mouth. He’s never had sweetness applied so forcefully, and the part of him that isn’t annoyed is screaming with arousal.

He swallows, feels something sticky on his fingertips.

Barclay leers, rumbles, “that’s bet-”

Stern smears his hand across his face, streaking raspberry sauce on his cheeks and mouth.

Barclay licks his lips, growls, and lunges forward at the same moment Stern grabs his shoulders and pulls. Teeth connect first with his neck, then his lower lip before Barclay shoves their mouths together, moaning when Stern tugs their hips flush. Grinds against him so hard the table digs into his back as they yank ineffectively at each other’s clothes.

“Tell me, Stern, four courses enough for you?”

“I’m satisfied. Barely.” He bites Barclay’s ear, making him grunt.

“Barely? Barely? Fine, think I got one more you. On your fucking knees.” Strong hands shove him down by his shoulders, or they try to; he’s already dropping, panting in anticipation as he fumbles with Barclay’s pants. When he finally gets a look at his cock he groans hungrily at the size, lips staying parted as Barclay guides it between them with one hand and yanks his hair with another.

He’s craving, praying for, and expecting roughness. Even so, he gags when Barclay thrusts as far as he can, toes curling and eyes watering as he bumps the top of his throat again and again.

“Fuck, fuck, there we go” he tugs his hair, wonderful pain prickling his neck and making him moan, “oh fuck yeah, every time I do that you tighten, so good, so fucking good.” He tightens his hold, fucking his mouth harder as Stern brings a hand up to stroke the base of his cock, “nmm, yeah, that’s it, show me what those hands are good for, god, fuck, Joe.”

Stern whimpers, delighted at how his name sounds in that rough, demanding baritone.

“Shit, fuck, you want something else to swallow tonight?”

He nods, paws at Barclays thigh.

“Then you, fuck, you got it, fuckfuck Joe, baby, that’s it ohfuck.” Cum spurts down his throat and he swallows like he’s starving, licks and sucks when Barclay orders him to finish it all.

As soon as the cook releases him, he drops to his knees on the hardwood next to Stern. Stern, for his part, is wondering if Barclay will at least let him hide in his bathroom a few minutes so he doesn’t have to drive home hard and soaking wet.

Then his back hits the floor, one calloused hand cupping his face and the other yanking his pants open so messily a button goes flying.

“I, you, you don’t have to-”

“Do you want me to?” Barclay pauses, meeting his eyes with such genuine, tender concern that he melts like butter in a pan.

“Lord yes.”

Barclay’s hand slips beneath his boxer-briefs, three fingers sliding into him when he spreads his legs.

“Fuck, fuck, ohlord, Barclay, just a little shallowerAHfuck, yesright, right there.” He cranes his neck and Barclay gets the hint,dipping down to kiss him to the slick sound of his fingers fucking into him.

Jerking his hips, he can’t find the friction he needs, so he reaches between them and tilts Barclay’s hand so his dick can drag across his palm. His vocabulary has diminished to affirmation laced profanity (or profanity laced affirmatives) and Barclay is faring the same, growling praise in his ear as he gives him more pressure to rut against.

“Lookit you, god, shoulda known you’d look as good fucking as you do eating. Take me so well, gonna find every way to fill you.”

“Please.” He whispers, eyes squeezing shut in concentration.

“Gonna spread you out on a table and eat you like a fucking gourmet meal, gonna fuck that perfect mouth til your so full of cum you can’t swallow any more.”

“Lord, Bar, Barclay, please don’t stop, don’t tease.”

“Who said anything about teasing?” A tender kiss to the corner of his mouth even as the hand fucks him hard enough to make him cry out, “you’re my new favorite taste, babe, and I got so many fucking plans for you.”

Stern cums so abruptly his leg kicks out and bangs his heel on a table leg, but he doesn’t feel it. His would is the pleasure speeding through him, the repetition of Barclay’s name, the affection that overwhelms him and the fear nipping at it’s heels.

He comes back to himself on his side, face nestled against Barclay’s chest.

“Christ, think we both needed that.” The cook sighs, content, and pets his hair.

“I, um, I certainly no longer feel the need to argue with you over things from six years ago.”

“Me neither. And, uh, I’m sorry for being a dick for so long.”

“And I’m sorry for the spot my review put you in.”

Barclay laughs, shaking his head, “only took six years and some killer sex to get us there, huh?”

“It is pretty silly, in retrospect.”

“Your foot okay?”

“Uh huh. I, um, I can be out of your hair in a moment.”

Barclay raises an eyebrow, “because you want to be or because you think you should be?”

“The second one.”

“Don’t gotta leave on my account. In fact, uh, I, uh, I was hoping maybe you’d stay. I want to test out some breakfast ideas on you. Also I like cuddling you and don’t want to stop.”

“A compelling argument. Though we should move to the bed.”

“On it.” Barclay stands, scoops him up with some effort, and carries him precariously to the still-shut bedroom door.

“Damn it.”

“On it.” Stern reaches out and turns the knob, whereupon Barclay barely gets him to the bed without dropping him, as Sass is boinging about their feet.

“What kind-”

“Rottweiler, corgi, spaniel. I think. Not sure where the huge feet came from.” Barclay cuddles up next to him as he strips off his clothes. As he rolls under the covers, Barclay nuzzles his cheek.

“Would, um, would you like to try having a, um, a different kind of relationship? Like a dating one?”

“I’d love it.”

Barclay’s smile is pure bliss, and when he kisses him, it’s the best taste in the world

#agent stern/barclay #sternclay #chef AU #meet ugly #prompt fills #trans stern

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shemakesmusic-uk · 3 years

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This segment features artists who have submitted their tracks/videos to She Makes Music. If you would like to be featured here then please send an e-mail to [email protected]. We look forward to hearing from you!

Bayleigh Cheek

Dallas native Bayleigh Cheek began her love affair with music at an early age thanks to her immersive upbringing. Both parents were in the music scene, exposing her to a variety of sounds ranging from psychedelic and folk to progressive rock and new wave. Some of her personal music influences include Patti Smith, P.J. Harvey, Radiohead, and Angel Olsen. Those influences led to the creation of her EP, Immortals, that was self-released in early 2020 which brought her DOMA nominations for Best New Artist and Best EP. Her latest single is ‘Release Me’. "This song is about what it means to realize you've believed a lie, or false identity of yourself, and the process of becoming free from it and knowing the truth,” explains Bayleigh. “Growing up listening to a range of genres, from psychedelic and folk to progressive rock and new wave, ‘Release Me’ opened my eyes to the world of synths and everything electronics can provide to create a whole new universe of sound. Taking something seemingly fun and cheerful on the outside, and revealing something deeper on the inside. Before I started writing my upcoming debut album, I decided to be more vulnerable, honest and raw. I've hidden behind surrealism, which is still a big part of my art and always will be, but in light of the pandemic, I felt I needed to really let myself be open and not hide anymore. I'm becoming the person I've always wanted to become, and art will always be there as gentle reminders." Listen below.

Bayleigh Cheek · Release Me

Cozy Slippers

Cozy Slippers have released their first new music since 2019’s single ‘A Million Pieces’ b/w ‘Will You Disappear?’ (Kleine Untergrund Schallplatten) and the band’s tour of the United Kingdom. Like everyone else, the Seattle indie band had to adapt to the challenges of 2020 and beyond. ‘When Will When Come?’ is the first release to come from a year’s worth of home recordings done by the band. “We started from scratch. We didn’t have any gear and hadn’t really thought about recording ourselves before. It was so great to escape the stressful outside world for a while by recording and meeting on Zoom to put it all together,” explains vocalist and bassist Sarah Engel. While the band couldn’t be in the same room at the same time, they made use of samples from their prior recordings in order to stamp their sound and personality on the song. “We did whatever we could to get this thing recorded. Some of the vocals I recorded into my phone while sitting alone in my car or late at night when everybody else was asleep. It was a challenge to find space to be creative and alone time to make the recording happen during the past year,” remembers drummer and vocalist Barbara Barrilleaux. The track was mixed by Dylan Wall (Versing, Great Grandpa, and High Sunn). Lyrically, ‘When Will When Come?’ is a plea from one person to another to embrace life’s messy possibilities -- to live before it is too late. Instead of participating in their own life, the subject of the song stares out a window and fantasizes about pink flamingos. “I remember the first time I heard Sarah singing the lyrics. I thought the idea of somebody daydreaming about traveling to see flamingos was weirdly sad. Flamingos look cool, but the world has a lot of other things I’d want to see before a bunch of birds. It seemed poignant to have such a relatively small wish and still be unwilling to make it reality,” recalls guitarist Steven Skelton. Listen below.

Cozy Slippers · When Will When Come?

Everstill

New York-based alternative rock band Everstill have released ‘In Your Dreams,’ their first single off their debut album, Longing. Singer-songwriter and multi-instrumentalist Sara Aridi (vocals, bass, guitars, keys) weaves her melodic guitars and haunting vocal harmonies with percussionist Luca Bertaglia’s pulsating drums to evoke sounds that are at once melancholic and euphoric. The group draws from disparate influences and genres including grunge, indie rock, jazz, metal, folk and more. ‘In Your Dreams,’ recalls artists like Warpaint, Wolf Alice and Chelsea Wolfe. Aridi wrote the song — something of a seductive plea to an unknowing crush — in 2015. A year later she met Bertaglia while playing in an alt-prog band, and the pair reconnected in early 2020 to bring her songs to life. They found themselves working on their debut album during the pandemic. Listen to ‘In Your Dreams’ below.

Everstill · In Your Dreams

No Lore

No Lore is unlike any other indie alt-pop duo. It all started when Manila-based visual artist Tita Halaman decided to make music out of her paintings and poetry with her brother Jerald. As an artist, she wants to elevate her audience’s experience by expounding the message of her paintings through the art of words and sound. No Lore’s goal is to continuously release a new song with a painting every month and to publish a book out of it. The band name No Lore comes from the concept of having no formal studies in visual art, music, and poetry. Both Tita Halaman and Jerald are self-taught and everything is D.I.Y. from ideation to audio and video production. New single ‘With Little Light’ is “a song about courage,” explains Tita. “I believe there is no such thing as complete darkness to a soul that thrives to seek for “light” everywhere. With all that’s happening these days, I hope that we can still see hope no matter how little it may seem. Hope prevails if we believe. I’m a visual artist here in the Philippines and my signature style is writing poems at the back of my paintings,” she continues of her creative process. “On top of that, me and my brother Jerald are also into music - we’ve been playing together and learning different instruments since we were kids. No Lore is our attempt to create a layered expression of our emotions. I’d say our songs are my art and poetry, but in sonic form. Every song is inspired by a specific painting of mine and the latter serves as the former’s cover art.” Listen to ‘With Little Light’ below.

Another Nguyen

Ngoc-Anh is a Vietnamese German independent artist from Berlin performing under the name Another Nguyen. She has just released her new single ‘My Friend’ which was entirely written, produced, mixed and mastered by women. She says of the song: “I wrote this song after a friend of mine opened up to me that her long-term partner was physically abusive towards her. Hearing her story was shocking because I had always perceived them as a very happy couple. With this song I want to tell my friend and anyone who has experienced intimate partner violence that "I see you" and "You are not alone". Listen below.

ANOTHER NGUYEN · My Friend

Noni A.

‘20s’ is the new single from the Berlin-based artist Noni A. Written in her bedroom and turned into a chill pop production by her brother, ‘20s’ talks about the aspects in your twenties that happen in the background but are not often addressed. 21-year-old singer-songwriter Noni A was born and raised in Prague in a German-Greek household. In 2020 Noni A. released her debut single ‘Losing Game’, an acoustic pop ballad. Currently based in Berlin, Noni dives into a different sonic direction in her new music. Inspired by the sound of Jeremy Zucker, Audrey Mika and Quinn XCII, Noni A. blends emotionally honest and unreserved lyrics with a clean and minimalist chill pop production. With her new single ‘20s’, Noni A. takes a new sonic direction. '20s' dives into the chill pop scene, including lo-fi elements, more samples, underlined by a strong beat. "I walked into my kitchen one evening and had absolutely no motivation to clean it,” says Noni A. “Apparently when you’re 20 that becomes a regular activity (cheers to my mom for letting me live blissfully unaware of this and cleaning up my stuff too). This realisation of my day-to-day life as a 20-something-year-old turned into the inspiration of '20s'. This song talks about all those things that everyone experiences in their twenties that happen in the background of our lives: moving out of your hometown, adjusting to life on your own, procrastinating (if you say you don't procrastinate, stop lying) and learning how to use your washing machine (in my opinion a straight-up mystery)." Listen below.

Noni A. · NONI A - 20s

Chrissie Huntley

One of Bristol’s most promising new artists, Chrissie Huntley has released her brand new single, ‘Supposed to Be’. Huntley decided to use the time granted by national lockdowns to her advantage. Collaborating with musicians across the globe and transforming her closet into a home studio, Chrissie has spent the past year equipping herself with a brand new body of work to return to the stage with later in 2021. ‘Supposed to Be’ is the first of a series of single releases set for release this year, and is one that the Brit School graduate holds close to her heart: “‘Supposed to Be’ is one of the first songs I ever wrote when I was a teenager and I just got dumped by the guy who I thought was supposed to be “the one”. I think we’ve all been in that position where you know that it’s over, but you just want to hold on and pretend just a little while longer…” Recorded in Bristol with upcoming songwriter and producer Laurence Fazakerley Buglass, the track demonstrates why Chrissie’s effortless vocals have had such an effect on her audience to date. Working with rising producers Jon Will, Gabriel Gifford (Harvey Causon, Maya Law, Lucy Lu) and Peter Beckmann (Gregory Porter, Laura Mvula, Marie Dahlstrom) to bring the song to life; ‘Supposed to Be’ is the perfect balance of collective ingenuity, creativity and talent... mixed with the exposed, emotional honesty that comes with having your heart broken. “... It’s a very vulnerable track I suppose. It was very raw at the time of writing and I never had any intention of releasing it- it was more like a therapy to me than anything else. But, seven years later and here we are! Releasing this as an introduction to my new sound seemed like the perfect fit, as it holds the part of me that first turned to music at a time where I was struggling, which went on to become the entire premise of my musical journey..." Listen below.

Karen Harding

Weaving enchanting melodies straight from the heart, Karen Harding crafts, intimate heartfelt tracks that help us become ones with ourselves. The kind of one-to-one soul conversations that dig deep into our hearts and wake emotions once thought long gone. She specializes in helping people shed away their insecurities and finally feel again in a special moment of true authenticity. Drawing from a lifetime of experience, the Melbourne-based singer crafts bittersweet melodies that move and inspire. She gorgeously crafts an entire experience with every timeless track she creates. The emerging singer has just released her debut track ‘I Didn’t Realise’. The heartbreak ballad talks on the struggle of an earth shatteringly painful breakup in a way so intimate it feels like we’re right there with her. It’s a reflective song that navigates us through every raw emotion during the healing process; from processing the pain to finally coming to terms with what’s happened. Truly a breath-taking journey that will leave you with a deep sense of wonder. The song was passionately penned in the peak of Covid-19 on a piano she played growing up. Like much of her music it came to her very organically. She had the chords already laid out and the words just flowed out of her soul naturally. It wasn’t created with the intention of being turned into a record. Rather it was a simple moment of self-expression based on the way she currently felt. The result is something deeply authentic that’s oozing in originality. She worked with acclaimed producer Josh Hennessy of Pivotal Music to bring the project to life. He helped add the magic to this simplistic yet innovative piano and vocal track. Listen below.

KarenHarding · I Didn't Realise

#submission saturday #bayleigh cheek #cozy slippers #everstill #no lore #another nguyen #noni a.#chrissie huntley #karen harding

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reconditarmonia · 3 years

Text

Dear Chocolate Box 2021 Author

Hi! Thank you for writing for me! I’m reconditarmonia here and on AO3. I have anon messaging off, but mods can contact me with any questions.

Elsinore | Fullmetal Alchemist | The Locked Tomb | Motherland: Fort Salem | Simoun

General likes:

– Relationships that aren’t built on romance or attraction. They can be romantic or sexual as well, but my favorite ships are all ones where it would still be interesting or compelling if the romantic component never materialized.

– Loyalty kink! Trust, affectionate or loving use of titles, gestures of loyalty, replacing one’s situational or ethical judgment with someone else’s, risking oneself (physically or otherwise) for someone else, not doing so on their orders. Can be commander-subordinate or comrades-in-arms.

– Heists, or other stories where there’s a lot of planning and then we see how the plan goes.

– Femslash, complicated or intense relationships between women, and female-centric gen. Women doing “male” stuff (possibly while crossdressing).

– Stories whose emotional climax or resolution isn’t the sex scene, if there is one.

– Uniforms/costumes/clothing.

– Stories, history, and performance. What gets told and how, what doesn’t get told or written down, behavior in a society where everyone’s consuming media and aware of its tropes, how people create their personas and script their own lines.

General DNW: rape/dubcon, torture, other creative gore; unrequested AUs, including “same setting, different rules” AUs such as soulmates/soulbonds; PWP; food sex; embarrassment; focus on pregnancy; Christmas/Christian themes; focus on unrequested canon or non-canon ships; unrequested trans versions of characters.

Smut Likes: clothing, uniforms, sexual tension, breasts, manual sex, cunnilingus, grinding, informal d/s elements, intensity.

Requesting fic; open to art treats!

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Fandom: Elsinore

Relationship(s): Hamlet & Ophelia; Hamlet & Horatio & Ophelia; Bernardo & Hamlet & Laertes & Ophelia

I found the friendships in this game, and the different ways that characters can reconcile or try to find a way forward together, to be really sweet and moving, and I'd love to read something that focused on those relationships of trust and support. I like how important Ophelia and Horatio's counsel and friendship is in timelines where Hamlet becomes king; I like Hamlet regretting how he behaved towards Ophelia and striving to live through his depression and find out what it is that he wants, not what everyone else wants of him; I like seeing childhood friends Bernardo and Laertes and Ophelia and Hamlet, whose growing-up has stretched them so far apart, taking time to catch up and enjoy each other's company a little.

So, futurefic in one of the timelines where everything doesn't go to shit? A timeline that we don't see? (There is something narratively interesting to me in Permanence/Passion in that the entire plot of Hamlet ends up as a distant backstory to someone's full life; I don't know how compatible that idea is with these requests, but if you want to write any of these groups fucking off to Italy or Constantinople or London and living until the Elsinore pressure-cooker is a distant memory, I'd be just as happy with that as with fic about them building some kind of future together still in Denmark, trying to make it better for its people and to hold on to who they are as individuals, and friends, beyond their roles.) If you want to write Hamlet/Ophelia, Hamlet/Horatio, or for that matter Horatio/Bernardo as shippy, I'm fine with that, but I don't want a focus on the romantic aspects of their relationship.

Fandom-Specific DNW: death of requested characters within the timeline being explored, or focus on death of requested characters. These characters die in this game a lot and I don't need you to pretend entirely that it's not a time loop game, but I would like them to be happy. If you write the Bernardo & Hamlet & Laertes & Ophelia request, I'm fine with either or both names/pronouns for Bernardo|Katherine, but I don't want to read a story focused on their gender or coming-out. Please don't include Peter Quince as a character (you do not need to retcon, you know, the existence of the time loop).

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Fandom: Fullmetal Alchemist

Relationship(s): Maria Ross/Olivier Mira Armstrong

I'll admit: I am a shallow, shallow person who loves the heartwarming and id-satisfying Briggs loyalty-kink complex (The watch! Buccaneer handing Olivier a clean pair of gloves after she kills Raven! Constant and deeply sincere saluting! Olivier’s explanation of why she wants Miles around and her lack of patience for anyone’s shit) but would like an f/f manifestation of it for actual shipping. Post-canon or AU where Maria is assigned to Briggs, or works for Olivier in Central? Does Maria foil a plot against Olivier, or Olivier save Maria's life in battle? Does Olivier order Maria into a firefight? Hit me.

Fandom-Specific DNW: Olivier/men, even mentioned.

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Fandom: The Locked Tomb

Relationship(s): Abigail Pent & Dulcinea Septimus; Gideon the First & Matthias Nonius

Dulcie and Nonius were two of my favorite additions to the cast in Harrow the Ninth (and Dulcie in "Doctor Sex" via letter). I loved everything we learned about Dulcie - her wit, her quick thinking in a pinch when confronted by Cytherea and her secret to Harrow. I found her "The only thing preventing me from being exactly who I wanted..." speech both genuinely moving and very funny, and I love her thirst for revenge. What else might she and Abigail Pent, "independent research? it isn't even my birthday!" daredevil spirit-talker par excellence who has just conjured up a ghost out of an epic poem, get up to after Harrow's bubble collapses? Or what were they up to when they weren't on screen in Harrow's dream, putting together this whole, well, play?

Nonius's arrival, entire scene, and departure to fight the Beast made me very, very happy on levels I have trouble explaining. It was so heartwarming?! Because it was impossible, and because poetry won, and because they went off to do the best they could...I don't know, exactly. I'd love to read either more about his mysterious past with Gideon the First, or about their second encounter as allies (throw in Marta, Ortus and Pro if you like as well!)

Fandom-Specific Exception: to my unrequested ships DNW, Dulcie/Cam & Dulcie/Pal. I love their three strand thing.

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Fandom: Motherland: Fort Salem

Relationship(s): Abigail Bellweather/Raelle Collar

I fell hard for this show and Abigail/Raelle is the ship I’m most excited about - they get off to a bad start for all kinds of personal history reasons and have problems with each other, but when it gets down to the wire Abigail would do anything for Raelle and is very gung-ho about having Raelle’s unconventional but extremely powerful magic under her leadership, regardless of Raelle being a loose cannon. She told her she loved her!! <3 And by the end, Raelle also clearly knows what Abigail's going through (like when she talks her down in "Citydrop"), respects her leadership, and cares deeply about her and wants to protect her in return. I love that loyalty dynamic, and their competence as fighters/witches.

Physical combat, strength in general, magical strength, ability to work magic together, knowledge of the magical canon vs. out-of-the-box techniques...what parts of their skills and their bond could be challenged in the weird dimension that the end of season 1 leaves them in? Or when they get back home and new challenges await? (In my head, the decision not to send them to War College is not revoked; the unit becomes some kind of special-forces secret strike team rather than cannon fodder.) Maybe something where Raelle goes/has gone into a fight as a berserker-type for Abigail and then comes back to her, or where Abigail protects/has protected her soldier (her girl!! I love her protectiveness of Raelle towards the other cadets, imagine it in a battle!)? Or an arranged marriage AU where it's usual for witch soldiers to marry to combine their magic power or something...

I would also be up for smut for them, especially something d/s-y where the loyalty-kinky dynamic of Raelle being Abigail's weapon, at her command, is echoed in sex!

Fandom-Specific DNW: sex solely for magical purposes without an emotional connection (sex for magical purposes is fine), focus on Raylla (I don't need you to retcon it, but please don't dwell either on Raelle still having feelings for Scylla or on her getting over Scylla for Abigail), Scylla bashing, Abigail/Adil (I would prefer to imagine, if he is mentioned in the fic, that they’re just friends).

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Fandom: Simoun

Relationship(s): Aer/Neviril; Aer/Neviril & Neviril/Paraietta; Aer/Neviril/Paraietta; Aer & Floef & Neviril & Paraietta & Rodoreamon & Vyuraf

Aer, and Aer/Neviril, really grew on me on my recent rewatch. I appreciated her more as the determined bit-of-a-loose-cannon, who grows into a respected role in the choir, than the manic pixie this time, and noted Neviril's comments about how she was drawn to Aer's determination. (I've written a lot more about what I love and am interested in about Neviril and the show in general, her journey of figuring out what it means to her exactly to lead an air force, here.) I'd love to know what happens to them post-canon - what is the "new world" and their travel in it like? It's an escape for them, sure, but what are they escaping to, not just from? Are there problems there, too?

I'd also be up for a poly situation where Neviril is involved with both Aer and Paraietta, her long-loyal second-in-command whom she's blessed and forgiven, as a V where they're friends or as a triangle where Aer and Paraietta are also involved (I don't quite know what that leg of the triangle would look like but I do like how they work together in battle even when they're shown as having personal issues.)

If Neviril and Aer make it back to the main world when war is brewing again, as at the end of the series, but their old cohort can't fly anymore, what do they see their role as being? Does Neviril see herself as a leader for peace, for war, for something else? How do they interact with their former squadmates, whether as part of a more plotty piece or not?

I could be interested in explicit fic for this canon, as an option - the series is, on some level, about the contrast between the reality and physicality of their bodies and the general perception of what they do (which even in its non-spiritual military capacity is removed from a connection to their bodies via the Simoun aircraft), about becoming an adult, and of course about gender.

Fandom-Specific DNW: I'm not really interested in Kaim and Alty and would prefer for them not to appear or for their backstory to come up. I would also not like to see pre-timeskip Dominuura/Limone.

#dear author letters

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cetaceanhandiwork · 4 years

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Disneyland Reloaded

So a week ago, give or take, I replied to a post on another website which basically asked “if you were given the job of rebuilding Disneyland, would you change anything?” The question got me thinking a fair bit about the Anaheim Disney resort’s overarching themes, and where they work or don’t work, resulting in a giant three-part comment to fully explain my redesign.

Today, I feel like sharing those ideas with y'all over here, too!

Let's begin with the assumptions that...

we can get permits in Anaheim but no new land...

we have a budget that could theoretically rebuild the whole park if it had to but not too much beyond that, and...

original Walt-era Disneyland stuff may be difficult to move without damaging or destroying, and deliberately destroying and rebuilding it, while allowed, may not be desirable for reasons of preserving park history.

Given that, my high-level approach would be a refocusing of each park's experience on its core concept. I envision three parks:

Disneyland - worlds of "yesterday, tomorrow, and fantasy" - embodied by the genres Walt himself grew up with.

A reimagining of California Adventure that synthesizes the original idea of "Califorina, the real place you are visiting right now, presented as a fictional place to explore" with the running Pixar theme of "secret peoples and communities that live alongside humanity, in the here and now, just outside our line of sight".

A new third gate that focuses on stories of larger-than-life heroism and villainy - the native park of Star Wars, MCU, Pirates-the-movie-series, and other similar properties.

This effort, as I see it, would have to start with some Tetris-ing, in an attempt to make the most of the limited Anaheim acreage:

Utilidors. This Disney World system - of putting backstage and CM areas underground - was invented precisely because WED wished they’d done it in Anaheim. If we’re starting from scratch, we can backport this design and immediately unlock a lot of space.

Drop Disneyland Drive north of Cerritos underground as well.

Consolidate remaining parking. At worst, this is a third Mickey & Friends that encompasses all other resort parking. At best, we get permits to put underground levels on parking structures and reduce the footprint further. Put this in the southeast corner of the resort; get rid of the Paradise Pier Hotel for now.

Strip Avengers Campus off of DCA, strip Galaxy's Edge and the Fantasyland Theatre off of Disneyland. This will free up enough space to put DCA and the GCH east of Disneyland, with its gate on the other end of a rerouted Downtown Disney.

That done, we can move on to the main event.

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Of these, Disneyland itself would see the fewest changes, both in the interests of preserving the history and because it's already fairly close to what we want. The paradigm is as it always was: each "land" represents a genre in microcosm, matched not against any particular IP, but presented as a... prototypical or archetypical space in which all those stories might occur.

This is a good framing device and a solid core concept, and I'm not gonna mess with it. However, there are still a few things I'd rearrange.

For instance: Critter Country would move to the eastern side of the Rivers of America, placed between the rural American Frontierland, the funny animals of Toontown, and the fable-laden Fantasyland. I imagine it taking up sort of the same space as the old Big Thunder Ranch and Fairgrounds, connected with Frontierland on one side (with Splash Mountain still bordering the Rivers of America) and Toontown (bordering Winnie the Pooh) and Fantasyland (bordering a new indoor/outdoor Robin Hood darkride) on the other.

Toontown would need few changes, other than a careful touching up of the effects to match modern standards. I would like to squeeze in one minor expansion, though, if possible, by moving the Monorail wheelhouse: a small Disney Villains themed area - perhaps a seedy watering hole? - nestled away in Downtown Toontown.

Fantasyland, meanwhile, would reclaim the Theater and some backlot space (thanks Utilidoors!) and use that room for a couple new rides - particularly, a Beauty and the Beast attraction and a Frozen attraction. I resist here the impulse to put Frozen next to the Matterhorn mainly because that Fantasyland real estate has another important purpose: the Fantasia and Tomorrowland lagoons get rejoined, and become the show area for a Little Mermaid ride, boarding near Small World, that actually takes place "unda da sea". (The technology for underwater, low-occupancy-vehicle ride systems does exist in the current state of the art, although it'd need some iteration to theme as properly Fantasyland.) As much as I would personally regret seeing the submarines go, I can't deny that their ride system is claustrophobic, stuffy, and poorly accessible, and that guests deserve something with lower "minimum requirements" to ride.

Compared to those, Tomorrowland would get a more comprehensive refocusing. I've posted before about my take on Tomorrowland's DNA: that isn't just "the future", but "the challenge and promise of the future". People talk a lot about how it's a Land that's perpetually out of date - that our vision of the future changes too fast for the Park to keep up. Aesthetically, that's a fair point. But on an attraction level... we don't have to aim a mere five minutes into the future to talk about its challenge and promise - to talk about the future optimistically, as as better world we can reach towards today and eventually grab onto.

Space is, of course, an easy example; space has been an "unreasonable but longed-for future" since Walt's days. Bring back the mission to Mars. Add a space elevator that you can ride as an observation tower, or take the "express" and make it a droptower that uses its drop to simulate zero gravity. On a more terrestrial side... put in a dinosaur or giant animal dark ride - fantastical experiments in biology, at once excited for the potential there, and cautious about how important it is to get right. Maybe do something with Inside Out as a "fantastic psychology" concept. Give the Land an AI caretaker character, puppeteered by several CMs behind the scenes to create the illusion that it's a single person multiplexing.

You can keep Star Tours - the galaxy of Star Wars may be a gritty and cynical world, but Star Tours is a lighthearted and hopeful take on it. You can keep the monorail, too - it's still futuristic to Americans - and route it through the Land's rides the same way the PeopleMover once did, and the same way the boats and trains do in other Lands. Maybe you can even fit in a Wall-E based attraction - now that's a story that's an emulsion of the future's "challenges" and its "promise" if ever there was one in Disney's catalogue.

As for Adventureland? It's got a different obsolescence problem than Tomorrowland: not that the world has left a particular vision behind, but that the world has left the whole genre it represents behind. Walt grew up with the "Adventure" genre, of pith helmet explorers in the Southeast Asian jungle or the African veldt, but we don't really have that genre anymore. And with Disneyland as a worldwide tourist destination, it becomes... strange to have people coming from the places that genre was based on, only to see this caricature of the places they know reflected back as it was seen by clueless Brits a century ago. I want to believe there's something sensible to do with this Land, something that can preserve its essence and history while still making it meaningful to the stories we tell today and the people who were on the other side of the old stories, but I honestly don't know how to do it, or what it would even look like when we were done. All I know is that if nothing else I need to stick a giant bookmark here, because I'd have to do something.

Main Street, finally, would remain mostly unchanged by the advancing years, except for one upgrade: its illusory second floor would at last become a real one - not as shops, but as Dream Suite-esque prestige accomodations. On any given night, roughly half of these would be booked like on-property hotel suites, at rates befitting the rare magic of spending the night inside the Magic Kingdom's pomerium. The other half would be handed out at random to guests who bought resort/GNH packages, or otherwise booked their trip such that Disney knows they're staying overnight, to put that magic, in theory, within every guest's reach.

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So for Disneyland, the changes have been less structural, and more focused on rearranging an existing structure to update and future-proof it.

California Adventure, on the other hand, needs something deeper, because at the moment, its theming is... confused. When it first opened, it was designed single-mindedly as a pastiche of California as a whole: Hollywood, San Francisco, Yosemite, Sonoma, Monterey, the Central Valley, and Santa Monica Pier. Over time, this theming - which proved less compelling than the Imagineers had hoped it would be - has eroded to make room for Intellectual Properties that could find no space on the other side of the Esplanade.

Today it's a hodgepodge of the old California theming, skin-deep Pixar references, and an increasing amount of Marvel stuff. There's no central idea like there is at Disneyland, or at Epcot and Animal Kingdom down in Florida.

Where I see the potential here is in Pixar's long-running theme: "what if [fill in the blank] were people", often imagined as those people secretly existing in our modern everyday world, which just so happens to be paired with a park that's themed to a real place, in the present day.

In other words, what if we made that pairing of themes explicit? What if we lean into the idea that you're "exploring" California, both to discover what's prosaically there, and what's fantastically there? What if we present that sort of Californian adventure?

I'm imagining a park pomerium based on the concept of the "road trip", inasmuch as it is the classical way to explore California. No miniature rail here; you'll pile into a trailer towed by Goofy and Max in their (now window-tinted) car, or by the Onward boys' van, or so forth. (I'd love to get the Cars cars in on towing duty but I don't know if the animatronics are good enough yet.)

You'll still pass through places like Grizzly Peak (where e.g. Bugs might also Live), a Pacific Wharf that's annexed some of Paradise Pier (where we can Find Nemo now that the submarines are closed), and the Hollywood Backlot (where city-dwelling nonhumans - like Monsters and Muppets - might lurk). Radiator Springs would be easily reconciled to this Park concept - melding it with the old Route 66 and I-5 travellers' towns, building it about half for humans and half for cars.

I would need external advice, at this point, to figure out how far this theme can go. I see... some potential in making explicit room to pay homage to Mexican heritage of California (with its hidden world being Coco's fantastical take on the Land of the Dead). But it'd have to be done respectfully, and would be easy to screw up without guidance on what exactly qualifies as respectful or not respectful.

From another angle, I'm also not sure yet quite where Toy Story fits into the picture, but every element of the park's Pixarish theming points to that headline IP needing to fit in somewhere.

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And with that taken care of, comes the question of the third gate. We position it across from Disneyland proper, in California Adventure's old real estate. Pragmatically, this mystery Park must support stories like MCU or Star Wars - the new additions to Disney's IP stable, set in soft sci-fi universes chock full of larger-than-life heroism and villainy. It would have more strict, single-setting-per-Land theming, to support Galaxy's Edge, the Avengers Campus, the new Artemis Fowl series, and so forth. Perhaps Tortuga as well - the cinema vision of Pirates is popular enough that it should be able to support a home, and building one for it here will ease pressure off of its Disneyland predecessor to be flagbearer for an IP it was never designed to host.

How does one support this with a gateway/hub Land? How does one define a pomerium around it? Strict set construction as a principle of the park implies that we have to invent a new IP for this purpose, something Kingdom-Hearts-like but less... cartoonish, to match the less cartoonish worlds it lets you visit. A futuristic mode of transportation seems called for to ferry guests from Land to Land. Perhaps this is where the iconic Disneyland Monorail design finally finds its place in Disney fiction and not just history: to be - within this new setting - a vehicle for interdimensional travel. The park's hub would then have platforms for two Monorail lines: one bound for "Earth 1313: Tomorrowland, Hollywood, and the Disneyland Hotel" (for we would expand the resort-wide monorail track to support park hopper travel), and the other bound for this new park's immersive Lands.

The third gate's position across from Disneyland proper, combined with the increased use of underground tunnels and infrastructure, adds another potentially useful gimmick: the ability to link it to Disneyland in a manner similar to Universal Orlando's Hogwarts Express. Imagine park-hopper-only lines where your Star Tour will land on Batuu, or your Pirate cruise will end in Tortuga.

There would, of course, be a new hotel attached to this park, just like the Grand Californian was attached to DCA on its opening. I'll leave the specifics of this up in the air; it could be another Galactic Starcruiser, but it could just as easily be based on some other property.

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And what of the rest of the resort?

As mentioned, Downtown Disney shifts north, encroaching slightly into what's currently the backstage area of New Orleans Square, to better link up with the new position of DCA. So as not to "isolate" DCA, the third gate's entrance would be halfway along this new route.

Trams would use underground infrastructure to cross from the southeast unified parking area into the DTD/Esplanade corridor at the appropriate places for different Parks.

The Disneyland Hotel would remain, as a nod to its historical status, but against two park-adjoining hotels, it's clearly the farthest from the action after all this rearranging - hence hooking it up to the Monorail as a way to give it connectivity.

#imagineer theory #disneyland #original content #california adventure

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ranger-report · 4 years

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Thoughts On: HEXEN: BEYOND HERETIC

In 1995, less than a year after the release of Heretic (which I talked about here), Raven Software unleashed a masterpiece upon the first person shooter landscape. Titled Hexen: Beyond Heretic, the game featured radical new features for the id tech 1 engine, including scripted events (such as monster falling through the ceiling to ambush the player), hub level design, CD music, and moving walls. But what it really brought to the table was an unrelenting difficulty and obtuse puzzle system revolving around the discovery of multiple switches throughout a central hub to open the path to the next world. Combined with a pseudo-RPG character class feature, beautiful sprite work, and a rich atmosphere to explore, Hexen introduced concepts and mechanics that influence FPS games to this day, overshadowed only by the release of Quake the following year.

YouTuber GmanLives produced a video on Hexen calling it, “The Dark Souls of FPS Games,” and that's really not far off the mark. Hexen is oppressive. It's brutal. It's actively trying to prevent the player from achieving their goal of beating the game. While the previous entry in the series, Heretic, offered a fast-paced shoot-em-up blitzkrieg, this game operated with a more measured approach. Methodical pacing, resource management, and the utilization of each class's weapons are key to moving forward. Hidden doors and paths and switches, sometimes activated with the use key and sometimes by firing a weapon at them, permeate the levels to the point where half the game can be spent clicking or shooting at random walls just to see what's going to open up when – or if at all. Most games would tuck away secrets by this method, but Hexen, oh no. Hexen offers little rewards aside from survival, and it's glorious. It's harder than shit, but it's glorious.

Opening up the game, players are given three options to choose from: Baratus the fighter, Parias the cleric, or Daedolon the mage. Each class has their ups and downs; for example, the fighter is a beefy fucker who has high hit points and damage, but weak magic, leading to a mostly melee combat style if you run out of mana. The mage is the opposite, low hit points but high magic damage, with some gorgeously rendered spells that beautifully highlight the detail that id tech 1 was capable of. And the cleric is a mixed bag, balanced between the two, with a woefully weak melee weapon and decent ranged magic weapons, but he also carries the single best weapon in the entire game: the Wraithverge, a crucifix that shoots out Arc of the Covenant ghosts that scream and eviscerate anything on the screen in a glorious display of carnage. Clear out a room in seconds with two well placed shot. Arguable, the Wraithverge should be right up next to the BFG 9000 as one of the most ridiculously overpowered weapons in any game – maybe even higher. But the Wraithverge is an Ultimate Weapon, and each class has an Ultimate Weapon, which needs to be assembled over the course of the game by finding the pieces of it tucked away in hidden corners of the levels. Depending on your vigilance, you might find the pieces sooner vs later, and the rewards for this are plentiful. However, unlike the prior game, this game doesn't use unique ammo type for each weapon; that would be too easy. This time around, weapons require mana to use, coming in two different flavors, blue and green. Each class works as such: weak melee weapon that needs no mana, a slightly stronger weapon that uses blue mana, a much stronger weapon that uses green mana, and the Ultimate Weapon which uses both. With the fighter, all of his weapons can be used as melee if he runs out of mana, but if he has the stock, they take on ranged properties. The mage has a starting weapon that requires no mana, but it still ranged. Meanwhile, the cleric maintains the balance with his solo melee weapon, and the rest are ranged. What's notable about the differences in the classes is that it's not just limited to weapon usage, but also inventory usage. Different classes will garner different amounts of armor points depending on their “familiarity” with how to use armor. There's an item called a fletchette that varies in use depending on the class; for example, the fighter throws the fletchette like a bomb, where the cleric drops it in place and it explodes into a cloud of poison. New players will have the opportunity to briefly look over the classes at the beginning as the opening screen displays stats such as speed, armor, magic, and strength, all of which seem a little arbitrary since they don't explicitly state what they do or how they affect the game up front. At the same time, each class is going to lean towards a bit more difficulty, seeing as how the tanky fighter is going to make bruting through the game a lot easier than the tissue paper mage. First time players would do wise to pick the fighter or the cleric as their first timer, saving the mage for a later playthrough, unless you're a masochist when it comes to the games that you play.

One of the great distinctions about Hexen as compared to Heretic is that the former feels more like a fully realized game world vs the cool fanfic/DOOM clone of the latter. Director and designer Brian Raffel no doubt had a hardon for dark fantasy substance, having worked on Raven's previous two fantasy games, and with the release of DOOM thought, “You know, we can do something with that.” Didn't hurt that id Software was just a block down the street from their offices around that time (true story!) and John Romero, AKA Rock God of Gaming, worked directly with Raven during development so they could make the most of id tech 1. Taking what they knew after Heretic, hungry to dive in further, Hexen feels like a natural expansion of the concepts introduced in the first game: weary travelers journeying through worlds and dimensions to combat an ancient evil using magic and steel. It's great stuff, leaning even harder on the 80's horror fantasy art aesthetic. The game is oozing with deeply detailed monsters and environments, even more refined than the very good work done on Heretic. Translucent objects, fog, breakable terrain, each hub and level are intimately crafted to feel like it's a living, breathing world, not just something you've decided to boot up on your 486 PC. Ranging from traditionally gothic architecture with stained glass and parapets, to jungley swamps, arid canyons, and moldy sewers. And as mentioned before, it's brutally oppressive, absolutely unwelcoming in design. Even the environment doesn't want your presence here. Sometimes it doesn't even want the other monsters around; if you're lucky, you can get creatures to turn on each other by creeping into a new area, and if you can go unnoticed before their attack animations kick in, monster castes will infight with one another, saving you precious mana in the process. It doesn't always work, but when it does, it's a fun little sight to behold your meddling.

The sound effects are truly phenomenal, a game worth wearing headphones for. Composer Kevin Schilder returns for the soundtrack, and while his work on Heretic was suitable, here he knocks it completely out of the park. Ominous, brooding, energetic but not too up tempo, it's perfect dungeon crawling music that creeps up your spine at the same time. Meanwhile the distinct creature sounds echo and crawl around corners, letting you know what is where, and also what to be afraid of. I can still hear the sounds of the Dark Bishop in the back of my head, letting me know that I need to turn tail and put some distance between me and them. Enemy design is even better this time around: the aforementioned Dark Bishops take the role of the previous game's Disciples of D'Sparil, teleporting and blasting you with dark magic from their hooded, faceless bodies. Ettins are double-headed warrior beasts that carry a spiked mace, and are the most prevalent monster class in the game – and while they might be everywhere, they pack a helluva wallop, meaning you don't underestimate them no matter how many times you've killed one. Meanwhile, the Centaurs and Slaughtaurs are horrible little shits. Just like the tag says, they're centaurs with full-face helmets, swords, and spiked shields. They can raise their shield to deflect any incoming attacks and reflect them back at you, which is infuriating, especially since the Slaughtaur can fire deadly green magic at you while holding up their shields. And since they look the same, you have to approach any of them with intense caution, otherwise you're staring down the face of death while waiting to make your next strike.

Puzzles operate primarily on a “find the key/switch” platform, but rather than tracking down everything necessary to proceed in a single level, Hexen challenges the player to locate and operate everything they need to move forward throughout a spread of areas around the hub. For example, the Swamp Key won't be directly located in the swamp itself, but maybe over in the Forest. Multiple switches necessary to unlocking the Final Door in the central hub are located in the various hub worlds, informing the player with a quick “You have solved 1/3 of the puzzle” text across the screen when you've found one. Find another switch, the number increases from 1/3 to 2/3, etc. But each hub has more switches, all the way up to nine switches necessary to journey on, which to some is going to be a slog. While frustrating at times, I never felt like I was wading through a switch hunt just to proceed. Each switch seemed to naturally pop up on its own, and once I realized that certain areas couldn't be accessed within the levels themselves, I'd hop around the various worlds in the hub until I found a new switch or key, and then went back. Imagine if Super Mario 64's paintings were all connected to each other, and you had to hop back and forth between them in order to get to the next floor of the castle. It's innovative, and certainly makes sense; if an evil overlord tyrant person were going to hide the keys to access their lair, they probably would spread them out to make it harder to find. It's gratifying to open up section after section of these levels, defying the odds and slaying your way through the puzzles. Adding to the depth of torment is that, unlike Heretic, clearing a room of monsters doesn't mean it will stay that way. Scripted sequences again have monsters teleport in when you least expect it, repopulating areas you thought were safe for the time being. Damning though that may be, it adds to the feeling like the player is being watched at every moment, and that the game is doing its level best to fight back against your progress.

Hexen is hard. I resorted to a walkthrough once, just like in Heretic, and absolutely utilized the minimap in order to suss out where switches were located. There is nothing here to suggest a walk in the park: it is labyrinthine, it is torrid, it is nightmarish. But the mechanics all come together in the end, particularly in the moments where the game gratifyingly presents a room full of mana and health and a lot of monsters to let loose on. These apeshit moments are some of the best in the game. After spending hours managing resources and trying to hoard as much mana and health as possible, to be allowed a moment of pure rip and tear is wonderful.

If you're going to play Hexen, I highly recommend getting the expansion, Deathkings of the Dark Citadel. Not only is the title metal as fuck, but the three new hubs it offers are even more vicious, demeaning, and frustrating. They shove all the elements of the previous five hubs down into three, and it shows. You'll be assaulted on all fronts right from the start, continuing where the final battle left off in Hexen. You still get to pick your class, but sadly, you're also starting over. Curiously depowered and without any inventory items to work with, you'll feel extra squishy for the first level or three. Honestly, Deathkings was where I felt I had the most pure Hexen experience: solidly brutal and unforgiving as fuck. Interestingly, Deathkings was released in 1996 around the same time that Heretic got a retail release with two additional episodes under the name Heretic: Shadow of the Serpent Riders. Factor this in with the upcoming release of Hexen II in 1997 (which saw a hefty difficulty spike as well), it seems that Raven got in one last hurrah with id tech 1 before moving on to id tech 2 -- the Quake engine. But more on that game in another post.

As with Heretic, I recommend playing this one through GZDOOM in order to get the best experience. And you'll need the best experience to stay one step ahead of everything that's trying to kill you. In a nutshell, Hexen is a true masterclass of determination to see the day through. For fans of retro FPS games, it's a must play, but be warned that coming into this after Heretic there is a distinct shift in how the game plays, looks, feels. Gone is the run and gun, which exists now only in pockets. But what's here, crafted lovingly and passionately, is a true nightmare of agony and difficulty unlike anything made before it. As Gmanlives summed it up, perhaps Dark Souls should be called the Hexen of third person adventure games.

Next time, we'll take a look at Hexen II, a popular but vastly different title in the series, and how the changes it made not only distinguished it from the previous two games, but may have also set it slightly backwards as well.

#hexen #raven software #id software #doom #heretic #first person shooter #dark souls #roses and ruins #ck burch #thoughts on #ranger report

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mysticsparklewings · 4 years

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Sparkle By the Sea

Pardon me as I just barely squeeze a MerMay piece of art in. I'll be honest with you guys, I've been pretty lacking in artistic motivation since NaPoWriMo ended. Although if you've noticed my lack of uploads, you probably could've already guessed that. This isn't abnormal for the aftermath of a month-long challenge for me, especially with a brand-new video game calling my name at every moment of the day, but even so I feel like this particular motivation drought was a bit different. Part of it definitely had to do with the changes to DeviantArt that I'm sure I don't need to remind everyone of, but that's been more of me dreading seeing what the state of the community is than anything else. (However, I have noticed I'm not a fan of the new tag system over the old category one, as confusing as the category system could be sometimes.) Rather, I think this lake of motivation has more to do with the fact that being largely absent from all social media during NaPo reminded me...well, that I hate social media. This is really a bigger discussion for a journal or something, but suffice to say it did not feel good to realize just how many literal hours I had previously been spending trying to desperately to scrape up just a little bit of support on other social media platforms (namely Twitter), versus the more natural growth I see here on dA that also feels a lot more genuine and less forced/obligatory. I can't really explain it, but that reminder/realization really helped my brain slip back into a place where I felt like creating again. And with that, I'll transition into talking about the art and save the social media talk for, as I said, a journal or something later on. Naturally, I've been seeing a lot of mermaid art this month and every year I feel the urge to get in on the fun, though I know better than to try actually doing the MerMay Challenge (especially not this year after having just done NaPo), so I usually either do a one-off drawing or if I'm too busy with other projects I just skip it. But I was starting to feel that need to make art in my brain again and I've had a specific set of stickers from the dollar store sitting in my stash for quite a while now that more or less sealed the deal for me. How do these stickers fit into the mix? Well, I originally fell in love with/picked them up because they are mermaid-themed and absolutely adorable--See for yourself! And I thought they would make for nice decals in a book project since they're wall stickers and therefore repositionable with minimal adhesive-yuck. And at first, I thought maybe I'd end up making them into said hypothetical book project in time for MerMay...except that felt a little cheap in combination with my lack of uploads. Did I really want to come back with a book project featuring mermaids I didn't even draw? And for MerMay of all things? So I sat on the idea and left the stickers out where I could see them, and eventually I sat down and took a closer look at them. The art style, upon further inspection, actually didn't look like it would be too far outside my usual art-making realms...Most of the coloring looks a lot like watercolor, except for the skin which I thought was flat and smooth like alcohol marker and the glitter accents which from my perspective pretty much had to be digital, but could potentially be replicated with glittery/metallic supplies... And that was the moment the idea hatched. I decided I'd try drawing a mermaid myself in the same style. This would work for MerMay, have something to do with the stickers, and based on my plans would work well for me as a mixed-media project, which as I'm sure I've said before is where I think my artistic talent shines best. I thought the scariest part was going to be replicating the looser and less strict line style, and to a point it was, but it wasn't nearly as bad as I thought it was going to be. I find it's usually kind of tricky to explain this, but really what this part of the process boils down to for me (if I'm replicating an existing style and not using my own), is really just studying the original artwork(s) and looking for patterns, then trying to stick to those patterns. For example, the style here features fairly large & rounded faces, and the hands are more like hand-shaped mittens (which was great news by the way because hands are always a pain in the butt for me), so I did my best to emulate those features. As per usual, I did start with a sketch, but I tried to keep it looser than usual, and then when I did the inking I started with my 0.2 Micron, again trying to keep things loose and no be too fussy if I could help it. Then I went back with a brush tip liner from Prismacolor to get more natural variation in the lines and to force myself to not have quite so much control over the line weight. I was also very careful with my choice of liners because I knew pretty much everything except the skin was going to see a lot of watercolors, which meant the lines had to be waterproof. And of course, I went with watercolor paper (my nice 100% cotton stuff this time) to make sure I didn't have any issues with blending or layering. Now, at this stage, I didn't know what I was going to do for the background, though I was leaning towards the idea of making one separately and placing the mermaid on top afterward, as sort of a nod to the original mermaids being stickers. But I wasn't totally sure yet. What I was sure of was how scared I was to just dive into coloring. The sketching and inking and gone so well I was thinking I was in for a rude awakening at any moment. So, just in case, I scanned my uncolored lines as a fall-back if I royally screwed up. With my paranoid mind set at ease (for the most part), I could begin with color application. I started with the skin since it was the easiest; Just one good layer of alcohol marker, leaving a little white space here and there like the artwork I was emulating. Although 1. The marker color turned out a bit darker than I was expecting and later blended too well with her tail, so I had to lighten it in Photoshop, and 2. because watercolor paper really soaks up the ink, I ended up with less white space than I thought I would. But beyond that, this step went off without a hitch. So then came the second-scariest part: The watercolor. I used a mixture of my Master's Touch watercolors and Mermaid Markers (yes, that was a very conscious supply choice ) and tried to take my time and be mindful of the color balance I was looking for. I'd decided ahead of time that I wanted to try and stick with a soft-ish palette like the original art, but I still wanted my choices to be different. Since yellow/gold is featured in the original but not used for a tail color, that's what I went with, and I opted for the blue-y-purple hair since a soft blue and purple are also prominent in the original and based on color-theory would be a nice contrast to the gold-orange tail. Though I did also try to get some pink in both the tail and the hair for a bit of unity and calling back to the pink in the original art. The trickiest part with the coloring was actually the tiny lips and blush spots. I ended up using a fluorescent pink for that turned out as more of a red originally and had to be touched-up via Photoshop because of that and also because of the lightening I did to the skin. It's more that it was a bit of a challenge to get the shapes of these much smaller areas right and in the correct place, since I had to use very minimal pencil markings, lest I end up with nasty graphite marks mixed into the paint. Getting the hair to be dark enough without being extreme compared to the rest of the drawing was also a great test of patience, but it ultimately worked out, I think. I also had a hard time deciding what color the piece of coral in her hair should be, which is why it ended up as this vague dusky-orange color. And I got more pink on the sand dollar next to it than I intended, but neither of those things is a huge deal. While I waited for all that to dry though, I had to decide how I was going to go about tackling all that extreme sparkle the original art had. I could have just added it in digitally and not even attempted it traditionally, but everything else had gone so smoothly that I decided to push my luck this time. Originally, I started with just glittery gel pens, but I found pretty quickly that they were sinking back into the colors underneath them too much and thus just weren't doing what I wanted. I wanted high-impact sparkle. After some brief consideration, I turned to the metallic watercolor sets I have made by Art Philosophy, which are very high-impact metallic and pretty opaque, which would work well over my failed gel pen and would work wonders for the areas where I wanted that high-impact over an opposing color. (I.E. Where I wanted the blue sparkle over a very orange-yellow area, which would normally make brown mud if the color on top wasn't opaque.) The funny part about that is that I originally used a different shade of purple and gold for those areas of sparkle that I ended up completely covering with different shades (the purple needed to be lighter and the gold needed to be darker/more gold and less yellow). And her eye shadow cover saw all three colors before I settled; The purple just seemed wrong, and the gold blended too well with her skin. I thought the blue wouldn't work so close to her blue hair, but it actually ended up looking the best out of the three. Although, I do have to make a full disclosure that the high-impact sparkle you see here is in fact where I went in and re-did it digitally once I scanned the artwork in. Unfortunately, glitter and metallic supplies just don't scan very well and usually end up looking too dark, dull, or flat by comparison. The metallic paints work just fine in person since you can move the art and see how they reflect the light, but it just doesn't work in a still image that's been captured by having a bright light uniformly shined over it. Still, re-tooling the sparkle digitally ended up being an interesting challenge, especially since it's been a fairly long time since I was messing with digital textures like this. Also worth noting is that I had to re-paint some of the metallic areas because they weirdly lifted off onto the plastic cover I used to protect the art when I pressed it onto the background to make the glue stick. I'm not sure if it's because those were the extra-layered areas and they hadn't fully dried all the way down to the paper, or if that particularly plastic just picks up this metallic paint really easily or what. And speaking of that background... Like I said earlier, I wasn't really sure what I wanted to do for a background for a while, but after reviewing my mermaid-centric Pinterest board I decided a simple rock seat and something to vaguely suggest the ocean/water without getting too detailed would suffice just fine. Based on that, I felt like using gouache would work nicely (and I just really felt like using the gouache since I don't find a lot of opportunities to use it) and that a color scheme that flipped her hair and tail colors would be best for the effect I wanted. I've found I really like the Strathmore 400 series mixed media paper for gouache because of how smooth it is, so I cut a piece down to size and got busy. For the most part, I just kind of went in with the colors doing whatever felt right, and trying to use some gouache I'd already mixed from past projects (since gouache can be reactivated and I've found this kind, in particular, seems to reactivate really nicely) either on their own or to mix the colors I felt like I needed. And I also tried to do a lot of blending straight on the paper to get more variations in color and make things a bit more lively. Oddly enough, this ended up being a good example of gouache's covering power because I accidentally started applying the colors upside down--using more greens and blues on top and more pinky-purple on the bottom--and not only had to flip the paper around but also had to do a fair amount of covering the colors I'd already put down with colors you don't really want to mix with them because they don't make very pretty results. But it worked out just fine, so yay! I also added some clouds for a little extra ambiance, which I think looks quite nice. Believe it or not, the most difficult thing about the background was the rocks. I spent far longer than I care to admit (or bothered to document, for that matter) trying and in many ways failing to mix the proper shades of gray I wanted, and the end result didn't turn out quite as clean and graphic as I had hoped, but by the time I put the mermaid on top, you really can't tell because you can only see a fraction of what's actually there. And I mean, the end result isn't terrible, it's just not quite what I was picturing in my mind's eye is all. Personally, I know it's kind of an odd choice, but I really like how there's no defining line between the water and the sky, and yet you still get a clear idea that they're separate and the rocks aren't just floating in space. I'm not sure how, but I think I'd like to work with this kind of ambiguity more often. It's like a step between abstract and more structured art. Anyway. With the background done, the next step was to attach the mermaid, which I felt like doing in a more 3D and less flat manner, so I chopped up a cardboard box that previously held a chocolate bunny I had on hand and glued some pieces together to boost the mermaid up a bit. This where those deep shadows between her and the background are coming from. Here I feel the need to insert a comment about how difficult it was to get my tacky glue to dispense the glue for me, though there's a chance this is because I need to poke the opening in the tip to be a bit wider. (You have to poke it open yourself and I always felt like I never did get it open quite enough...unless you like strenuous hand exercises...) Of course, once all the above was done then I had to scan the art in, which I was admittedly a bit nervous about after the incident with the plastic cover peeling off the metallic paint (though fortunately, the scanner glass didn't have the same effect), and then all that was left wad the digital retouches. Overall, I'm really happy with how this turned out. It doesn't blend in as well as I originally wanted it to with the original art, but in the end, that doesn't really bother me. It's just a nice piece of art on its own that is also unique from what I normally do...except it's still got a lot of similar elements to how I normally make art. It feels a lot like the days when all I made was fanart. The key difference here is that I know myself better as an artist now and thus can use that knowledge to my advantage. I can't promise this a return to regular posting for me, though I do hope it's a gateway to me posting more frequently at least, but I can say I do intend on getting back to working on art more often and therefore being more present online again. At the very least, I can happily tell you guys that I have a couple of new art supplies en route to me that I've been wanting for a while and am excited to share with you once they arrive. If nothing else, we at least have that to look forward to! ____ Artwork © me, MysticSparkleWings ____ Where to find me & my artwork: My Website | Commission Info + Prices | Ko-Fi | dA Print Shop | RedBubble | Twitter | Tumblr | Instagram

#mermay

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rosemoonweaver · 5 years

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Welcome to the newest installment of Rosemoonweaver’s Annual Halloween Challenge! This year, we’re a bingo! I’m hoping this year will offer both flexibility and a challenge, as I’m offering both three different options for bingo cards AND three options for how to complete them.

Challenge Requirements

Participants will need to send me (rosemoonweaver) an ask detailing what kind of bingo card they’d like to complete. The options are trick, treat, or mystery. Each participant will complete ONE fic per card, achieving a bingo by either completing a five-in-a-row, a four corners, or a blackout.

There is no requirement for tone or content depending on the card you get, but they do have different themes. Treat cards have generally lighter themes, like “bobbing for apples” and “fall festival”. Trick cards have darker and more ambiguous themes, like “vampire” and “held captive”. Mystery cards are a grab bag of darker themes, horror movies, and general Halloween type things, like “House of a Thousand Corpses” and “stalking”. You are NOT required to stick to the tone of the card in your fill, however. This means if you want to write a treat card fill that is nothing but a splatter fest or a mystery card that’s all fluff you are absolutely allowed to do so.

Please complete only one fill per card. You can do this by writing one fic or completing one art piece with a five-in-a-row (up and down, diagonally, or left-to-right), four corners (plus free space) or blackout (all squares) bingo. If you complete your fill and want to do another, please feel free to do so. Do this by requesting another card, or by letting me know.

Rules

To participate, send me (rosemoonweaver) an ask detailing what kind of card you want to complete. (Trick, Treat, or Mystery). You MUST HAVE YOUR SUBMIT BOX OPEN SO I CAN SEND YOU A CARD

This is open to all fandoms and ships. Or no ships if you prefer to write gen! Cross-over fics are absolutely allowed.

While you’re allowed to write whatever you want, please note that because I’m the only person “running” this challenge I may not be able to read all the work produced if it goes beyond my personal threshold for squickiness. I will not read RPF or extreme underage sexual situations. You can still write that if you so choose, and I will still reblog that, but I cannot read fics with these topics for my own reasons.

Tag your stuff! Please make sure to tag ships (if you have any), your fandom(s), major warnings, and potential triggers.

Tag “rosesficoween” and/or “ficoweenbingo” so I can find your work! I will reblog it! Also, feel free to @ my blog and poke me if I haven’t reblogged your work within 72 hours of your post.

You have until November 1st to post your work. If you need more time or have any questions please let me know. :)

Example Cards

Treat Card with Five-in-a-Row Bingo Three Ways

Trick Card with Four Corners Bingo Two Ways

Mystery Card with Blackout Bingo

#rosesficoween #ficoweenbingo

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stratamuzak · 4 years

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Interview with Voltagehawk

STRATA: What artists in particular you are drawn to (alive or deceased) that you listen to for particular moods? Such as happy/sad/contemplative/etc… Explain why you might listen to one artist for a particular mood.

CHASE AROCHA When I want to feel inspired I listen to a lot of the different projects of Mike Patton. Be it Faith No More, Mr. Bungle, Peeping Tom, or Tomahawk, the range of styles of music is so diverse that I’ve been listening for like 15 years and I haven’t gotten bored yet, haha. When I want to relax or chill, I love BadBadNotGood, an amazing jazz artist doing incredible arrangements all in a hip-hop context. It’s great! Or Ray Lynch, I really love his writing and use of counterpoint melody. Then if I’m getting hyped I put on something like Dying Fetus or Vitriol, or Maximum the Hormone. And any other time I’m blaring Kamasi Washington, Robert Glasper and Sturgill Simpson.

DAN FENTON I think a lot of the time music finds my mood. Sort of more a spiritual or cosmic connection. When I was a kid my mom would make us watch musicals if we stayed home sick from school. Jokes was on her because I hated school but I loved learning musical scores and how to write dynamic parts and movements. The fact that people like Bing Crosby and Fred Astaire, Frank Sinatra or Marlon Brand were also amazing actors only added to that unlikely education. I learned how to really feel music between that and the intense very bloody hymns we had to sing in church. I understand the sentiment but that shit is harder than a lot of black metal. “Are you washed in the blood of the lamb”. Hard core shit. Sorry, I digress. During the making of our most recent record which is called Electric Thunder and set for release later this year or early next (hard to navigate releases with all this pandemic shit) I listened exclusively to film scores, classical music and radio evangelists. I am not religious but I grew up in a preacher’s home and when I needed to get my creative push and anger at its peak, I listened to preachers who were clearly greed driven and motivated by the lust for power. It made my adrenaline rush in anger and it came out in the recording for sure. I am a huge fan of Hans Zimmer and Vangelis. Each of these artists move me in powerful ways. The juxtaposition of darkness and light both in traditional instrumentation and experimental synth based work. Just musical giants. When I am feeling frustrated about the social issues I see everyday in my East Nashville neighborhood I listen to KRS-One, Kamasi Washington, Outkast. A lot of protest music. I am in love with band IDLES from the UK. Such powerful lyrics tackling issues like the need for male vulnerability, equality for all and the seemingly ironic brutal beat down of toxic masculinity. That band is great if you’re happy, mad, sad, whatever.

STRATA: Do you have a process you go through prior to writing, playing, and even performing?

CHASE AROCHA I do a lot of breathing exercises like the Wim Hof techniques. I have generalized anxiety disorder and I used to get horrible debilitating panic attacks, it helped me get into breathing and meditation. Anxiety will never go away but you learn ways to live with it and push through your panic. I think about how much this means to me and how long I’ve spent doing it, I try to see that I value myself as a person and then from that thinking I can just let go and play music. Only approaching it with love and not worrying about mistakes because that’s how we learn.

DAN FENTON The entire thing is one process. Like a heros journey of sorts. I listen and meditate everyday, I believe in a cosmic river of inspiration that flows from an energy that is and has always been. I believe if you listen hard enough and give yourself to the music the muse will send your mind transmissions that may only be a section of a song, or perhaps they are an entire album, but everyday I show up. A few years ago I read this book called The War Of Art, by Steven Pressfield. In this book he describes the invisible force he calls the Resistance. The Resistance may be things both “good or bad”, but they are anything that keeps you from showing up for your art. So I show up everyday, you can ask the dudes in the band, they receive a work tape maybe twice a week with new shit to try out. If I don’t feel that muse working I don’t force it, but I instead wait on further transmissions from the cosmic womb. All sounds crazy, but my story is crazy, so crazy makes the most sense. In the studio I have many processes. I found while recording vocals I perform better in complete darkness, I have realized how much I live inside my head and how active my imagination is and equally ADD my eyes are. So when I can’t see it brings to life the imagery and the passion of the song. I can see all those people I write about, all the landscapes, the love, lust, joy and pain. I also do some method stuff, keep things in my pockets pertaining to a character I may be portraying in a song. Wanna be Daniel Day Lewis shit.

STRATA: Your own current project, discuss the process your music went through as you built each layer. From beginning to the end of it.

CHASE AROCHA This all started with our drummer Jarrad having a vision and going through trials and errors of finding the right people to execute that. Along the way Dan, Tyler, and I all came into the picture and that vision morphed into something we all felt was not even from us. Like we were an antenna receiving a signal and these riffs and lyrics quickly meshed into something I haven’t heard before. Part hard rock, part jazz, part punk and hardcore. All with this message of love and truth being the reason for living. To end the ones controlling our thoughts and dividing us or tribalism and greed. I feel like we made something worth listening to and that’s all I feel like you can really hope for.

DAN FENTON The self titled record that we have available now on all streaming platforms was two different profound stages in my life all in the making of one record. When we began, Jarrad and I partied a fuck ton, and I was descending into some serious personal shit with alcohol. It was bad, I couldn’t get through a day without way too high of a blood alcohol level. Before we finished vocals on the record, I stayed up one night working and drinking, perhaps I had never stopped from how many nights before, who fucking knows. Anyhow, I died for 9 minutes on the side porch of my house. Fully shut down, fucking dead. Mind you, I didn’t want to die, I just didn’t know how to lay off the bottle. Woke up in the ICU surrounded by my band, my wife and what few friends I had left. At that moment Voltagehawk became a complete family to me. I spent a stint in rehab (Jarrad drove me) and that was several years ago now. When I got out I went back to finish the record, make some amends and chase this thing out for real. So that was some info on the first record. The new Album which is a 13 song space odyssey named Electric Thunder, after our beloved Electric Thunder Studio owned and operated by our resident space wizard producer Geoff Piller, was not so dramatic. After I got my shit together and my mind cleared up I began to write everyday like a mad man. Song after song after song came like never before. I think we cut 15 songs out before we settled on the final 13. Our process as a band is often for myself or one of the other dudes to present a bare bones or often finished idea to the band and we run it through the Hawk Filter. The Hawk Filter is just the decomposition and reconstruction of every rough idea till it fits us. Which is silly to say because if we like, it we do it, not a matter of genre worship. Shit’s good, do it. Always do what’s best for the song.

STRATA: Can your music personally be an open door to breath and bend in the world of artistic exploration? In Other Words… how comfortable are you as an artist exploring other types of music and creating projects that might be totally different than what you are creating now?

CHASE AROCHA There is so much great music in the world in so many styles, why shouldn’t we try to explore them all! I’m always trying something I haven’t done before, not always as a challenge, but I would hope it’s natural for people to do in art. We shouldn’t be the same people we were 2 years ago, let alone 10. I love jazz, Death Metal, and country music. If you can find a really fun and genuine way to blend those then that’s absolutely what you should do! Don’t be tied down to what kind of music you’re making and just make music.

DAN FENTON That’s all we do all day. Everything on this planet, and above it, and in it’s majestic seas and mountains, all these people of all the cultures of all the world and their energy and their culture all influence and musical inspiration is welcome. Our philosophy is never say no, and jump off the cliff, and pull yourself back up. Meaning: try all the musical options then settle on the one we believe is the most amazing. So much of our influence is from cinema and books, video games, you name it. I’ll pluck a support cable on every bridge I see ‘til I am dead just to see if it speaks to me. Sonically there are no fucking rules, and if you impose rules, fuck your rules. We love to create, to talk about creating and then to birth something new is beyond amazing.

STRATA: Are you open to change your style, genre even, and approach to how and what you create every time you enter a studio? Or do you find once you have a formula in place do you find it best to stay with what you know? Many times artists will change how they approach their songwriting and even their recording staff/producers.

CHASE AROCHA

Like I said before, I believe that you should just make music and with that should come constant experimentation. When we record we find sounds from all over the place. From children’s toy instruments, to skateboard wheels spinning to imitate rain. Our writing is kind of always evolving and changing. Dan is an amazing writer who literally has lyrics and melodies pouring out of his hands and face. Everyday he has new ideas and records and sends them to everyone. Jarrad is great at taking those riffs and making suggestions on how the structure could be of a song along with feel. I am obsessed with adding layers of guitars however I can, but I also write a lot and send tracks as well. Tyler is a tone junkie on the bass, filling in the bottom end and has such a great approach to being independent from the guitars with his lines. We send tracks back and forth to each other then we get in a room and flesh them out. The whole time in the process the songs are constantly changing and evolving into the sound we have. We are always open to change and never believe in the word No when discussing music and art. You try every idea and see what works and what doesn’t. Sometimes when one member has a vision of how a song should go and is trying to communicate that, you should respect his idea and see it through. If it doesn’t work that’s okay, we tried!

DAN FENTON Voltagehawk is ever evolving. As it stands, we spend way too much time trying to pigeon hole what people will refer to our sound as. I don’t care what you call it as long as it moves you. I listen to everything from John Coltrane and Tom Waits to Napalm Death and Motorhead, Antonio Lucio Vivaldi to Kamasi Washington. IDLES and Bad Brains. If you refuse to evolve as an artist, experimenting, growing, trying new methods, all these elements then you cannot grow as a human being. Too many people are happy where they are, just okay, making the same music that their dads made and trying to cosplay some kind of yesteryear. We don’t do that shit, we’re us, that’s it. We grow, when you hear the Electric Thunder for the first time you will understand everything. If you burn some sage next to a photo of Carl Sagan while you listen to Electric Thunder, you will see the cosmic river in your minds eye. The world is full of people with a blockage in their brain. They cannot see that this bullshit we call a life is just a series of labor for hire gigs that leave us rapidly in the middle. We’re trying to break away from it all and follow our feathers, our truth, our search for enlightenment on our hero’s journey. I’ll leave you with this. Know Thyself.

#voltagehawk

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schalaasha · 4 years

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Top 20 Games of the Decade

Hi, I felt like writing about my top 20 games of the decade because I kept thinking about it. This is a semi-ranked list, but I decided not to throw numbers into the mix since, really, outside of the top 2, I can’t think of how to rank the games prior to them. I also commissioned hyiroaerak (@/HRAK__S2 on twitter, https://hyiroaerak.weebly.com/work.html) for art to commemorate this occasion. Our characters are cosplaying as characters from our games of the decade!

Mega Man 10

I actually like Mega Man 10 more than Mega Man 9 out of the two platformer revival games in this series. Though a bit of background on this: Mega Man 4 is my favourite, and I prefer the games that are not 2, 6, 7, or 11, so I suppose that contextualises this for others. Either way, despite it not having weapons that were as useful as Mega Man 9’s, I felt like 10’s level design and pacing worked more for me in my favour. Though I’m saying that as someone who liked the double fortress design in earlier games so that might invalidate how I feel.

Time Attack mode from Mega Man 9 returns as well as Proto Man (but he’s unlockable right off the bat). It also has a proper Challenge Mode compared to Mega Man 9’s challenges, whereby challenges for certain levels or bosses are unlocked when you actually do it in the main game. Being able to play as Proto Man off the bat allows for the fluidity Mega Man had in 3 and beyond by letting you slide and use charged shots. I personally liked being able to play as Proto Man off the bat as while he has the 3 and beyond advantages for his moveset, he is a glass cannon and you still have to watch where you’re going.

I feel like the levels were a little better designed and if I needed more of a challenge, Hard Mode was still there to cut my teeth on. I liked the colour schemes throughout the level maps a lot more than 9’s as well. The bosses felt particularly gripping and trading blows with them fit into a nice rhythm.

It has more content than Mega Man 9 and I had a lot more fun with 10 than I did with either 9 or 11. The formula itself is pretty static compared to other Mega Man games, but I like simple things. Why fix what isn’t broken? It’s just a nice piece of cake at the end of the day and that’s all I really want.

Trauma Team / HOSPITAL: 6人の医師

When I started university for the first time in 2006, I was pre-med. I eventually got sick and tired of the politics and people in the program (ie: folks saying they only wanted to go to med school so they can get rich or make friends with pharma reps who might give them perks), and I left the program to pursue program majors and a minor to prepare me for speech-language pathology instead.

We had a Wii in our student lounge. My main university campus wasn’t exactly big and a lot of the people who hung out in the student center were kind of cliquey. I think I had the benefit of being really good friends with one of the guys who was the biggest social butterflies at the school so I got to meet a lot of people or get involved with stuff if I felt like it. So that meant I got to play with other students in games or wi-fi sessions during classes or after classes if I didn’t have to commute home right away.

Because almost everyone I knew at my school wanted to go into medicine, everyone played the Trauma series. Some kids played Under the Knife during class. Some kids played Second Opinion on the Wii in the student lounge. Some kids played New Blood. This was before like… Farmville took over everyone’s computers at the time.

Trauma Team came out way after that, and some of us were either graduating or staying in school an extra year because we didn’t know what to do after the recession or knew what to do but needed extra courses for graduate school. So the Wii was free to use. I don’t think people hooked it up as often anymore anyway. By 2010, a lot of us who had met each other in first year decided to go our separate ways, not even in the same majors or programs anymore. A lot of us either branched out into research, psychology, neurology (like me), kinesiology, epidemiology, forensics, genetics, etc. So Trauma Team for the rest of us who were still there was a good fit.

Trauma Team took some influences from the 2009 Swine Flu pandemic considering that was when the development phase occurred. Now, I live in Canada, and Canada was one of the focal points for the 2003 SARS outbreak. This was when health bodies in the country decided to make some changes to how they respond to potential pandemics. A lot of things they tell medical students or any students studying health policy (like I was at the time) emphasized how different parts of the hospital or medical or health care staff need to work together in order to care for a patient. I actually find the different professions involved in Trauma Team useful and a reflection of what my class of 2010/2011 became later on (a lot of us graduated in 2011 and took an extra year).

Diagnostics and Forensics were what I was really interested in since they don’t play the same as surgery/emergency medicine since they played out like a point-and-click. Later on in life, I had to look at so many medical reports and radiology reports and file them but by then I realised what my patients had but I can’t tell them myself since I’m not a doctor. But Trauma Team gave me a chance to do so and practice my terminology as a student. A friend of mine, who ended up becoming a doctor at a hospital in Toronto, really enjoyed endoscopy since it merely involved using the Wiimote as an endoscope and the nunchuk to steer. A lot of us played co-op too.

The difficulty in Trauma Team, I felt, was decreased from previous games. But that doesn’t really spoil it. It was a varied game and it looks fantastic. It’s a shame that the game style hasn’t been replicated or given a sequel in later years, because while I’m older and my classmates are doing completely different things and I haven’t seen some of them in years, I’d love to take a stab at these types of games with a well-practiced laboratory technologist’s hand.

Sonic Colours

I think it goes without saying. My first community when I joined the old forum was the Sonic community. Just a bunch of people who were interested in talking about Sonic so much in almost every thread that we ended up making a community thread together. I don’t post in the new forum everyone is at but I still talk to mostly everyone via different social mediums.

I wasn’t around when Sonic Colours came out but I think I remember reading the joy everyone felt when nearly universally everyone in that thread seemed to really like Sonic Colours. I remember the thread title still. I preordered Sonic Colours because apparently previews were saying it was… good? I didn’t bother playing Sonic Unleashed until after I’d joined the forum, but hearing Sonic Colours would be a return to form since I was one of those people who didn’t adjust well to the 3D games made me interested.

Sonic Colours is everything I wanted from a 3D Sonic game. Or rather, a 3D version of a platformer. I didn’t really like where 3D platformers were going because they were hard to look at, hard for me to pay attention to, and to be honest I got dizzy while playing a lot of them since you’re expected to work in a 3D space as opposed to a 2D space so it was really hard for me to process. I really like the hybrid nature of the level designs that’s where Sonic Colours got me.

Sonic Colours isn’t without its hangups: some of the levels are really short; existing mostly for ranking/getting red rings. Sonic’s jump is pretty floaty. The script is fairly short even if the jokes can be funny. Bosses are reused. Sonic Colours is not a perfect game, but the attempts it made were fantastic enough in its own right.

The music continues to be great, but the areas are visual spectacles. Whatever you think of the series, it’s fairly undeniable that the games try to have style. From the lighting, to posing, to setpieces, to colours used in assets in the level design – Sonic has always had really great ideas. Sonic Colours is no exception – areas like Aquarium Park, Planet Wisp, and Sweet Mountain have a variety of neat level ideas and they look good trying to execute it. From popcorn on the floor to one of the best darned water levels in all of video games due to the drill wisp, to a fresh take on a grassy knoll with beautiful music, Sonic Colours can bring tears to your eyes because of what it attempts. Terminal Velocity Act 2 is also one of my favourite parts of the Uncolourations games partially because it’s a well-executed setpiece, but it also showed me that maybe those 3D racing bits aren’t that bad.

The bosses may be really easy, and the final boss ends far sooner than it should before it could perfectly execute its Kamen Rider reference, but I think the point was to fully enjoy the theme park that Sonic Team threw at you this time.

In 2020 I like to say that out of all of the Uncolourations games, Sonic Unleashed is my favourite due to the balance it struck and its presentation/artstyle, and basically having one of the best soundtracks of the previous decade. But I recognise everything that Sonic Colours brought to the table. If it wasn’t for Sonic Colours, I wouldn’t be friends or acquaintances with so many people that I am with now.

Kirby’s Epic Yarn

Have you ever played a game that made you feel warm and toasty? Canadian winters can be really cold, you know.

When I lived at my old run-down house, my old room didn’t have good insulation. Whenever it got cold, my room got really cold. I had my own personal heater because we didn’t really have a good heating system in my room either. So I only wore flannel pyjamas, wrapped myself in faux-wool blankets all the time, and went to sleep covered in at least four quilts or comforters (which is something I still do out of habit sorry). I used to make hot choco every day because it was just so cold in my room.

I love Kirby’s Epic Yarn. Kirby’s Epic Yarn makes me feel warm and toasty inside because I think of being wrapped up in yarn and sheets and scarves and I just feel so happy. There are so many pastels used in KEY’s earlier stages that I can’t help but to feel toasty and happy when I’m playing it. It’s not the most challenging game. The game is really easy and all you mostly do is collect furniture, music, beads, and parts of the results wheel in every level, but I don’t think that’s the point of it. The point is just to have fun. Watching Kirby turn into a car to sprint, watching him turn into a little parachute or transform during those vehicle bits, you just can’t help but to feel so enveloped by the cute.

Being able to interact with cloth by pulling a loose button and releasing something, taking off tags, pulling on stray thread, spin balls of yarn… it feels so fulfilling because it’s a clever use of the medium. It’s exactly what you’d do if you’re stitching or knitting. Placing furniture around Kirby’s little apartment makes the Animal Crossing fan in me so happy.

I appreciate the lengths Good-Feel went to producing the level designs. They took photos of the fabric they bought and created the graphics that way. The music is calm and relaxing, with lots of woodwind and piano and lighter sounding instruments. The entire game feels so soft and sweet. It’s a visually-impressive game since everything animates incredibly fluidly.

Cuphead

Like anyone my age or older, I grew up watching a lot of older cartoons by Max Fleischer with watercolour backgrounds, hand-drawn characters with a lot of focus on expressions, rotoscoping, etc Lots of slapstick and musical scores out of that decade. I would have never believed I’d play a video game that looks like that but here we are playing Cuphead this decade.

Cuphead is a blend of that artstyle with older run and gun style games. It combines a gunning experience with puzzles, reflexive actions, and dying… and dying a lot. And learning. Underneath it’s cartoony and child-friendly veneer lies a game that is unrelentingly difficult. There aren’t really any checkpoints in the game save for one. You can’t regain lost health. It’s just you versus the game. You may spend hours on one single level learning everything about it. And you can’t beat the game until you finish off every other level on regular difficulty.

Different levels have different forms: they can be run and guns á la Contra, which are actually, oddly enough, breathing room levels. They’re probably the “easiest” levels in the game. Other types of levels can be straight up shmup-like boss fights where you’re flying in a plane. They can be hard as a regular shmup.

The best crafted types of levels are the ones that include platforming as part of their boss battles because they use the artstyle and ideas involved in the art piece as interesting platforming mechanics. You have a more limited control scheme but the scenario you’re involved in is really interesting and unique. You fight a woman in a play and the setpieces in the play change according to how far you are in the boss fight, for example. The game also has a parry mechanic whereby you can double-jump off of anything that’s coloured pink and fill your super meter in order to kill bosses faster. The parry cues change per boss so it’s really cool to see what they look like every time you encounter something new.

I think while Cuphead can be utterly unforgiving, I think it should be experienced at least once for how much work was put into making things look so fluid and how creative every boss and level can be. It’s what I wanted the UBIart framework to eventually evolve into. I think the game’s aesthetics and sound are its own reward in addition to that feeling when you finally conquer That One Boss.

Asura’s Wrath

Asura’s Wrath was a game I was incredibly iffy on even buying at all. I heard about how the ending was part of paid DLC, that the game didn’t have a lot of gameplay, and that it was incredibly unremarkable. I don’t think I had a remarkably low bar or anything for this, but I decided to purchase it on the cheap.

Asura’s Wrath definitely isn’t a game for everyone, and I feel as though it’s an acquired taste. The main character’s art might not jive well with everyone, the lack of ‘play’ will probably deter some folks, and its episodic nature/final chapter unlock sequence would probably get on people’s nerves. With that said, at first, it seems to be an action-cinematic game without necessarily expanding on the “action” part. A lot of it at first seems to be a bunch of QTEs to move the narrative along, with the narrative not necessarily being that strong in the first place. I think that’s due in part to the game’s structure initially. The first few chapters and the first act truly don’t seem very remarkable. The Buddhist and Hindu aspects of the game are very obvious and very central to the game’s plot, but at the same time, they don’t seem to be specifically mentioned whenever someone talks about the game to me. The Asuras were not one singular character or a god, but a race of warlike beings exhibiting wrath and pride. They were incorporated into Hinduism and Buddhism through their mention in The Rigveda. With that said, I was continually impressed by how many references—whether it was mere mention of regular terms/concepts/people, the artstyle and inclusions of things like lacquer skin, mandorlas, Vajras and Pretas, and also Siddham script—was included in this game. Asura’s Wrath ended up feeling incredibly natural and a nice way of shedding some light on non-Judeo-Christian religions.

Anyway, I genuinely liked that the game felt like a playable anime. I don’t feel like the game would be as effective if it were put into another genre, or were less cinematic. It ends up getting its message across with its carefully-researched artstyle, great scene direction, well-composed music, and penchant for feeling like it was a fantastic shounen anime. I also feel like the game has more combo-based gameplay than people give it credit for. A lot of the complexities come to the forefront on Hard mode, and going for S-ranks and finding ways to do that quickly and effectively on higher difficulty modes is always an interesting affair.

Ghost Trick: Phantom Detective

I finished marathoning all of the Ace Attorney games in 2010. I don’t recall if I was doing it before Ghost Trick but I think what enticed me to get the game was its amazing animation. I hadn’t seen 2D sprites move that fluidly in a very long time. Characters have exaggerated movements, exaggerated dances (ie: the panic dance), and they have big flashy gestures to show off the game’s animation engine.

You’re introduced to all sorts of eccentric characters, many of whom don’t overstay their welcome (Circus case from AA2, I’m looking at you). You have a desk lamp, a doggo, a dancing detective, a little girl who’s the focal point for one episode, etc. Everyone’s dialogue is relatively snappy, their expressions and animations make them stand out from others, and due to how everything is presented right down to the character art portraits, everything just jumps off the screen.

Because you’re a spirit with amnesia, you’re given the ability to go through time, and also the ability to through environments by hopping from object to object and possessing them in order to influence what happens in the past to save people in the present. This is just a path to trying to figure out who you really are or to find who or what killed you. A lot of the gameplay revolves around trying to figure out which objects to manipulate and when in order to influence an outcome. It makes the game partially point and click, but also partially a physics puzzler. I don’t think I remember a single object in the puzzle segments that was wasted. In other circumstances, you must manipulate time in order to save someone in their last four minutes.

If anything, I feel like Ghost Trick is a necessary inclusion simply because of its style and attention to detail, as well as its sort but sweet story where nothing overstays its welcome. Its soundtrack also feels similar. The game is fairly consistent and nothing really changes in terms of progression over most of the game. But I see that as a plus as opposed to a minus for the most part. It helps to bring the game to a compelling and surprising conclusion.

Assassin’s Creed: Brotherhood

I marathoned all of the Assassin’s Creed games in one year prior to Assassin’s Creed III since I wanted to see what the deal was with the series because the first game wasn’t that great from a play perspective for me. The thing that resonates the most with respect to Assassin’s Creed for me is marshmallow-flavoured birthday cake and a bag of regular Bugles. I started this marathon on one of my birthdays that decade.

Assassin’s Creed II is one of my favourite games out there, but Brotherhood adds so much to the formula despite its middling storyline compared to its predecessor. But that’s because most of Ezio’s growth happened in the previous game. He is a middle-aged man searching for the Apple of Eden, and while the story does not carry as much emotional impact, that isn’t exactly what I’m looking for with respect to the earlier AC games.

One of the things I absolutely love about the earlier AC games is its attention to detail even if it isn’t necessarily completely accurate. At first I missed the fact that I could explore many different towns like I could in AC2. But then I realised how big Rome and its surrounding area is. Rome is gigantic, and it has so much attention to detail with historical buildings everywhere (which you need to pay to rebuild), old tapestries from the era, citizens dancing in the streets, lovers flirting with each other behind pillars, etc. There are more roofs and buildings to parkour over and between. The game adds towards that require you to take over them before you can use them to gain access to vendors and things to renovate. You can also find the glyphs (much like the ones from the previous game) to solve puzzles in order to gain access to more lore.

I genuinely love the renovation aspect of this game. It’s more involved and a lot better than what the previous game tried to do with its economy. You renovate in order to gain access to shops, which in-turn generates income for you, and then you can renovate other stuff based on the income that you generate. It’s something that I’ve come to miss in later AC games. It felt a lot like a Suikoden game in some aspects.

Platforming missions return in the form of finding parts of a cult and cutting the beginnings of a conspiracy off by its limbs. They’re faster paced than AC2’s tombs and there is more variety in terms of what you platform through. I like both types equally since one allows you to marvel at the beauty of a cathedral, while the other allows you to clock a few folks while making your way through a lair.

In addition to the lairs, there are different types of missions for each faction that you forge alliances with, there are Da Vinci missions that involve new war toys and blowing things up in a scripted way. Assassin missions can vary in terms of how you carry out the assassins (albeit still scripted; improvisation was not a thing until ACUnity).

The crux of AC: Brotherhood is being able to recruit assassins to your cause. Random citizens throughout Rome may be under attack by Borgia soldiers, and once you save them, they are recruited to join your cause. You level them up, send them out on missions, improve their gear, and ask for their help when you can and when they’re available. This feature gets expanded upon in later AC games but it gets a very good start here.

Brotherhood is so full of content and a lot of little things that playing it for me makes it feel like comfort food for me. It may not have the best story and it certainly isn’t as memorable in that sense as its predecessor. But it’s so fun that I can’t help but to feel satisfied every time I turn it on.

Pac-Man Championship Edition DX

I played the original Pac-Man CE on 360 years ago at my cousin’s house, where they added a timer and a morphing maze to the base original game. I thought it was a neat novel thing at the time but didn’t think further.

Pac-Man CE DX adds more mazes and more mechanics and more modes to the championship edition base. It added sleeping ghosts where, if Pac-Man moves near them, they wake up and they chase him around the maze in a line until you can finally eat them all and rack up a huge score. You can also elect to use a bomb at a small expense in order to save yourself and send ghosts to the middle of the maze again. These changes assist in maintaining the game’s flow and it never makes a score attack daunting or boring.

Devouring big long conga lines of ghosts following you is so satisfying while you’re listening to a bumpin’ soundtrack and chilling out looking at the cool lights on the maze. Really and truly, while at its core, PMCEDX is a score attack game, it makes for a beautiful loving chill sensory experience and I couldn’t ask anything more from it.

Deadly Premonition / レッドシーズプロファイル

I think I, like a lot of people, was introduced to this game via the GB series. I didn’t have an Xbox 360 so I eventually imported the Japanese version for the PS3. The game’s dub was already in English; the text was in Japanese and it was pretty easy and reasonable to get through. Deadly Premonition actually the Guinness World Record winner for most critically polarizing horror video game since the reviews at the time were so all over the place. And yes, I will contend that Deadly Premonition is definitely not for everyone.

I am not the type of person to play shooters. I actually hate them a lot. I don’t like gushing blood in video games, and I don’t really like the act of murdering someone in a game. I used to play a lot of survival horror games when I was younger on the PS1 and PS2, but a lot of the time you’re dealing with the undead or oddball things going on around you so it’s not nearly as bad I think. It’s funny; I deal with people’s bodily fluids and body parts all the time in real life as part of my job (ie: I’ve had to help dissect someone’s stomach before fresh out of the operating room), and it doesn’t bother me. But the mere act of seeing it done or doing it, makes me feel squeamish. I don’t like it. I don’t even like watching blood being drawn from me or needles being stuck into me, even though I’ve done it to other people as part of my work.

For the most part, inexplicably, in Deadly Premonition, you’re dealing with the undead anyhow. I’m not the best person at shooters, but I certainly know what’s a good one and what isn’t. Deadly Premonition is not a very good shooter. It’s really janky. Some of the weapons don’t make sense in terms of how balanced they are. The controls are also really janky. This is not really a surprise considering the game’s strength wasn’t supposed to be its shooter aspects. In fact, those parts weren’t even supposed to be there.

Deadly Premonition is often cited as an artistic piece or a good game simply because of its story and character writing. It has an excellent main character who was cast almost perfectly. It has a lot of eccentric characters filling the town of Greenvale to help you solve the murder mystery or help obstruct it. The end result of having an unreliable narrator works out in the game’s favour. It helped sprout pop culture references, weird humour, quirky dialogue and more. I have certainly never watched Twin Peaks but I got the allusions either way since the show was so big. Slowly uncovering how every cast member lives their lives throughout the town and every day makes you more emotionally connected with them.

Greenvale is more of a sandbox than just a place where a crime is committed. You can play darts. You can race cars. You can do a ton of sidequests somewhere that will reward you elsewhere. You can collect trading cards??? You can carry some lady holding a pot everywhere? You can taste-test for one of your coworkers? You can do a lot of stuff that makes zero sense but I still end up enjoying it all anyway.

It looks like a PS2 or Dreamcast game or something and I almost found that utterly endearing in the era in which it was released. The soundtrack itself is so dissonant and doesn’t always fit the situation. Sometimes the sound mixing is so all over the place that it often results in making a scene more hilarious than it should be. There’s a song that’s just… American Idiot… on the soundtrack for some reason. Along the way, you start wondering “is this game real? Am I real? Is this really happening right now?” and yes, yes it is.

In the end, because of its cult success and getting people talking, it allowed Swery 65 to make more games. Deadly Premonition was lightning in a bottle for him. He followed up with D4: Dark Dreams Don’t Die (unfortunately in limbo). He cowrote Lord of Arcana and Lord of Apocalypse. He recently released The Missing. If anything, I’m more interested in what he makes. I’m eagerly looking forward to The Good Life.

999: Nine Hours, Nine Persons, Nine Doors

Text/Puzzle-adventures, rather than pure visual novels, became a staple of some players’ libraries due in part of the popular Ace Attorney series, Professor Layton series, and whatever Mystery Case File games that were published by Nintendo. 999 is not a pure visual novel. It’s a puzzle adventure game with visual novel elements. With art by Kinu Nishimura and a story written by Kotaro Uchikoshi (who had a few visual novels under his belt), it was difficult for me to ignore this game. I was also at a point where I really wanted to get into a lot of the games that Aksys published so it was a natural choice to buy.

A lot of the localization and language in this game was edited so that while it stays true to the spirit of the original language, a lot of care was put into making the dialogue and writing sound natural in the English language versus going line by line exactly. It worked out in the game’s favour because the script was fairly large. Based on Uchikoshi’s past games, he likes to ask a question and generally incorporate some pseudoscience in his narratives. 999’s version of pseudoscience ended up being morphogenetic fields (see: Rupert Sheldrake). This theory ended up the basis for a few characters and it is the way the story unravels. He also took inspiration from another older game of Chunsoft’s: Banshee’s Last Cry where the player is put into an unsettling position right off the bat. Indeed, 999 starts the player in media res, but the player is already in trouble when you begin to control the main character.

The puzzles were added to the game so that it would be received well by a wider audience than just visual novel readers. They were naturally and seamlessly integrated into the experience that the game became almost wholly about the puzzle rooms and whatever flavour dialogue occurred during the puzzle rooms. A lot of inspiration seems to have been taken from browser-based escape games like the Crimson Room from 2004. Escape the Room games were a subgenre of point and click adventure games and it was nice seeing the concept integrated in a narrative experience that wasn’t Myst (see: http://www.fasco-cs.net/ for more information). Due to the puzzles being a fundamental part of the game’s story, with them getting more and more difficult, the final puzzle for the entire game at the end of the true route is both a relief and also incredibly impactful due to using both of the DS screens and also revealing a lot to the player about the narrative.

If I had criticism for the game, I feel like it would be having to play the game repeatedly, doing the same puzzles repeatedly in order to unlock another prerequisite ending for the true ending. I did not play the later port which rectifies this but I’m not entirely sure that being able to see the branches would be great for the game either. I also feel like, just like a lot of Uchikoshi’s writing and previous games, that when the characters start cracking jokes when they have to urgently do things to not die, the tone feels a little off.

With that said, 999 is one of the more compelling text/puzzle-adventures from last decade, and it uses its native platform to its advantage. There weren’t a lot of games that used the DS screens to convey a narrative properly but when you are faced with the revelation that the game was using the two screens for a remarkable reason, you feel like the game is a natural and powerful addition to any DS library and gives significance for the dual screens.

Metal Gear Rising: Revengeance

The funniest thing about Metal Gear Rising was that I actually disliked it at the beginning when I first started playing it. I didn’t know what I was doing half the time, and I didn’t ‘get’ the parry mechanic. At first, I guess I was playing it for the sake of playing it? It definitely took me a while to even warm up to it. The camera was obnoxious (and still gets to be obnoxious in some places), and I felt incredibly nauseous while playing it sometimes.

It wasn’t until I got to the Mistral boss that I finally … found what I was looking for… I’m sorry. I’m serious, though. Metal Gear Rising truly shines during the boss battles. When I finished that particular boss battle, I’d reflected that I was smiling like an idiot the entire way through. I don’t think I’d fought satisfying boss battles in years prior to that. Returning to previous chapters told me that Platinum really likes to frame and teach players via trial by fire. Learn to parry yourself, here’s a test to see if you can parry well and you can get a trophy for it, here’s the final test to see if you can even parry (Monsoon). I loved that Metal Gear Rising threw a lot of what we knew about Metal Gear Solid out of the window, with a significantly interesting score, boss battles that centre around the climax of a battle (expertly done via excellent sound design as I noted in my SotY writeup this year), and a more interesting and personable version of Raiden. It relies far more on offense than defense and stealth, and that’s okay to me. It ends up separating Raiden even more from Snake.

The final boss is a love-it-or-hate-it sort of affair, and I ended up loving every single part of it. I felt like it was one of the best final bosses in years. Don’t know how to parry? You’re fucked. Don’t know how to use the game’s other offensive rush tactics like Defensive Offense and running? Good luck. The game makes sure you try to know how to do these things before even bothering to attempt the boss, with the major roadblock being Monsoon. And if you can’t parry by then, the game brutally tells you that you aren’t doing it right by making the boss battles ramp up to significantly require you to use one of the game’s core mechanics for elegant combat. This isn’t the most elegantly-designed game whatsoever. In fact, it can be really sloppy. With that said, it’s one of the better action games I played all decade.

Papers, Please!

Papers, Please is work. It feels like work because it is work. You can grant freedom and admittance to people, or you can just take their freedom away or not permit them to cross the border. Everything you do is controlled by the government, or by rules and regulations. If you do something wrong, you’re written up. Do enough wrong, and your pay is cut. Do enough wrong and your pay is cut multiple times, and you can’t provide enough for your family. Everything about the game just feels like work. Even right down to the end of the day when the whole thing feels like a budget calculation and spreadsheets. Everything about the game’s UI feels a lot like work. Where do you allocate space to do your job? How much money do you allocate to heat/food/medicine? It ends up feeling very tedious, but somehow fulfilling.

You are an immigration officer in a fictional Soviet state. The interesting part of the game is that it doesn’t only feel like a job, but it also feels like government and self-evaluation. You end up studying why the government keeps regulating the border the way they do, and thinking about how mundane the job can be. You know that people’s livelihood and family lives hinge on whether or not they cross the border, and sometimes your penchant for following the rules and disallowing people across the border may be called into question when people plead with you to go through. Do you accept docked pay so you can reunite people or save people from slavery, or do you do as you’re told and live with the consequences of your actions. In a small way, your ethics are called into question. It’s a nice reminder that a lot of things, despite people being people and having their own stories, generally seem to come down to bureaucracy and pieces of paper as opposed to a full understanding of humanity or extenuating circumstances.

I’d also like to add that Jorji is one of the best characters of 2013 to me. I think his glass half-full philosophy / if at first you don’t succeed, try, try again philosophy is something to look forward to whenever I encounter him in-game.

In many ways, Papers, Please feels a lot like the Milgram experiment. Are you going to make cruel judgement calls to separate a family, or keep people in slavery because the authorities and higher-ups essentially tell you to do your job so you can keep your family healthy? Papers, Please in many ways is written incredibly well. It doesn’t use reams of text to make you understand the overall premise of the game but through your actions, you’re also helping to tell the story. That’s the sort of weird and wonky player “agency” that I find interesting.

World of Final Fantasy

The Final Fantasy series had a better decade than the last decade, I feel, considering the quantity of releases increase from the previous decade. However, it had a lot of growing pains to deal with at the beginning of the decade. Final Fantasy games sell well all the time, and more people playing games than ever, it makes sense that sales numbers continuously increase. Attach rates aren’t as large. Final Fantasy XIV came out in 2010 and it was not a good game at all to the point of having to be structured for its 2013 re-release. Final Fantasy XIII had mixed reviews, as well as its subsequent direct sequels. Final Fantasy All the Bravest wasn’t exactly the best mobile debut for the series. The brand also suffered from dilution – the Final Fantasy name was attached to almost anything and everything for the sake of sales, and numerous spinoffs were released and the quality varied.

Final Fantasy Versus XIII and Final Fantasy Agito XIII, originally planned to be part of the Fabula Nova Crystallis setting with Final Fantasy XIII were renamed and rebranded/redesigned to be their own titles: Final Fantasy XV and Final Fantasy Type-0. Both games also had mixed reviews and multiple delays. If anything, I can probably say that this decade was the most divisive for Final Fantasy fans.

World of Final Fantasy came out during the same year Final Fantasy XV. I think I’ve made my feelings about Final Fantasy XV fairly well-known. Perhaps my feelings about that game influenced how I felt about World of Final Fantasy but as someone who has played this series for decades (for reference: the first game is one year older than I am, and my first Final Fantasy was the first game), I felt like World of Final Fantasy was a love letter written to fans like me. I am a long-standing fan of the series over the course of decades and have been through its up and downs, and while I don’t like every game in the series (we all know how I feel about half of the games in the series, after all), I can still look at them for their influence on the rest of the series. I also like the newer games equally as the older games and dislike and like games from all of the eras, so I don’t really have issues with how the series is represented in general unless the games are really bad.

World of Final Fantasy feels like a Kingdom Hearts-esque exploration of the Final Fantasy games while throwing Pokemon into the mix. It involves a lot of older references as well as bringing new references in and throwing it into a presentation mode that fans of all ages can enjoy. The main characters are chibi which fits right into how the older games represented characters, but they can also grow taller to represent how the newer games are represented. You can create stacks of party members according to their height and balance well accordingly out of classic Final Fantasy enemies and characters in order to battle against other classic Final Fantasy characters, villains, and monsters.

The game is exactly what I wanted a mainline Final Fantasy to look. It retains a cartoony look, embracing stylization while adding so much detail to the areas’ setpieces so that they also stand out while the characters move around on the map. I also felt like the score was also a brilliant blend of old and new: with Masashi Hamauzu composing the score but also remixing older Uematsu themes to fit within the context of the score. The score was loftier compared to Hamauzu’s older works and the strings, synth, and piano works incredibly well to bring the game’s world to life.

The idea for WoFF was to try to bring younger fans into the fold, hence the Pokemon-like influence for using and rearing many classic FF enemies so that children could start to recognise them. The loftier script was also written in-mind taking into account both lighter storytelling from older FF titles and some darker bits taking into account newer Final Fantasy games. I’m not too sure that SE was very successful with bringing younger fans into the fold, but the way the game was written fit well with what I remember liking about FF for the first few games I had played. I also enjoyed that characters were chosen for their involvement to the plot versus them simply picking the most popular ones. This is why we got characters like Eiko and Shelke as well as regular FF mainstays. All of the characters were woven into the story well, as citizens of Grymoire as opposed to characters who just have their regular identities transported into Grymoire instead.

I felt like the Pokemon mechanic was handled well. I even loved it enough to have the idea commissioned in combination with our FFXIV characters. I liked that it changed up whatever skills you had access to, it influenced your stats, and it looked adorable to boot.

I would absolutely love to see a mainline game made by this team because I felt like the loose style of storytelling and worldbuilding made for a very good Final Fantasy game, and in essence, WoFF was the real Final Fantasy XV to me. It felt more “Final Fantasy” than a lot of the games released in the same decade, or even compared to ones released in the previous decade. It was a nice step and touch to demonstrating that there were staff members who remembered what Final Fantasy is to older fans.

Va-11 Hall-A

I’m too young to have a big attachment to older PC games like the ones on the MSX or the PC-88/98. But I’ve always had a fondness for their graphics and their music, like sometimes I feel like I was born in the wrong time or something. It’s one of the reasons why I gravitated hard to the PC Engine—I felt like it was a way for me to finally experience stuff like that.

Valhalla is supposed to be a bartending simulator but in reality, mixing drinks is a bit of a break and distraction between the visual novel bits. Usually if you’re stuck in a futuristic landscape akin to Bubblegum Crisis or Blade Runner, you’re asked to investigate a mystery or explore it. But nope, you’re a bartender making drinks and making enough to scrape by and pay your rent. You hear a lot about the world from various clientele while you serve them drinks but you don’t necessarily have to do anything with the information they give you.

I worked as a medical administrator for a few years and over that time, I got to hear a lot of stories, meet some famous people (like been on TV people or youtubers or people who got paid to do things for celebrities), and just meet a lot of neat and interesting regular people. I got to hear stories about people’s health or their personal lives or witness people falling in or out of love. You don’t necessarily have to do anything with that information (in fact you can’t due to patient confidentiality), but the stories become sealed in your head. I can’t help but to think of some of these people I met for those few years or where they are now. I actually run into some of them at my current lab so I keep getting to see some of their stories. You eventually learn how quickly icebreak in situations like these to make people feel at ease or find a topic of conversation while they’re waiting. I even used my phone to gauge news because a lot of the time when I got home, I was too tired to do anything or getting news in the palm of my hand was incredibly easy to do.

In this sense, I understood Valhalla. It may look dull and it doesn’t look special but you’re the one who makes it so that it doesn’t have a dull moment in the bar. You’re the one who has to make it enjoyable even if your pay sucks. Because you don’t want to be miserable either. It’s through the conversations with others that you learn about Jill because she has to add commentary too. Everyone has a different way of requesting something and it’s up to you to figure out how to decipher it. It’s a lot of like practice in being in the service industry. You need to consistently gauge a conversation in order to actually give the client what they want to unlock more conversation.

The pacing in this game may be a little slow, but it doesn’t feel like a hindrance because the writing is really good. Something always happens to keep you interested or you have to mix drinks to keep yourself on your toes. The humour comes across well, and nothing really falls flat. Part of the reason why I feel like the writing is genuine is because the game’s developers wanted to write something that reflected how they live in Venezuela, akin to laughter in the middle of despair according to the developers. The writing is balanced well with the music and the visuals which makes the whole package a wonderful experience.

This game also has Rad Shiba so it belongs on the list by default.

El Shaddai: Ascension of the Metatron

I had gone to Catholic Schools all my life. I was even in a nursery school operated by nuns when I was a toddler, and they always tried to get me to write with my right hand instead of my left (which left me ambidextrous for some things lol). Because of my experiences with religion growing up, I absolutely had questions and doubts and concerns with metaphysics, theology, and epistemology. Every Catholic, I think, as they grow up and have to take religion classes, and having to take what the province mandates as metaphysics are somehow inserted into math and biology syllabi without even being mentioned in the coursework at all, questions it. And that’s okay. You should. The best religion and philosophy teacher I ever had growing up always said we should question everything we learn including what he taught us.

Going through school, though, and reading the Bible and having Bible study, my friends and I always sorta wondered what it’d be like if a game was made about this stuff? I know it may be a little sacrilegious but there are so many stories in there that would fit a game. Throughout my life, as I became acquainted with others from different branches of Christianity or other western religions, I talked with others who played games who… surprisingly had the same ideas and desires? It probably won’t ever be done. El Shaddai is inspired by the Book of Enoch and while it is considered as non-canon in most Christian and Jewish sects, I guess it might come close to what some of us wanted.

El Shaddai was a game that I picked up mostly because I bought almost every niche game back then. I just looked at some of the trailers, thought it looked just okay, and picked it up because I felt like Ignition was going out of business and it would be a novelty item. Ignition did not have the best reputation among the people I talked to back then. I played Lux-Pain whose localization left a lot to be desired. Nostalgia was a middling RPG. Arc Rise Fantasia’s localization left a lot to be desired despite being a good game. Deadly Premonition had an English dub already but the text localization wasn’t that great. I felt like El Shaddai was the most polished game that Ignition released. They got incredibly great voice actors, including Jason Isaacs. They developed a score attack combo ranking system for replayability. They had a fantastic art director and background art. They made two bishounen that screamed for female audiences to pay attention.

All of it didn’t exactly work out for the time the game came out, and I always contended that the game was released before its time. Unfortunately, all the effort put into El Shaddai didn’t exactly save Ignition. I feel like if El Shaddai were released in the later half of the decade, it would have been accepted. However, I also feel like its marketing was mishandled. It doesn’t feel like a Devil May Cry successor. It shifts between genres continuously. It is very much like Nier in this regard: it is not for everyone and it has its own unique feel that sets it apart from other games. It is also a score attack action game, not a hard character action game.

One thing I really enjoyed about El Shaddai was that all of the setpieces aren’t exactly the same. It ranges from a watercolour painting to abstraction to 2D children art to more abstraction to Final Fantasy VII and keep going like that. It references rhythm games, 2D Platformers, racing games, action games, Devil May Cry (with its own brand of Devil Trigger to boot), and other genres to create something that syncs up very well with the rest of the game due to lore reasons: different enemies prefer different things so that’s why each environment looks different or the gameplay styles may be a little different. I’m okay with this because it shakes things up per chapter and the game doesn’t feel stale at all. You’re expected to adjust to new mechanics per area.

The combat is a lot like Rock-Paper-Scissors, where certain weapons beat other weapons, or some bosses change which weapons they’re weak against (and the game gives you other weapons so you can adjust accordingly during fights). The weapon you wield also modify your platforming abilities (ex: one allows Enoch to dash, one weighs him down, etc), and they also vary in terms of character strength. In order to obtain G-rankings for each stage, the player needs to analyse which weapon would be the most useful for certain enemies and combo while guarding, guard-breaking, and stealing enemies’ weapons.

I am putting El Shaddai on this list because I really enjoyed it for what it was. It’s a brilliant score attack action game with a fantastic soundtrack and fantastic art design. It made for a pleasant sensory experience and made some religious figures fairly compelling with good character designs. It’s definitely one of the most rewarding and prettiest score attack games I’ve played this decade.

To the Moon

Everyone goes through life with regrets. I’m in my thirties now and I think I’ve done things I’ve regretted, or I didn’t other to do something and I’ve regretted that. Kan Gao was inspired by his grandfather’s illness when he was writing and making To the Moon, he’s noted that when he gets old and when his time would come, he might end up regretting some decision he’d made throughout his entire life. Everyone goes through that when faced with introspection. You can have the courage to love, you can feel pain, you can live your life fully, or not live it enough. To the Moon explores this, and while the writing isn’t the best and can be a little messy (this gets improved on in Gao’s later sequels to this game: A Bird Story and Finding Paradise), I understand what To the Moon was trying to accomplish. To the Moon is an exploration of everything that life throws at us, and the results of the decisions made throughout our lives that touches everyone and everything around us until our time passes.

Eventually you build up so many wishes and have a big bucket list but eventually there will come a time where you won’t remember why half of those things are on those lists. To the Moon relates the story of Johnny Wyles, an elderly man on his deathbed with one wish: to go to the moon. The problem is that he could not remember why. The general flow of Gao’s games have involved two scientists from Sigmund Corp, specialising in wish fulfillment at the end of someone’s life, creating memories for people in their final moments to generate comfort for the patient. How ever you may feel about the moral implications of generating false memories for someone prior to their end of life, this is merely a set up for traveling through time to understand what the patient had wanted and what they’d accomplished.

Johnny’s character revolves around another character with an ASD. I will also note that my brother has autism (compounded with a multisystem syndrome). While the central focus was on Asperger’s Syndrome (Tony Attwood books being mentioned in the game), I’m a little happy that ASDs are being brought up in games and the game truly hit home for me. The writing may not be stellar, but I felt that the theme of the impact of medical disorders was communicated well. Particularly the theme of why communication and connections with others is so difficult for those with ASDs and those who take care of those who have ASDs. It’s easy to sympathize with the characters trying to express what they mean to each other.

The game itself is relatively short. Regardless of its length, players must confront some uncomfortable situations and emotions that people struggle with daily or even at different points in our lives. I’m older now and I appreciate this game a little more since I’ve come to experience more of what the game had been trying to tell me a decade ago. The writing may not be the best, and it can be a little messy at times with respect to how it’s presented and written, but a lot of its messages come across as utterly genuine. Slowly unraveling the reasoning behind Johnny’s desire to go to the moon is beautiful. This game is quite human and I appreciate all three games that are a part of this subseries that came out this decade. I am looking forward to more.

Nier Gestalt

If you’ve played a Drakengard game or the first Nier game at all, you kind of know what you’re getting into. Not the best graphics of the decade, plays pretty janky, having bosses that can be difficult to manage, etc. So going into Nier Gestalt in 2010, I knew what I was getting into. Not a lot of people bothered playing this game since I don’t think it got as much promotion considering it came out during the same year a mainline Final Fantasy game got localized. Nier also got a little scrutiny since the west got a different protagonist from the Japanese version. I will say that this worked out in its favour, since the protagonist being one of the central character’s father versus her brother makes for a better, more interesting story than having yet another shounen protagonist.

I will support the case that, like the Drakengard games before it, Nier Gestalt was difficult to get into. The gameplay is jank. Easy is too easy. Normal doesn’t drop enough stuff to warrant playing on the mode. Hard can be a little hard but eventually it evens out. I generally used spears for the charge portion of the combo but in the end it doesn’t necessarily matter what weapon type you use. It doesn’t even matter if you use magic or not unless the game prompts you to do so. It’s either broken or not and the game doesn’t have a set balance for anything. Combos are boring and you’re essentially mashing a button. Even playing through the Nightmare DLC for extra drops, it continues being like this. I was used to playing shmups so it wasn’t necessarily revolutionary that AoE attacks looked as though they were spat out from a shmup either.

I wasn’t quite understanding why game started acquiring a cult following, because what I’d played of it was pretty boring and standard. “It’s just a regular ARPG starring an older character versus a young protagonist,” I said to myself. I guess that was the reason. I didn’t quite understand why, even past acquiring Kaine, because I guess I accepted that there weren’t a lot of NPCs and certain towns were the way they were due to, what I surmised were, RPG conventions. It wasn’t until I finished the questline for the brothers, where their mother tried to run away with a man and abandon her children, that I finally started to understand.

Within every substory, there was something that resonated with someone. I couldn’t fathom why someone would want to abandon their responsibilities, and at the same time I understood. Sometimes you just want to take care of yourself. With the way the older brother sort of understood why even through his anger and disappointment, it resonated with me. I finally ‘got’ the story, so I wanted to play more. This became one of those rare games where I played only for the story and lore and abandoned any hopes of the gameplay getting better. I fished, I upgraded weapons, I did enough sidequests for the trophies. I almost platinumed this game, but since the drop rates are so terrible for this game, I didn’t.

I started enjoying the game for what it was. It was genuinely a fun romp where it feels like everyone taking part in the game’s design contributed something unique and something they were fond of. If you read any interview from Emi Evans from this time period, you’d realise language is something she’s particularly fond of, so much of the composition and lyrical content of every song was a phoneme from any language that would make it sound like an evolved or a sort of Esperanto version of a current language. This came into play with the game’s lore, and many of the interviews were interesting to read from back then.

Many of the game’s stages borrowed from different genres of video games. There were the obvious shmup references, the rail shooter reference, the visual novel reference, the Resident Evil/fixed angle horror game reference, the Shadow of the Colossus references, the 2D platformer references, the Zelda references, the top-down puzzle game references, etc. For what the game lacked with respect to its combat, the game excelled at reliving genres and putting maps together in such a way that it felt like an ode to other games and genres that inspired it. The City of Façade’s language being a loose phoneme reconstruction of Japanese felt right at home with the dungeon’s Zelda references complete with Zelda fanfare for me. The Forest of Myth being one long visual novel was so hilarious and unique at the same time.

Playing more of the game and opening up the lore with every playthrough was neat. I don’t particularly like when games waste my time, but Nier made each new playthrough worth it. Killing bosses quickly for a trophy, redoing dungeons to see the enemies’ perspectives, and unlocking more of the story and learning more about the world that came from a Drakengard ending felt satisfying. As someone who was studying linguistics at the time, constructing nonsense words from drops out of different morphemes to act as accessories or armour was really amazing for me.

Much of Nier felt organically put together, from characters’ writing and what they wanted from each other, to the dungeon design, to maybe even the combat design… it felt like a truly special game made from the heart with as much lore as it could possibly include. I had purchased the Nightmare DLC primarily to get weapon drops and while it isn’t nearly as interesting as the rest of the game, it has some implications for the lore. The music and resulting soundscape lends so much to the worldbuilding and includes many peoples’ languages from the area with French, Japanese, English, German, etc phonemes thrown around to sound utterly organic and special.

At the end of this, I have come to realise that despite saying to myself that I never played this game for the game… I’ve been lying to myself this entire time. I actually did play the game for its game parts. Those are the bits I remember the most about it, and they’re the reasons why I genuinely loved the game. It’s unforgettable for me and it’s why it’s one of my favourites in general.

Final Fantasy XIV: Heavensward

I did not care about MMOs in my late 20s because I was far more focused on finishing school and actually working hard in my field. I think by the end of university, I barely played games because I literally didn’t have time for them. I probably stressed myself out a lot. I threw myself into a semester where I had what felt like 500 evaluations, had to study a lot, had to write papers, and I ended up breaking up with my ex-boyfriend amicably. I was on my own a lot and to be honest, I think I felt okay that way. I think maybe others thought I was unapproachable.

My best friend now turned fiancé had been begging me to start playing Final Fantasy XIV for a really long time, since he was in the beta prior to its 2.0 release. I made excuses and said I won’t play until a speedster class was implemented since nothing really stuck out at me. In reality, I was mostly busy. Well, Ninja got implemented late 2014, so I ran out of excuses. I got a copy of ARR but to be honest, I didn’t have time for it and I didn’t play it much so I didn’t bother to try harder since my focus was elsewhere.

Luckily, I got into a semester where I didn’t have that much coursework to think about so I ended up playing XIV more. I caught up during ARR and really my intention was to only play through ARR and finish the story and quit. But my fiancé’s friends were so nice and welcoming to me. When the servers shut down for Heavensward maintainance and I’d finished the ARR storyline literally that night, I made the conscious decision to buy Heavensward. By that time, I was falling a little too hard for my best friend and I really liked my newfound friends. I wasn’t ready to leave Eorzea yet.

Of course, I had some quests to finish up during Early Access so I didn’t get the opportunity to play with anyone I knew during the main storyline for Heavensward. Heavensward was leaps and bounds above anything I experienced in ARR. The story was well-written, the English voices were recast and given better direction, character deaths were meaningful, a smaller cast made for good character building, the environments were large and you could only assume things happened in each area eventually (they didn’t in the long run), each area was different, it reminded me of Canada… Heavensward made me feel at home.

Almost every job felt built on, since nothing was really truly culled. A lot of what you got felt like an extension of what you already did. The three new jobs didn’t start out too well or too balanced. Machinist was a mess. Astrologian felt weird. Dark Knight had some growing pains but probably performed the best out of the three once the Alexander raid was implemented given that its specialty at the time centered on magic defense. I was one of the five people who really liked bowmage since it required you to think before you cast but you still did a lot of damage if you thought before firing. I swapped to an omnihealer main officially halfway through the patches because my fiancé requested it.

Heavensward had a lot of growing pains. For all the team did for the base game, they took a six-month vacation to recharge. 3.1 wasn’t really worth the wait and a lot of people quit the game or stopped playing because nothing really meaningful was added to the game other than a faceroll raid, poorly-tuned exploration missions, and two dungeons. Gordias earlier in the expansion nearly killed the raiding community as a whole. 3.2 didn’t fare too much better, though it did add the best raid tier that has yet to be topped. 3.3 was when FFXIV solidified itself as an MMO with a grand story to tell, with one of the best conclusions a Final Fantasy game had seen in almost a decade. The sound design was near-perfect for this patch, and it was when a lot of us genuinely felt comfortable with the game and its future. Heavensward wasn’t perfect; it still had its missteps and balancing issues, but it was the most comfortable and profoundly skilled I’d ever felt with the game.

Final Fantasy XIV may not be what it used to be. I feel old and I feel like I’ve played the game for a really long time. Now while it’s riding the wave of success, currently having the best story Final Fantasy has seen in a very long time, I can’t help but to remember Heavensward when we finally felt assured about the game and it felt like a cohesive gift to players who were active at that time. I got to know so many people during Heavensward, and now I’m engaged to my best friend partially due to our experiences together playing at that time.

Undertale

The late half of 2015 was a really bad year for me. The first half was really great. I started playing FFXIV often, I finished the hardest year I’ve ever had of my 9 years of university so far with high grades and was going full-on hard into my residency year, I fell in love with my best friend. I was pretty happy since I finally felt very successful.

If anyone can recall (or this may be new to the person who is reading this), towards the end of 2015 my dad was falsely accused by our neighbour of possession of a weapon (it was a gardening tool), and he had a restraining order put against him so he couldn’t live with us anymore. My little brother is severely disabled so that’s why I still lived at home so I could help out. Without my dad around, it was so much harder. I came home from my days at the hospital every day after a 12-hour day, had to babysit my brother since my mom still cooked food to carry for my dad who had to live at my aunt’s, somehow had to find time to study for my licensing exam and do some work for school and my thesis, had to find time to socialise a tiny bit otherwise I’d go crazy, maybe had to take my brother to his appointments by coming home a little early, and then had to find whatever time I had left to sleep. I stopped posting on message boards because I literally had no time to do so and I wouldn’t have anything of value to contribute to discussions either.

I detached myself from a lot of people. It was actually kind of lonely. It was really hard. I lashed out at people when I shouldn’t have. I don’t look back on those days other than the bright spots with fondness at all.

Before that, everyone was telling me to play Undertale but I sort of didn’t want to? I felt like the fanbase was sort of making the game unapproachable around the time it came out. By the end of the year, I was so out of the loop about games that I didn’t give a hoot. A friend of mine, Shadow Hog, bought the game for me on Steam. I still have the e-mail message for it.

My now-fiancé got his own copy so we could play it together because at that point I didn’t want to do much of anything alone. I was actually sinking deeper into depression and verging on a mental breakdown. I was not mentally sound and every single week it felt like someone had to save me from doing something stupid.

I started Undertale and I didn’t really think much of it at the start. I can’t remember when it started clicking with me but maybe it was around the time I got into a battle with Tsunderplane and Vulkin and got to Hotland that I gave up and started having fun with it because it was just… silly. It was time to let down your hair and have some fun for once and not feel completely guilty about it.

The idea of having to win and achieving a certain ending by sparing your enemy isn’t necessarily new – SMT’s demon negotiation, Silent Hill 2’s morality system, and MGS3’s fight with the Sorrow have some sort of sparing mechanic. The hybrid of a turn-based battle system with enemy negotiation, as well as dodge system inspired by a shmup makes every encounter both strategic (ie: having to avoid bullets while also sparing enemies in a set order per battle) and consistently active. Unless you are going for a certain other ending, you cannot just sit there and hold down the attack button and expect to win. That said, this makes a lot of encounters a little longer than a standard RPG battle, but the flavour text for each uniquely-designed enemy makes many of the battle worth it. Undertale isn’t a hard game unless you’re playing on a certain route. But I don’t necessarily think the gameplay part of Undertale speaks properly for it. The dungeon maps are relatively simple. They all have their little gimmicks. The battle system is relatively easy to understand.

The reason why Undertale has such a prolific fanbase is primarily because of its character writing and ability to make and use memes properly enough that they catch on. Many of the characters are easily encountered early, are easy to draw (propels a lot of fanart), and understand due to the character writing. What also helps is that the game is 4-6 hours long, and it came out at the right time with the right kind of word of mouth. Undertale could have easily fallen into the sea like so many other RPGs before it but it didn’t. My fiancé and I were shopping for work clothes one day at a store that sells business clothing, construction clothing, and scrubs. He was wearing a shirt with the Delta Rune on it since he loves game shirts that are relatively subtle. Even then, one of the sales clerks pointed it out and was pretty excited to see it. It was pretty crazy to both of us how popular Undertale had gotten. I don’t think the popularity was unwarranted. I think it’s a fantastic game, helped by a considerably lengthy varied and catchy soundtrack. Granted, I was not as exposed to how explosive its popularity was when it came out. But I understood why so many people liked it. It wasn’t for its gameplay.

As I progressed through Undertale, instead of thinking of the lore (which was well-written), I was thinking of how the monsters treated your character with respect and love because you treated them that way. They didn’t go out of their way to fear you, and welcomed you as one of their own. In the end, they were hesitant to even kill you, and you were hesitant to kill them. Even then you still had the spare/save commands.

At the very end, you only had the Save command.

And that’s how I felt. When Hopes and Dreams started playing, I couldn’t help but to cry. When I was repeatedly nudged to press the Save command, I didn’t actually feel like the game nudged me to do so. That was something I wanted to do. Just remembering how depressed I was when I started playing this game and then progressing to its true end with Hopes and Dreams and SAVE the World playing, I couldn’t help but to feel like my hopes and dreams were still alive.

Even if I was going through a really hard time in my life, hope was still there as long as I had people around me that supported me all the way through. That was the time in my life that I realised who my real friends were. And in the end, I felt like Undertale told me my friends saved me and that my dreams weren’t crushed, now matter what threw at me.

And that’s why it’s my game of the decade. It may not be the most perfect game that came out this decade or the objectively best-crafted, but it did so much for me. When I was prompted for my game of the decade, Undertale was the first thing that popped into my head. I didn’t question it. I just knew. I don’t think we’ll get another Undertale again in my lifetime, but I’m glad to say that I gave it a shot and I love it for what it is.

#games of the decade #gotd

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cruddyborderlandstheories · 5 years

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“i had a dream about the Borderlands are Yours trailer last night for like the 7th time so i guess i ought to do the analysis before i have a breakdown”

find the trailer here

~discussion of the cloth map spoilers occurs in here, but nothing else. if you’re worried about those spoilers do not read~

non-spoiler tl;dr: we discuss why rhys’s head implant is yellow instead of blue in this one particular scene and also go thru a bunch of theories as to what tf is up with Zer0. and some other stuff about giant space lasers

so the intro is pretty much the same as the we are mayhem trailer so we’re gonna ignore that since we figured out where sanc-iii was

pretty sure this scene has been shown already too, in the official announce trailer, i remember taking note of the pink shots

another cov camp on pandora (see elpis in the back). ive said it before and ill say it again i adore amara’s as animations

seen this a bajillion times as well

from we are mayhem near the end. also im still lowkey convinced that robot directly to the right of moze is jakobs. i know i’m probably wrong but... i want to believe. it reminds me of a cowboy

The Are. this is directly below Sanc-III (u can see the wall in the background)

eden-6!!! im interested in the signs in the back there

Prison, Reliance, Jakobs Estate, and... amoe kyuri??? wtf does this say?? idek.

This A Way (glad to know Claptrap will haunt us from beyond Sanc-III)

im interested in the Prison. i wonder if that’s any of those concrete structures/buildings we’ve been seeing across eden-6. i was under the assumption those were like testing facilities, but a prison would also make a whole hell of a lot of sense.

actually

given this sign here over the bridge to the left of the above shot

and the fact we see this concrete structure on the far left in this coming shot

that might actually make some lick of sense...

also can i just say i love the aesthetic of this supply line

so there’s a lot of shots here we’ve already seen and gone over multiple times, im not going to do that again. sorry but... eh.

maliwan = cultists confirmed

i mean if the cult-themed t-shirts being maliwan colored didn’t already cue us in on that, this definitely should lol

and speaking of this shot, i wonder if this has anything to do with Rhys’s building? the one his office would be in. it looks like there are multiple levels to the right of this robo

ah maliwan working with the cult why am i not surprised

rhys gets fucking annihilated (TM)

in all honesty... given this quest name

“Space-Laser Tag” and the subsequent quest “Atlas, At Last” makes me honestly think rhys is about to seriously get fucked up

which sucks. i like rhys. we’ll talk more about this in a second, but i don’t think its coincidence the VHs have come up to the asteroid belt to stop the giant space laser and thus are not on Promethea where the laser is going to hit

better look at this shot, that definitely looks like a rampager to me. i get it, i think. gearbox is hyping up this rampager fight to be super awesome, show it in all the promotional material, have a kickass fight with it, then the twins come in and steal the kill from you. they steal the satisfaction from getting to kill this super hyped-up vault monster.

im picking up what you’re putting down, GB.

did not realize fl4k actually snaps. how the heck do they do that?? gotta be hard with metal caps as their fingers tbh

404 space station not found

we’re back on the asteroid

... why this gun shoot tentacles :|

this is art

wheres his head going

i was so distracted by the razor blade status effect (??? zeroes??) i didn’t notice the giant-ass A on this banner

OwO what’s this for

~A~

also this which... looks like it could be an amara skill. maybe the one that releases elemental projectiles after an enemy is damaged? feel like we would’ve seen that one already tho.

thinking of this one, im pretty sure we should’ve seen this in one of the many, many gameplay videos (im so jealous) already available.

so if it is, baller, if it’s not, im not too surprised.

it does also seem to be targeting the double cause its shield becomes visible after being hit

i thiiink this is eden-6? in which case it may be that facility tina, brick, and mordy are in (the windows). which may, in retrospect, be that prison we’ve been hearing about

cool angle of the HBC. im pretty sure we’ve seen this shot before, too.

before we get to the actual best part of this scene

this looks very Athenas-like. possibly eridian? although the lights are throwing me off. i suppose the order or someone from the order could’ve built these structures... but what for??

heheheh

also this fucker has those rocks growing out of his head, too

the ones from the alien guns

somewhere outside the RC

back at it again in the space station

also this maliwan thing looks so fucking cool

duuuude looks like the cult got their hands on more than just maliwan hoverwheels, check out that dropship on the left!!! looking cool asf

the cars are STUNNING

holy shit this skin is amazing

very siren-esque

we’ve gone over this clip already but given now that we know the maliwan base thing is on the asteroid, it’s fitting to re-address it i think

a look at one of the metal bois (that im still convinced are jakobs lol)

i love the way this thing looks

the portal seems to be giving off the same blue sparkles we’ve seen on pandora

these

[edit] we also see them in the newest new trailer as Sanc-III zooms off into space. which is interesting.

dunno wtf that means, but yeah. they exist

probably some weird eridian/other dimension shit.

more eden-6

goliath looking amazing. not red and is wearing a helmet, so that’s interesting

looks like a part of the space station

biggggg hallway. im honestly loving how huge these maps seem to be

geniviv! i love her boss fight sooo fucking much.

honestly looks like so much fun

more c a r s

this fucker

probably eridian

i mean it seems to be absorbing the pink-ish energy from the moving stones so i assume its got some sort of link going on

also comparing the mask and arm bit to what we’ve seen rhys hand us on promethea

this thing???

but yellow instead of pink

u kno all this

then again it does sorta ruin the eridian tech so maybe... it’s not lol

honestly my other guess is this is part of that ‘experimental forest’ we’ve seen signs for during the eden-6 demo. dunno why it’s destroying the eridian ruins tho. maybe those pink b e a m s are hurting it? entirely possible. some sorta... life succ ability like Tyreen.

but i don’t think it’s coincidence this thing has shown up right on top of some Eridian ruins/buildings/whatever. the leftmost part though looks like it could be human technology, which is weird. maybe some weird sort of mish mash. human tech that trees/plants grew onto and eridian ruins accidentally powered up. iunno man. im tiored.

rhys’s implant is glowing orange/yellow-ish which is very new

this is from the dev trailer (not glowing at all in the darkness)

from the promethea twitter trailer

and honestly that’s pretty wild to me because in tftbl rhys’s implant glows blue

shown when he’s in the vault next to fiona

in bl3 during the We Are Mayhem trailer while using his ECHO eye

oh also since i just noticed

from the promethea demo

this scene

also from the promethea demo

they’re missing their monomolecular edge!

we’ll get back to zer0 in a secco

anyway you know who else’s head implant glows?

im not saying katagawa is replacing rhys because their implants are on opposite sides of their heads, but i am saying Katagawa WANTS Rhys in Maliwan and... well, Rhys’s forehead implant isn’t glowing yellow in any other shot we see of him

idk gamers i just think its sus

also rhys is holding onto that thing we see him handing to us in the Promethea trailer

this thing?? you know?

the eridian thingie majig

tho these look like two different areas... unless there’s like a very drastic wall change between angles (which there may be- these fans look identical)

which makes sense that Maliwan would want it (for the big laser thing maybe?? since we know they’re going for activating said laser)

... but honestly i get the feeling this is in some way related to... after the laser. especially since we know that that eridian thingie matches up with this one on pandora

in which case... wtf is the laser for? it definitely looks like its destroying stuff on the surface...

rhys also seems to have knowledge about the eden-6 vault key since he projects it during the dev trailer

me thinks someone got h a c k e r o n i e d

alright galaxy brain theory time:

rhys gets hacked by maliwan not only bc they want a merger, but also because he has info on the vaults/giant space laser, forces zer0 to be maliwan branded now since atlas is joining maliwan, zer0 finds out rhys is not willingly joining maliwan and is instead under maliwan control and tries to forcibly take the key away from him, we stop zer0 and save rhys from both the assassin and maliwan control

🤷‍♂️

Alright but in all seriousness there’s only 2 ways this can go

1. that’s actually our zer0

2. that’s actually not our zer0

and there’s a lot of theories running around about that and i guess we ought to address them

so for 1 there’s a few possibilities:

1. zer0 is a robo/cyborg and got hacked by maliwan (i personally don’t like this one bc i don’t want to know what zer0 actually is. it is a ~m y s t e r y~)

2. zer0 got paid more money to eliminate rhys and is doing so

3. zer0 decided killing their boss would be the ultimate challenge and thus decided to try it out... by joining maliwan

4. they’re faking rhys’s death and/or zer0 is infiltrating maliwan

5. zer0 got the brainwashed/their bodysuit got hacked (i would be interested to see if the monomolecular edge tech caused them to get captured or smth. i mean if there’s a tracker on it, then zer0′s decepti0n wouldn’t exactly work cuz they turn invisible... but they’d still be seen)

6. rhys got the brainwashed/hacked and zer0 is attacking him to get the eridian thingie/key/relic/whatever back

personally i’m curious how they’d play off 1-3 given Zer0 and Rhys are both shown on sanc-iii and zer0 even has crew challenges

im saying idk if the crimson raiders would appreciate zer0 attacking/trying to kill an ally without very good reason.

which is why i’d imagine 4-6 are the more reasonable answers?

also given the explosion of Promethea (what we’re assuming is Promethea) is green and also the laser we see maliwan controlling is purple, i wonder if that’s some brainwashing juice instead of... other stuff. cuz like.

this is elpis’s giant space laser. very radiant and like... ribbon-y? and has all that blue stuff and orbs and mm.

THIS is Promethea’s very solid and has circles and just. looks straight up like a death laser.

and yeah again it could be modified by that human-looking (?) tech around it to be like a brainwashing b e a m or something

or just more precise. that too.

and honestly idk if this could destroy a planet like how we see the planet (that we are assuming is promethea bc of the asteroid belt) in the sanc-iii article

it’s a solid ‘yeah that’s more likely than my theory’. might take a lot of time tho. or maybe those energy rings power it up or deal more damage when they hit the planet...

oh also given Tina literally says “WE blowing up this whole mother humpa”

and the reason im questioning the human-looking tech around it is because

typhon and leda 100% noticed something here. i guess if it was altered by humans after typhon and leda found it then that would make sense?

we’ve also got this from the tree guy, so i don’t know for certain.

anyway number 2

(2. that’s actually not our zer0)

i love these ones

1. that’s 0ne (zer0′s assassin’s assassin from the son of crawmerax dlc)

2. maliwan made a/hired a copy of zer0 and it’s easy to copy their voice/way of speech bc of the modulator (that’s just a fake implanted into atlas to steal all their secrets)

and all of these have the idea that the real zer0 shows up to save rhys at the end of this scene (explaining the blue light)

this

i personally disagree on that being zer0′s sword. tbh it looks more like a maliwan weapon or a laser or smth to me. that said it could be a weird effect because they’re in decepti0n or smth.

most of these theories have the idea that the real zer0 is either off with Fiona or Lorelei or just off on their own and only show up later. i wouldn’t even be surprised, given their line at the end of Tales. you know the one where they diss rhys like “i was talking to her” lol

so i don’t really have much to add to these. personally i believe that’s our zer0 up there, but i wouldn’t be shocked if something happened with the monomolecular edge that allowed maliwan to create a copy of zer0. or brainwash/control them. whichever.

i do like the reintegration of 0ne into the story, that’d be a hilarious call-back, but i worry it’d be too obscure (a side quest in a headhunter dlc) for the majority of players. we’ll see

it’s weird if brainwashing or mind controlling thru the maliwan tech is the case bc the monomolecular edge isn’t present on their maliwan sword. or their future sanc-iii sword (but that part DOES make sense bc why would they keep that).

(alright also so i just took a bunch of nyquil cuz im sick as a dog so if this devolves into incoherent rambling im so sorry)

ah aurelia

i love her to bits but i don’t trust her because i mean... she worked alongside Nisha and Wilhelm and Alistair dislikes her. there’s like a 50-50 shot she’ll become evil

i would not be surprised if this is a boss fight (door looks frozen over on the left there) but also i would not be surprised if she’s helping us fight off waves of enemies given it looks like we’re in the jakobs manor

like i said 50-50

her attack does make the camera wiggle a bit, usually that happens if the attack injures the player viewing it (with the hud off) cuz it will give a stagger effect

so take that with a grain of salt. also we don’t see aurelia on sanc-iii when hammerlock and wainwright are both there in the group shot in the launch trailer

this fucker i already talked about a bunch in my reddit post on the eridium subject so im going to link that here. i might have already spoken about it on here tbh... i can’t remember lol

anyway here’s the copy and paste from there to here

you can see a huge Tink with Eridium growing out of his head and what look to be Eridium horns. And he's being elementally charged from an Eridian floor tile (in one of those temples, probably the Pandoran one but it could be Athenas, I guess). Kind of like how Bloodwing (also bigger) becomes elementally charged by Jack using element-throwers to change her element. i know it's a cultist tink because on his right shoulder (our left) he has those glow-y pink/purple tubes that are on the CoV guns and other cultists (like goliaths). and while i'm not sure if this is solely Eridian stuff (since they're in a temple) or because of the twins, it's definitely something that should be talked about.

wait no yeah i did talk about this because of the athenas post. i just remembered lol

uhhh whoops. double dipping i guess lol sorry

still not sure if this is Pandora or Athenas. kind leaning towards Pandora atm

i like how this guy is able to make a cryo wall thing

he goes to smash it but we don’t get to see what happens cuz it cuts to another rampager

dishing out corrosive/radiation (??) attacks while someone shoots it with a fire weapon

this bamf which i KNOW i discussed in that athenas post

also something i haven’t noted is that his roar seems to be activating something here, like a spiral light of dooooom. also more blue sparkles. maybe summoning an assist? or a debuff/attack aoe.

there is also this weird light near its legs that moves with the camera and sorta reminds me of the weird real-life face talky siren thing. you know the one

very curious as to what this is cause i haven’t seen it in any other scene with a rampager in it. maybe some sort of connection to the spiral/whirlwind thing it’s making?

oh wow im tired now lol

well bl3 is fully downloaded on my computer gamers, so we can officially say it’s happening!!!

#borderlands spoilers #spoilers #borderlands #bl3 #borderlands 3

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