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citowon · 3 years

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spring troupe and gender neutral s/o watch horror movies

about time i finally write for this blog... i was hit with the image of masumi watching a horror movie with his s/o, thought how lovely it would be if there was content of that, then realized i have that power now

word count: 1,935

tags: established relationship, non-detailed mentions of horror themes (gore, monsters, etc)

sakuya sakuma

🌸 when the topic of a horror movie date first comes up, he’s a bit scared. he’s only seen a couple, one of which was for mankai play research.

🌸 when it’s actually showing, though, he’s pretty calm! the anticipation was the worst part, and he somehow doesn’t get scared even during the most terrifying movie of the year. he’s great at reminding himself it’s just fictional in the end

🌸 vampires? not scary. aliens? he thinks they’re cute! gore? well, yeah, it’s unnerving at first but it’s all fake, and once he reminds himself of that he’s fine

🌸 he gets scared at the littlest things though. there might be a continuity error where a knife is in its holder on the counter in one shot and then removed the next, and no one in the movie acknowledges it nor is it supposed to mean anything but he can and will psych himself out thinking about just what moved it

🌸 king of predicting plot twists! he might be very good at spotting continuity errors, but he’s even better at picking out little bits of foreshadowing and putting together the mystery

🌸 gets spooked the most by jumpscares. every time he squeaks a bit (on really bad ones he might scream) and every time he always does the same embarrassed sigh afterwards and goes to squeeze your hand to calm himself

🌸 psychological horror is definitely the best pick for sakuya. he thinks a lot about what’ll happen next in the movie and loves to discuss about movies with you regardless of the genre, so with thought-provoking psychological films it fits him like a glove

🌸 and hey, if things ever get too intense he loves b-list horror movies! he thinks the bad acting is endearing and always finds something to compliment even with the trashiest, corniest flick

🌸 if you ever get uncomfortable, he might commentate in the movie and try to poke fun at it- i mean, the killer clown is kind of funny! look how bright and colorful it is compared to the rest of the set! he keeps his voice light and sunny so you have something comforting to concentrate on

masumi usui

🎧 he loves the idea of horror night. cuddling with you, holding you protectively as the suspense rises, stealing kisses to distract you from the monster and erase your fear...

🎧 he’s only seen a few horror movies in his life, less than the fingers he has on one hand, but whatever. it’s a movie. it’s not real. if he got too immersed he could just tell himself it’s fake and be done with it.

🎧 spoiler alert: he didn’t.

🎧 masumi did not, and i repeat, did NOT expect to get so invested??? even if you’re scared, he’s definitely the most terrified

🎧 that’s not to say he’ll show it. he’s doing everything to keep a neutral face, and you’ll probably assume he’s holding to you tighter during the scary parts like he’s protecting you.

🎧 (it’s actually because you’re the one [1] thing grounding him. you’re protecting him, not the other way around! in hindsight, he likes being cared for even when he thought he’d be the one spoiling you, not the other way around. he just wishes it didn’t have to be during such a scary movie, that’s all)

🎧 will take his fear to the grave... unless you ask him directly about it. please hold him and tell him the monsters aren’t real, even though he’s a heavy sleeper he will stay up until 3 am, his mind reminding him how creepy the movie was every time he’s about to drift off

🎧 so does not fuck with ghosts, if he didn’t believe in them before he certainly does now. the poor guy looks up how to ward away spirits and ends up carrying around a salt packet on him for the next two weeks

tsuzuru minagi

📖 tsuzuru’s not exactly a horror fan. he claims it’s brainless and pointless

📖 (admittedly he’s a little scared of them, but he still thinks they’re dependent on shock alone, and have zero rewatch value since the writing is more focused on in-the-moment spooks than actual plot.)

📖 he’ll roll his eyes and tease you a little but eventually he’ll go along with watching a horror movie

📖 to psych himself out of his fear tsuzuru decides to watch them critically and note what plot points to do (or more likely not to do) for future plays

📖 this works out for the beginning but by the middle of the movie he’s enraptured. he can’t tell if it’s actually good or if it’s a car wreck he can’t help but watch

📖 does the corny move where he yawns and wraps an arm around you, and you’d almost buy it from his earlier cynicism but then the killer shows their face and he tenses up like hell and you just know

📖 gets embarrassed every time he’s scared- he even turns pink, and gets even redder if you try to hold his hand or cuddle him closer (even though there’s nothing he’d want more after something that creepy)

📖 by the end he’s got a few new ideas that might go to autumn or winter troupe’s latest plays, and admits okay, fine, maybe horror isn’t so pointless after all

itaru chigasaki

🎮 screw movies, you’re playing horror games instead!

🎮 most of itaru’s horror games are single-player, so one of you takes the controller while the other sits next to the player, but itaru’ll drape his arms around you from behind in a back hug the entire time you play

🎮 he doesn’t really shut up. the entire time, he’s either cracking a joke or trying to freak you out more, if only so he doesn’t get in his head and overthink the creepy atmosphere

🎮 asshole only quiets down when the game gets tense, and then suddenly puts his hands around your shoulders or neck to scare you. regardless if you fall for it or not, he always laughs at himself and just-so-happens to break the tension as a scary cutscene plays

🎮 still commentates when he’s the player, but gasps or jumps even at small atmospheric scares

🎮 itaru definitely overthinks the game. he gets super cautious over tiny details and makes the missions way harder than they should be since he keeps overestimating the enemy line of sight and how noisy the avatar is

🎮 if you happen to be playing a co-op horror it’s a constant “no u” battle over who should do the scariest tasks

🎮 “reader, we need to cleanse the room next. you should do it” “no, you should do it. you have the quartz item remember” “i can give it to you since you have the ghost ward” “the ghost ward doesn’t apply to this quest, besides, you’re better at this ghost attack quick time event than me” “no it does, and you’re more optimized” “i can just give the items to you-“ “no you should do it” “no you” “no you” “no you” “no y-”

🎮 you both lose

citron

🍋 citron loves horror movies! he thinks they’re... comforting?

🍋 turns out he’s only seen movies about cursed dolls and b-horror, which explains a lot- he loves dolls too much to be scared by them and he thinks b-list horror is hilarious- but he’ll still proudly proclaim he’s unflappable and swear to protect you from the bad guys

🍋 when you’re actually watching the movie you can’t tell if he’s faking his reactions or not. he’s very noisy

🍋 he gets scared enough during the gruesome and horrific scenes to hold you close and tight like a teddy bear, and during the worst of it he might muffle a scream by diving into the crook of your neck, obscuring his vision until the scene changes

🍋 and yet, he laughs at the next scene’s unrealism, and manages to poke enough fun at the movie that you giggle and his terror disappears, he loves your laugh way more than he can be afraid of monsters

🍋 can’t do gore for the life of him, but when it comes to the actual plot, he’s rather critical of characters acting dumb. he catches on to nonsensical writing quick, but usually asks you to clarify the plot holes before realizing that he found a loophole in the writing

🍋 whenever you’re scared and not even his goofy reactions and commentary can help, he plants a sweet kiss on your cheek, strokes your hair, and holds you close to his chest until the fear goes away. he’s surprisingly good at protecting you from the movie

🍋 after the movie he’ll say his country has a similar legend to the movie monsters, but he claims the legends are true in zafra, and zafrans have a very specific tradition to prevent the monsters from attacking them

🍋 the movie also gave citron the idea of creepily standing behind you silently until you turn around and get startled, or occasionally chanting in a strange, cultish language and pretending he didn’t say a thing, or making a doll with the same markings as the clown puppet from the movie...

🍋 citron continues to be even scarier than the actual horror movie, but can’t wait until the next horror night! maybe watching it was a bad idea after all...

chikage utsuki

🌙 chikage just doesn’t get the appeal of horror. it’s just a fake movie, why do people get so creeped out by terrible sfx and unrealistic monsters?

🌙 he’s seen scarier things than any werewolf pack, zombie outbreak, or witch coven can throw at him. if you insist on watching a scary movie, fine, he’ll be happy to let you sit on his lap, just don’t expect to creep him out as well, or else you’ll be sorely disappointed.

🌙 he analyzes the movie more than he watches it, but doesn’t speak up even though the fight scenes look pitiful. if this were real life, he’d sweep the whole brood of shambling monstrosities in record time and be back home in time for izumi’s curry

🌙 chikage runs his hands under your shirt whenever the monster’s on screen to scare you. it’s actually really creepy- his fingers are light and quick and always makes you flinch, even if you know it’s just your boyfriend

🌙 he’ll listen to your thoughts about the movie, but doesn’t have strong opinions himself. he thinks the scares are mediocre at best, even without considering his background, but won’t mention how unrealistic it was unless you mention it first.

🌙 psychological horror, however, is a whole different story

🌙 maybe chikage can’t get scared by generic spirit halloween monsters but once you introduce thought-provoking plot, questions and dilemmas, now he’s hooked

🌙 he really likes wondering if the protagonist is actually the good guy and making theories about the origins of the monsters and why they’re so destructive, even if he forgets about them once the movie’s over.

🌙 love love looooves the “the monsters were harmless creatures before humans dished out the first blow” trope. he knows how common it is, but there’s a lot of ways to go about it, especially on a subtextual level, and he just can’t get enough

🌙 the deeper the plot is, expect a longer conversation about the ins and outs of it. they get surprisingly thoughtful and introspective, even if chikage throws in a few bullshit stories related to the movie just to watch you squirm

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world-of-puppets · 3 years

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Puppetry Lost Media

In honour of reaching 50 followers last week (now 55 followers, as of writing this) I decided to cover two subjects of great interest to me: puppetry (of course) and lost media.

Everybody online loves a good old bit of lost media. Whether it be being a part of the many searches for the media in question, or watching documentaries about them on sites like YouTube. I’ve been mildly addicted to the latter kind of content for a while. From what I’ve seen, though, there aren’t many videos or articles out there specifically covering lost puppetry. So, in no particular order, here are a couple of pieces of lost puppetry I found while scrolling through the lost media wiki.

銀河少年隊 - Ginga shounen-tai AKA Galaxy Boy Troop (1963 - 1965)

Osamu Tezuka is one of the most pioneering figures in Japanese art and animation. Starting as a manga artist in the 1940s inspired by the animated works of American studios such as Walt Disney and the Fliecer Brothers, he adapted and simplified many of the stylistic techniques of both artists to create his own signature style of big shiny eyes, physics defying hair and limited animation. A style that would go on to heavily influence the world of anime and manga as a whole.

But animation and graphic art were not the only mediums Tezuka would dabble in. Ginga Shounen-Tai, or Galaxy Boy Troop in english, was a television series that aired on the public broadcast channel NHK from April 7th, 1963 to April 1st, 1965. Running for 2 seasons with a total of 92 episodes.

The series was a mixture of marionette characters that utilised the Supermarionation marionette technique, popularised by Jerry Anderson’s Thunderbirds, and limited traditional animation. The story revolves around a child genius named Roy who leads a rag-tag group of heros around the galaxy in a rocket ship in order to revive the earth’s sun and later protect it from alien invaders.

Out of the 92 episodes that aired, only episode 67 still exists in its entirety with French subtitles, and the full episode can be found on YouTube with English subtitles uploaded by user Rare TezukaVids. According to user F-Man on the Tezuka in English forums, footage of episode 28 exists but with no audio, and episode 87’s animated segments exist without the marionette segments. F-Man also claims the reason for Galaxy Boy Troop’s disappearance is due to Tezuka not being proud of the series and having all episodes of it destroyed.

Personally, I think it’s a shame that pretty much all of this series is gone. From what I’ve seen in episode 67, it looks really charming. Tezuka’s signature character design style was adapted suprisingly well to marionettes, and the puppetry itself isn’t that bad either. I love the little face mechanisms like the blinking eyes, flapping mouths and others. It gives the puppets a lot of personality and charm. Like, just look at this old mans eyebrow mechanism and tell me you wouldn’t want to watch 92 episodes of this show;

Tinseltown (2007)

Tinseltown was a 15 minute sitcom pilot created by the Jim Henson company under thier Henson Alternative banner. The pilot was commissioned by the Logo Network and aired as part of the Alien Boot Camp programming block in 2007.

The pilot (and likely the series, had it been picked up by the logo network) features a cast of both puppets and live actors as characters. The premise revolves around Samson Kight, an anthropomorphic bull preformed by Brian Henson and drew Massey, and his partner Bobby Vegan, an anthropomorphic pig prefomed by Bill Barretta and Michelan Sisti, as they attempt to balance thier lives working in Hollywood with life as parents to thier sullen 12-year-old foster son, Foster, played by Paul Butcher. Other human characters included Mia Sara as Samson’s ex-wife Lena and Francesco Quinn as the family’s manservant Arturo.

The Tinseltown pilot used to be available on the Logo Network’s YouTube channel, but was later removed for unknown reason. Since then, the pilot has not been made available online. However the characters Samson and Bobby have made appearances in other Henson related works, such as the improv stage show Stuffed and Unstrung, where they played the role as the shows producers, and in a 2011 video on the Jim Henson Company YouTube channel celebrating Jim Hensons 75th birthday.

I find Tinseltown pretty interesting as I feel like it should be more noateable or known, considering that this is (as far as my knowledge goes) the first Jim Henson Company project featureing openly lgbtq characters as its leads, and would have been the first Henson show to do so had it been picked up. As someone who’s interested in lgbtq+ representation in creative media such as animation, I realised that there’s not many examples of canon lgbt characters in puppetry. The only ones aside from Samson and Bobby I could think off the top of my head would be Deet’s Dads from The Dark Crystal: Age of Resistance and Rod from Avenue Q. Though, obviously, there could be more I’m not currently aware of. I don’t think the Tinseltown pilot was a masterpiece or anything. After all, there’s probably a couple of good reasons Logo didn’t pick it up for a full series. But I think it be cool if either Henson co. or Logo made this available online again, if just so we could appericate it as an interesting little footnote in the history of lgbtq rep in puppetry.

With that said, considering the pilot’s obscurity and the fact that it’s main couple haven’t been used in any Henson Related projects in almost ten years, as well as the possibility that there may be legalities preventing the Henson company from releasing it such as Logo still owning the rights, it’s unlikely we’ll see the Tinseltown pilot anytime soon.

Sonic Live in Sydney (1997 - 2000)

Sonic the Hedgehog is a fictional character no stranger to multiple interpretations of him and his universe across a diverse range of media. From the more light-hearted and comedic stylings of The Adventures of Sonic the Hedgehog and Cartoon Networks Sonic Boom cartoon series, to more serious faire such as the Sonic SatAM cartoon and the Sonic Adventure videogame duology. One of the more obscure and stranger adaptations of the character came in the form of Sonic Live in Sydney, a one an a half hour live show hosted at the former Sega World Sydney amusement park in Darling Harbor, Sydney, Australia. Originally beginning as a live show with actors in meet-and-greet style costumes, the show eventually was replaced with a puppet show during its last two years.

The shows plot was set in an alternate timeline whos continuity was a mix of the SatAM cartoon and Sonic the Hedgehog 3, where Doctor Robotnik’s Death Egg crash lands in Sydney, Australia instead of Angel Island and attempts to take over before being foiled by sonic and friends. According to Phillip Einfeld of Phillip Einfeld Puppetoons, the company that made the puppets, Sega felt the costumed actor version of the show wasn’t dynamic enough, and wished to replace it with a version featuring live puppets with animatronics. Both versions of the shows plot are identical.

While Sonic Live in Sydney’s soundtrack is available on YouTube, and some photos of the show are available on the Lost Media Wiki, no footage of either the costumed actors version or the puppet show version have resurfaced. The show was closed down in 1999, possibly due to cost, shortly before the Sega World park as a whole in 2000. So unless there is someone out there who viseted the show between 1998 or 1999 who recorded the show via a handheld camera, footage of both incarnations of the show are likely forever lost to time.

On a personal note, I don’t have much to say on this one other than how gloriously peek gaudy 90s Sonic the set/puppet design is. I have no doubt finding footage of these puppets in action would truly be a silly delight to behold...

Legend of Mary (year unknown)

This one is a little different from the other entries on this list as while the film itself in its entiraty is available on YouTube for anyone to view, the information surrounding Legend of Mary, specifically its year of release, remains a mystery as of writing this.

I have mentioned the film before on this blog so I’ll keep it brief here: in summary, Legend of Mary is a short film retelling of the Nativity featuring the Rod puppets of Austrian puppeteer Richard Teschner. the video was uploaded to YouTube by user canada 150 archive. I looked up the people credited in the film and was able to find most of them, but didn’t find Legend of Mary listed in thier credits, and was unable to find the film on sites like IMDB, tMDB or Letterboxd. I reached out to Canada 150 archive asking if they had any info regarding the Legend of Mary’s release date, and after a coupe of months, they replied saying they didn’t know.

And that’s as far as I got on my search for answers, if anyone of you guys has any information regarding Legend of Mary, then it be of huge help in finding the release date.

Sam and friends (1955 - 1961)

Sam and friends was the very first puppetry television series created by Jim Henson alongside his colabarator and future wife Jane Nebel. filmed in Washington, D.C. and airing twice daily on WRC-TV and the NBC affiliate in Washington, D.C. from May 9, 1955, to December 15, Sam and Friends would mark the first apperence of Kermit (though not yet as a frog) and paved the way for Henson’s iconic and revered legacy in the realm of puppetry on film and television.

With the impact this show had in mind, it may come as a shock to some that almost half of Sam and Friends, specifically, 42 of the 86 episodes, are considered lost. With 16 existing, 8 documented, 9 known from memory, plus 8 existing Esskay commercials and 1 memory-known Esskay commercial. Some taped episodes have been shown at venues such as the museum of the moving image while others have been erased. It’s unknown if copies of these erased episodes still exist.

This post would become far to long if I were too list every episode missing from Sam and Freinds, but if your curious, the lost media wiki article has a comprehensive list of all lost episodes.

Annnd that about it for this post. This type of content is pretty different from the stuff I usually post. So I’m egar to see what you guys think about it. If you enjoyed this article, want to see more like it or have ideas for what puppetry-related topics I should cover in the future. And again, thank you all so much for helping me reach 55 followers. Your support really does mean a lot to me, and I hope you enjoyed this as a follower milestone gift.

Anyways, hope you enjoyed this dip into lost puppetry, and have a happy holiday season!

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selfshipinfo · 4 years

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Frequently Asked Questions

How many F/Os can I have?

As many as you want! Some people gain new F/Os almost every day (like myself) while others only have one F/O that they focus on. Have as many F/Os as you want, in whatever categories you want! Go ham, live your life, cringe culture is dead and we’re dancing the YMCA on its grave.

Can I have multiple romantic F/Os from the same source?

Absolutely! There’s nothing wrong with that!

How do I handle having multiple romantic F/Os from the same source?

There are a couple options for that. One would be having a poly ship with them, where you would date all/multiple F/Os in the same universe. Another option would be to create different universes for each F/O. By this, I mean you would have a story/universe set where your self insert is dating one F/O, and then you would create another universe in which your self insert dates a different F/O.

Isn’t self shipping for kids?

Hell no it’s not. The most common reason for self shipping is to cope with issues such as mental illness, day to day life problems, physical disabilities, etc. Everybody needs a coping method.

Do I have to self ship to cope or can I ship for fun?

You can totally ship for fun!! It’s just a popular coping mechanism, but that doesn’t mean that’s why everyone does it. There are a ton of people that self ship just because they find it fun. And that’s super great!

Is self shipping healthy? How do I know if I’m being unhealthy about it?

Answering this is kinda tough, because overall, I would say yes, it’s very healthy, when done properly. It can be, and in almost all cases, usually is a very useful and effective coping method, but like all things, there are ways to overdo it.

If your self shipping begins to hurt you or anyone else, it’s usually best to take a step back. If you find that you become dependent on the praise an attention from others because of your ships, it’s time to step back. If you find yourself feeling more upset and down because of your ships instead of feeling happy to be in them, it’s important to reassess your situation.

Very important: If you find that you are lashing out at others or becoming hostile towards other people as a result of your self ships, TAKE A STEP BACK. Jealousy over F/Os is common, but the moment you lash out at someone else about it, you’ve taken it too far. Self shipping is inherently not meant to harm anyone, that’s the point. If you’re using your ships to hurt other people, you’re doing it wrong, end of story.

Is it wrong that I don’t like seeing other people ship with my romantic F/Os?

Not at all! Since self shipping is a very personal thing, many people tend to feel uncomfortable seeing other people that self ship with their romantic F/Os. It’s important to put this information somewhere on your profile to let people know whether you’re comfortable sharing or not. If needed, always feel free to block blogs and tags so you won’t see those ships. Self ship is your safe space, make it to your liking.

As stated before, the one thing that is NOT okay is harassing someone because of your self ships. One of the most unhealthy things one can do is to attack other shippers that ship with their romantic F/Os. Stay in your lane, please, and respect other shippers. They love that character too. They have feelings too. We’re all people, just block and move on, please.

I ship canon characters with my own original characters that I don’t consider to be me. Am I part of the community?

I personally say yes! It might be best to specify that you ship canon x OC and not canon x self insert, as there is a difference, but you’re absolutely welcome in the community! We’re both communities battling cringe culture and saying fuck canon, and that’s very powerful. If you don’t personally feel the same towards the canon characters as your OCs do then a lot of the content put out by others might not resonate with you, but there are plenty of people that ship OC x canon rather than specifically self ship!

I want to F/O a character, but they’re from a strange/childish/obscure/etc. source. Can I still F/O them?

ABSOLUTELY YOU CAN. Self shipping is for YOU and YOU ALONE. This community has source materials of all kinds! Some people F/O popular anime characters, others F/O characters from book series they enjoy, other people F/O characters from cartoons they watched as kids. The possibilities are endless! It doesn’t matter how “strange” you might think your F/O will come off as. And obscure characters are so much fun to F/O! You’ll be supported, and anyone who doesn’t support you for having “weird” and/or obscure F/Os is an ass. :D

I don’t feel any need for relationships in real life, but I enjoy dating fictional characters./I am not attracted to (gender identity) in real life but I am attracted to fictional characters of this identity. Is that okay?

Totally! This is a whole different world. You don’t have to want t date someone like your F/O in real life in order to be a valid self shipper. Some people decide to change their orientation of their self inserts to match their relationships with characters. And in fact, there is a portion of people that identify as fictosexual, which as far as Im aware, is on the aroace spectrum and means you feel attraction to fictional characters! I’m not too well versed in the whole thing, but it’s out there. 😊 No matter what your orientation is in real life, it doesn’t have to match the orientation or desire for relationships of your self inserts.

I want to join the community! What should I do?

First of all, YAY! That’s great! We’d love to have you!! Second of all, this one kinda needed a whole post, so go ahead and check out the Getting Started post for answers!!

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gamearamamegathons · 3 years

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Megami Tensei II: Devil Bustin' Makes Me Feel Good

Circe here! After an exhausting trip through Majin Tensei, we're going back to the main series with Megami Tensei II. Now here's the thing, there's two versions of this game: the NES original, and Kyuuyaku Megami Tensei, an SNES remake where the first two Megami Tensei games are bundled together. A fan translation of the SNES version exists, but the NES version has never been translated, officially or unofficially. So guess which version I decided to play! Ultimately, I figured that this would be good practice for eventually tackling the games that are exclusively in Japanese, which I'm going to want to tackle eventually, if only because they're among the most obscure and under-explored titles. It does mean that my grasp of what is going on might be a bit...looser than in other games, but hey. It's an experiment.

Megami Tensei II takes place in post-apocalyptic Tokyo, after a nuclear war. We're just an ordinary person living in an underground shelter, chilling with our friend and playing a video game. That's right, Megami Tensei II opens with a game within a game, known as Devil Buster. In the game, you play through a simplified recreation of the Tower of Daedalus from Megami Tensei, although this time we're navigating in a top-down perspective. Inside Devil Buster we get a chance to learn how to play and fight demons, which is pretty similar to how things work in Megami Tensei. Also like Megami Tensei, it unfortunately takes quite a bit of grinding before you can safely walk more than few steps into the dungeon.

From here, you can actually quit the game and wander around the shelter if you want. If you do, though, your friend urges you to defeat the Minotaur, and, not wanting to get confused by wandering off the intended path, I didn't bother poking around too much.

I think you're supposed to recruit some demons at this stage, but I found it easier to just go to the Minotaur and beat him down. He has much less HP this time around, so it wasn't all that tough. Also, I feel that I should note that this is the first game to feature the work of Kazuma Kaneko, whose demon designs have appeared across the series all through the present day. The original Minotaur had a pretty doofy design (which didn't make it into the blog, oops) so I think this is a considerable improvement.

Defeating the Minotaur frees Pazuzu, a real demon who had apparently been sealed inside the game, and who emerges from your computer into the real world. This is where things get exposition-heavy, and I should note here both that my understanding of the Japanese text is going to be a bit sketchy, and also that I don't want to focus too much on plot recap here. The upshot is that Pazuzu claims to be a messenger of God, and explains that the nuclear war tore open a portal to Hell, and you and your friends are the saviors who will rid the human world of demons. He gives you a demon-summoning program and sends you on your way, and by the way you don't have much choice because demons are invading the shelter now okay good luck have fun.

And that's where we leave off, having absorbed probably more plot than in the whole of Megami Tensei. Now, I haven't had much opportunity to do critical analysis of the games up till this point, being almost entirely devoid of plot as they are. But I want to take a moment here to pick at the interesting way that Megami Tensei II opens. It's not entirely unusual to have a game that features a recreation of an older game in the series as a sort of easter egg. I'm pretty sure that in one of the newer Doom games, you can have Doomguy go play the original Doom. I think the subtext here is pretty easy to understand: the old is subsumed by the new; Doomguy exists in a world so much bigger and richer that the original game could be played inside it. For something with a similar vibe, take the opening of Donkey Kong Country, which basically makes this idea explicit. We see Cranky Kong playing the original Donkey Kong theme on an old phonograph, and then Donkey Kong busts in playing a rock version on a boom box. It's not hard to interpret: that was the old shit, this is the new shit, it's way cooler and better.

What makes Megami Tensei II unusual is that the game it's comparing itself to is its immediate prequel, a game that was released three years ago on the same system. That game that you just played, it seems to say, is just a piece of fiction in this new world. Why would they take this approach? I think there are a couple reasons. For one, Megami Tensei II is a big leap forward in the series's storytelling. We're seeing ideas introduced that are going to shape the series in huge ways over the long term, much moreso than the simplistic dungeon crawler that Megami Tensei was. But remember also that Megami Tensei was based on a series of novels. Megami Tensei was already kind of a loose adaptation, and Megami Tensei II seems to be almost deliberate in its severing of what weak connection remained. No references to the protagonists Nakajima and Yumiko exist, and the game establishes that it's its own thing with its own identity. And I think that's important for what the series would eventually become, essentially a self-contained set of games with no reference back to its source material. Consider that by the time of Shin Megami Tensei, the game that one might consider the 'true' start of the series, the messy association with the original novels has already been cleanly cut away. This game, it feels, was made from the start to pave the way for greater things.

#circe #marathon #shin megami tensei #megami tensei II

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weirdmarioenemies · 5 years

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Name: Goomboss

Debut: Paper Mario

I actually had to do a double-take when I read that debut, myself! I knew Goomboss was in Mario Kart DS, and Super Mario 64 DS, but NOT that he was in Paper Mario! The only Paper Mario I’ve played continues to be the Super one... I gotta get on that and play some others! But what this means is that this is the truest example of an enemy that made its debut in Paper Mario appearing in the main series! (We were, unfortunately wrong about Tweesters being in Super Mario 64, and while Whacka and Dark Boo have appeared outside the Paper Mario series, they still only appeared in other spin-offs!)

When Goomboss appeared in Paper Mario, he was named the “Goomba King,” but we can all agree the name change was for the better. Goombas are usually the lowliest of all of Bowser’s minions, but even they can be strong, and there is no Goomba stronger than Goomboss! Goomboss, much like us, was only an ordinary Goomba once, but after being graced with the power of the Star Rod, he became a much bigger Goomba. A much stronger Goomba. A much more... mustached Goomba.

I feel like this is a GRAND GOOMBAS if we’ve ever seen one, and it seems Goomboss himself agrees, considering he calls himself “the grand poo-bah Goomba.” What a great thing to call yourself! I’d almost consider doing the same for myself, but then I’m not here to infringe on Goomboss’s copyright.

While Goomboss was not in the original Super Mario 64, he does appear in the DS remake, and you know what? It only feels fitting that he does. There’s the Whomp King, there’s King Bob-Omb, why not Goomboss as well? In this game, he summons smaller, Goomba minions, and you must throw them at him to defeat him. As Yoshi, you do this by eating them and throwing the eggs you get, and as anyone else, you do this by punching. If you’re playing as Mario, Luigi, or Wario, punching Goomboss directly will give you a Super Mushroom, and I mean, at that point, you know what to do! He’s a Goomba, and the crown on his head does not change that. Nor does the mustache, even if it rivals your own!

And since the DS games loved borrowing models from one another, we get a Goomboss fight in Mario Kart DS as well! Here you race him around Baby Park, where he slowly gets faster and larger, but he needs to stop for a second as he grows. However, he also puts Goombas all around the track, which can slip you up! Goomboss sure does love summoning Goombas.

According to Kammy Koopa, Goomboss is only a king because he begged her to make him one. You see? If you want to get something in life, all you gotta do is ask! It worked for me! That’s how I got to write for this blog! It’s funny, because a couple years ago, one of my ex-friends bugged me because I rambled on too long about my favorite obscure, fictional characters. (At the time it was Vanilluxe, who I still love so dearly!) But as it turns out, it wasn’t myself who was the problem, I was just talking to the wrong audience! Now there are over 5,500 people who tune into me rambling about all my favorite obscure, fictional characters on the daily, and they love it. And I encourage you all to do the same! If there’s something in life you love a whole awful lot, don’t hold back! Spread your love to everyone in the world! They deserve to hear you!

Though I guess you don’t want me to ramble on so much about my personal life as much as you want me to ramble on about Goomboss. So here’s another picture of Goomboss.

#goomboss #paper mario #mario #mario enemies #mod hooligon

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scyllua · 5 years

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While chap.203 hasn't stirred that much of a reaction in the Japanese fandom as the previous chapter did, it prompted many fans to emulate Sugimoto's art style. Nothing of this comes as a particular surprise, as the chapter serves as sort of a recap of the events from vol.14 (the Abashiri Prison assault)... and because Sugimoto's drawing talent would be on par with his sniping skills.

The highlights of this chapter have to do with the confirmation of the Russian sniper's identity and goals and the hint at Noda pursuing the plotline regarding the Partisans. It was rather obvious who that Russian sniper was from the very moment he (re)appeared in the manga, but given this is Golden Kamuy and the weird things that have already transpired in the plot made me think it's a very crazy Meiji era the one they are living in, I'd rather wait for the author's clear confirmation on ANY matter before taking anything for granted. Let us not forget that, for starters, I think most of us had already assumed our Russian sniper pretty dead. We can always speculate, however, and this chapter leaves enough room to reflect on a certain other sniper (this one, Japanese and now one-eyed) and how soon (or not) he could make it back to the plot.

I should work on my summaries so they aren't that long. In the meantime and to everyone who had the patience to read my previous chapter post: thank you very much and fear not, for I have no random movie comments to make here! There should be some fan comments, of course, and the usual warnings about mistakes and mistranslations apply as well. Onto the fun of two amateur artists sharing their Ogata fanarts then!

In short, as no further shots are made, Tsukishima believes Sugimoto got to the sniper and Asirpa runs off to meet him. Meanwhile, Sugimoto and the sniper -now confirmed to be Vasily- overcome the language barrier by using the latter's hand-drawn pictures to explain to each other the circumstances in which they crossed paths/met Ogata. Upon the arrival of the rest of the group and after Asirpa recognizes Vasily as probably one of the men who ambushed them in the frontier, Tsukishima explains to him Kiroranke is already dead and they don't know about the current whereabouts of Ogata, their only purpose in Karafuto being finding Asirpa and going back with her. As a rather annoyed Shiraishi complains to Vasily for shooting him, it's revealed he can't speak because of the shot wounds he sustained. As Sugimoto's group resumes their journey, Vasily keeps following them on horseback from a distance. They deduce he's now keen on meeting Ogata again and engaging in another snipers' duel, and that he's sticking around convinced the wildcat will eventually come after them. Questioned by Asirpa, Sugimoto says as long as they're still looking for the Ainu gold, there's always the possibility of Ogata coming back; as per his motivations, Sugimoto adds it might be that Ogata is simply messing with them as opposed to being after an actual goal. In their way back, the group visits Svetlana's parents to hand them a letter she wrote; even though Sugimoto would rather search for Sofia and find out the truth, he understands their primary purpose in Karafuto has been fulfilled already. The chapter ends with Sofia meeting Gansoku and Svetlana in a port city in Russian territory. After exchanging a few hits, Sofia invites Gansoku to come with her, but he turns down the offering, stating he'll travel west with Svetlana. Sofia then states she'll go to Hokkaidou in pursue of their hope... and revenge.

Ever wondered why streets are always so conveniently empty whenever there's a chasing or a shooting going on? I have, even if my question is probably answered in the same question already (because... they're so conveniently empty: easier to describe, draw or animate, and with a minimum of casualties, as well!) In any case, and even though our group seemed to be the only bystanders at the time the shooting began, there's now the usual traffic and activity you'd expect in a town street. In fact, a man in a sled is just walking down the street when, alerted by Koito and Tsukishima not to come that way or otherwise risk being shot, he good-naturally asked what the soldiers are doing. Tsukishima comments it seems as though Sugimoto has already done his magic, ie. he did what he's best at (hint: it isn't sniping or drawing, as we'll see in this chapter), and Asirpa runs off to meet him.

Here follows some good 4 pages of Sugimoto and Vasily proving the language barrier isn't an hindrance when it comes to relatively difficult tasks, such as explaining the events from vol.14 up to that point or how both of them have survived being shot in the head by the same sniper. It turns out Vasily has made enough drawings of Ogata to start his own Pixiv account -putting aside the fact that he's one century ago from that website being created-; actually, Vasily could begin posting full illustration logs, as he even took the care and time to draw the wildcat sporting different expressions, including one smiling. I'm suspecting he might have more study sketches of Ogata in the fiction than author Noda in the real world. This would pose a question for me: just how well could he see Ogata during their snipers' duel? In the extended passage as it was compiled in vol.17, they do spend many hours watching and studying each other... but let us not forget that Ogata's face was obscured in such a way, Vasily couldn't tell for sure where it was him or not. Well, following last chapter's caption at the end, I'm just going to assume here Vasily has nothing short of a photographic memory, sharpened to perfection through his sniping skills, and that he could commit to memory the features of a man he only seemed to have caught fleeting glimpses of partly because the wildcat is unforgettable. Being shot can arise that kind of reaction in people, after all. Going back to the chapter, and given the amount of Ogata portraits he has, Sugimoto asks him whether he's been requested to find him -bounty hunter-style, we may speculate-, but then Vasily uses some of his many (MANY) drawings to explain he went into a showdown with Ogata... and lost. This chapter's title could be translated as "portrait" (似顔絵, nigaoe), though its exact meaning would be more in the lines of a "drawn sketch/picture of a face". Why, yes, a portrait indeed, only that the term in Japanese suggests it isn't as precise as a taken photograph, but a close enough depiction.

I'm always making jokes and complaining about the cast in this manga being so prone to trust in others no matter what terms they might have been on in the past, but I have to admit that being able not to hold grudges, apart from preventing bitterness and anxiety in addition to other negative feelings, also helps greatly when it comes to pace the story forward. Remember how Sugimoto was about to kill Vasily in the best of Friday the 13th traditions (only that less bloody I might presume, given this is still a seinen manga and not a R-rated story), all of this happening in the previous chapter, 7 days ago in real time, 2 pages prior in the manga, like 10 seconds previously in the story's timeline? Well, let's put aside all that negativity for the sake of a couple of souls bonded by the same sniper (different bullet obviously, same rifle and all) sharing an artistic moment.

In addition to their fanboying over Ogata -for the wrong reasons, though, as they'd be both after the wildcat to settle some scores-, Sugimoto and Vasily manage to summarize the manga from vol.14 up to that point, using their respective drawings to explain to each other the events. "Explaining to each other" wouldn't be a wrong statement in this case because they do appear to be understanding the other quite well through the drawings, some gesturing, and the usefulness of somatic language, even though Vasily doesn't seem to know Japanese (as he's puzzled at Sugimoto's questions). When he produces drawings of Kiroranke, Shiraishi and Asirpa, Sugimoto explains to him the latter two aren't related to the Partisans: the bad guy here, no doubt about it, is Ogata, as he emphatically conveys by hitting his portrait with his fist. Now in quite the roll because Vasily is assimilating the ideas very fast (as he also hits Ogata's portrait), Sugimoto then explains he was also shot by the wildcat... and reveals his artistic sense might be on par with his sniping skills. ...and while I'll keep joking about his awful aiming until the day he finally manages to shoot anything down -as opposed to pummel or pierce it with his rifle or affixed bayonet-, I won't make much fun of his artistic capabilities because, I'm afraid, he might draw better than I. As I state in my blog's sidebar, I color manga panels partly because I can't draw a straight... or crooked... line for the love of it.

Sugimoto explains Ogata was in cahoots with Kiroranke -and as well as the readers, he doesn't how for how long-, shot him in the head in Abashiri Prison and then ran away taking Asirpa with him. Unlike their previous exchange, I can deduce Vasily didn't get a single word of any of it, as he mistakes Sugimoto's drawing of himself for a spider. And I must confess it took me some time to realize Sugimoto drew himself being shot: those tendril-like things sticking out of his head -that Vasily takes for a spider's legs, it seems- are meant to show the bullet's trajectory when impacting him. A parenthesis here: Let's just check Sugimoto's drawing of Ogata running away on horseback. I don't pretend to make fun of it, but I still find quite the noteworthy detail that he draws Ogata with an arrow sticking out of his right eye, and not sparing even the lock of hair that frames his face. Or at least, I'm assuming that's a lock of hair on Ogata's head. The caption Sugimoto writes in katakana reads, "Ogata escaped". That scene, may I add, has been a fan favorite -mine included- and a source of inspiration for many works in the Japanese fandom. Some speculative fanworks have to do with the circumstances Ogata runs away, and thus some fans have posed quite the questions, ranging from where he got that horse, to whether it didn't hurt too much to ride it in such conditions as, you might remember, he was wearing a hospital gown only and had no underwear to speak of. If you take a closer look at the panel, however, you'll notice Ogata is carrying a sack when he's riding away, implying he managed to gather his belongings and probably a couple more things for the road, and thus wouldn't be dying on us due to exposure or some painful horse riding to wherever it was he ran away .

Back to our amateur artists (because I'm assuming Vasily's main occupation revolves about being a sniper... with an eidetic memory for faces and some outstanding artistic talent as bonus) and resuming his recapping of the latter half of the manga and unabated by the debatable poor reception his drawing skills might be getting, Sugimoto explains Asirpa involuntarily shot an arrow that hit Ogata in the eye. Here comes a short passage -it's a single panel, in fact- that killed my Japanese pretty dead, so I wouldn't risk a translation of it... though I think, it seems to me, I could grasp that blah blah etc. etc., Sugimoto further and quite lively states Ogata's death would have "stained" Asirpa -meaning, would have dirtied her hands-, and thus he saved the wildcat because he'd do anything in his power to keep everything surrounding her pure for her sake. The actual word in Japanese he uses is 綺麗 (kirei), which you might know as meaning "cute" and "pretty", but it can also be understood in the sense of "clean", "pure" or "neat." Given Sugimoto literally uses 汚い (kitanai), "dirty", "unclean" or "foul" (used as a verb in this case) to describe how Ogata's death would have impacted Asirpa, I'm going with "pure" in my previous sentence. ...I'm aware my explanation of Sugimoto's statement makes it sound as though he's belittling saving Ogata, but I can reassure you that his lines are way more poetic and moving: it's just that my Japanese -and my English, come to that- is just that lacking, sorry about this! The scene is more moving because Asirpa arrives at the precise moment to hear Sugimoto's words, but he doesn't notice her.

The rest of the group arrives and cuts off Sugimoto and Vasily's artistically driven moment of plot exposition, though. And now, please allow me to state that God bless Tsukishima for being himself, acting as the sane man every story needs, accompanying the group in this journey, and knowing Russian, not in that particular order: I'm 100% convinced this manga wouldn't progress half as smoothly as it does weren't he around. And Tsurumi and Koito wouldn't be probably around either if he didn't have that presence of mind and swiftness of action, specifically when projectiles and explosions are involved. After Asirpa says she thinks Vasily was part of the group of men that ambushed them in the frontier, Tsukishima explains to him Kiroranke is already dead and Ogata ran away, his whereabouts unknown to them. Their only purpose in Karafuto was to find Asirpa and go back with her, he adds, and they have nothing to do with the Czar's assassination by the Partisans. Vasily says nothing in the metaphorical sense, as he keeps quiet and seems to accept the explanation. Now, and I've already written above, I've always complained about the GK cast for being this trusty and, let's say, think nothing of the repeated risk of a headshot by accepting in their ranks a traitorous character who left their previous party after shooting a couple people in the head, but I have to admit yet again the characters being this quick to understand, accept and come to terms with practically anything and everything does help move forward the plot. Very much so.

I wrote Vasily said nothing in the metaphorical sense because it's revealed -just as we were speculating- he can't speak due to the shot wounds he sustained during his duel with Ogata. Once outside, Shiraishi complains to him about shooting him; when our Escape King snaps whether he doesn't have anything to say or it's just that Russians don't know how to apologize (he literally asks whether there are no words for apologizing in Russian), Vasily shows him his face, prompting a reaction in Shiraishi that might make readers grateful we aren't shown the state of his lower face. Sugimoto comments at that moment he might not be able to speak due to those wounds. I was also wondering whether Vasily knew or at the very least could grasp a little Japanese. It seems to me he might not after all, as there are some panels throughout the chapter that show him with an interrogation mark -indicating he isn't understanding- when Sugimoto was talking to him. In the above panels as well, Tsukishima seems to be translating Shiraishi's complaints for him.

Just before the group resumes their journey, Shiraishi tells Vasily -in not so kind words- to go back to Russia, but he's shown to keep following them from a distance. Shiraishi ponders whether he doesn't believe Kiroranke is already dead, but Asirpa points out he used the back of Kiro's wanted poster to make some of his drawings, leading her to conclude he isn't interested in the latter anymore. As discussed by the our main protagonist trio, it seems Vasily is sticking to them under the belief they'll eventually cross paths with Ogata; as Sugimoto puts it, given he's still alive, he considers their snipers' duel to be not finished (I suppose a more poetic way to put it would be, "as long as he draws breath, he can keep fighting"). The immortal also thinks there's always the possibility of Ogata coming after them because of the Ainu gold, prompting Asirpa to wonder if that's actually his goal: let us not forget he showed quite the intent to kill her (chap.187) and thus, eliminate the one person who holds the key to solving the tattoo puzzle. A somewhat serious and pensive Sugimoto comments it might be that Ogata... is simply messing or toying around with them. Cue a full-page panel depicting a lynx (in Japanese, an ooyamaneko) crossing the path in the snowy forest. (I should point out I'm assuming it's a lynx because of its ears, making it very similar to the one shown in chap.169, vol.17.)

A not-so-random fan comment here: I always refer to Sugimoto as not being the sharpest knife in the drawer. Actually, I'd say he's the kind to smash the drawer against a wall and use the sharpest fragments of it to cut open whatever it is he might need cut, even if I'm compelled yet again to admit his approach, while not the most strategically planned, tends to work. But he also seems to be quite understanding of others in addition to his natural kindness, and it comes as not much of a surprise then that he could be the person with the better grasp at Ogata's personality. Or the only person who might have any grasp on it at all, in any case. I must say my opinion of Ogata's character pretty much coincides with that of Sugimoto as he stated it in chap.196 and now in this chapter: specifically, that Ogata doesn't have a particular motivation to act as he does (apart from being driven by the most negative and dangerous of his traits, of course). I think his character isn't meant to have any specific motivations or goals other than being chaotic for the sake of it; however, as Noda has given a background to every single recurrent and relevant character in the manga and spares no revelations for some of them no matter how far into the plot we might be (the most recent flashback regarding Koito's past should be an example), I can't discard the possibility of the author having in store some plot twist or equal revelation about Ogata.

Given Sofia is the only one who knows the truth now (I'm assuming here Sugimoto thinks Ogata might have sided with Kiroranke for a reason that lies with the Partisans' intentions), our immortal comments he'd liked to look for her. He's aware, though, that Tsukishima and Koito's mission was to find Asirpa and get back with her to Hokkaido, whereas Tanigaki joined in the entourage for the sake of the girl as well and thus, they should have no reason to pursue other ends at the time. They still stop by the lighthouse to hand Svetlana's letter to her parents, and just as the manga implies they won't be going after more subplots, Asirpa points out Sofia was planning to reunite with her comrades in the continent and then go back to Japan: she wouldn't just run away to Europe after everything that just happened.

Right in cue, Sofia meets Gansoku and Svetlana in a port town in Russia. Just as Gansoku seemed to be involved in yet another cathartic moment pummeling around men who can't put a dent on him, he's challenged by Sofia but refuses, stating he only fights other men. He's quick to change his mind and declare the world does have many surprises in store ("The world is so wide!") after Sofia not only punches him, but manages to get in quite the equal grounds with him. This yet again poses another question for me: given Gansoku is one of the toughest men in this story -in the strictest physical sense at the very least: we can't forget everything Nikaidou has gone through the manga, after all-, how come Sofia can beat him so badly? The obvious answer would be that Sofia happens to be just that tough -or the toughest woman of the Meiji era-, but since this is a Shueisha and a Jump-published manga, I also want to believe she might be using Haki to hit that hard. Just as Nami in One Piece, her blows manage to harm a man's heart and soul.

Before their fight can further escalate (but after Sofia has pulled off the almost obligatory Rip Open my Shirt scene, only that she isn't exactly wearing a shirt and the scene isn't that common when female characters are involved because of censorship), Svetlana intervenes and stops them, saying it'll be quite the problem for her if Sofia kills her bodyguard. Implying here she was at least sure of what the outcome of the fight would have been. The three of them have a talk then and Sofia invites Gansoku to join her, but he turns down the offer and explains both he and Svetlana intend to make their way to the west, to the cities where a larger population means a larger possibility to find stronger people (to beat the **** out of them in more cathartic instances, I'm presuming). As Svetlana asks Sofia where she's planning to go now, she replies that she's going to Hokkaido... for their hope and revenge.

I should note I'm not including any more panels of Sofia in this chapter because I'm assuming Tumblr would flag this entry otherwise. I was never told why they put my blog "under review" when I barely had any posts on it, so my best guess has to with an entry I wrote explaining about the terrorist groups that operated in my country. I made that post partly because to poke some fun at Sugimoto's wielding a hammer and a sickle in chap.145 (vol.15), and how that would have been merited a ban for this manga were some conservative Congressmen in my country to see the panels (the largest terrorist group operating in my country originally followed the Communist ideology). Well, as Sofia begins exchanging blows with Gansoku, she uncovers her torso and her breasts remain visible for the rest of the chapter, even when she's speaking with him and Svetlana in the freezing Russian landscape. Her breasts are so big, they cover part of the chapter's title in the last page... making me suspect Tumblr could flag this entry just because her nipples are equally big.

Some (more) fan comments on this chapter: The story is unfolding as I'd anticipated in a very broad way, as it seems Vasily will stick around with the group for at least some more chapters. While none has proposed an alliance, I don't think any will have any inconvenience cooperating with each other as long as their goals align: even if it's true Sugimoto's group isn't that elated at the possibility of meeting Ogata again, they're obviously expecting to cross paths with him in the future, and extra help is always welcomed. Specially if things come to a sniper against another sniper, I'd say: the manga is hinting at another confrontation between Vasily and Ogata. After all, Noda is a noteworthy narrator and all of his plot elements turn out to be relevant (even those related to food and cultural traditions which could have been seen at first as more trivia-informative to the reader than important to the plot), so I don't think he brought Vasily back to the story for no reason. Or just to show off Vasily's artistic talent, in any case, * ahem *. The plot would still have to take shape, but it seems to me all elements are aligning so that Noda can solve several pending subplots: Vasily's reappearance can tie up with the plot regarding the remaining member of the Partisans trio, Sofia, and also provides the proper scenario for Ogata to make it back to the story. It'd be a viable, solid and swift way to focus in the current open subplots before focusing on the main premise of the Ainu gold in Hokkaido.

I'd just speculate then about how soon the subplots would meet a resolution. I'm wondering whether we'll see the rest of this arc taking place in Karafuto, as Sugimoto's group has already made their way back to its southern region, whereas Sofia is in Russian soil, but making her way to Hokkaido. If Vasily doesn't have any trouble with following them to Hokkaido -given he's already in Japanese soil-, then I see no reason as to why the action might not unfold in the island that is the main stage of this manga, but I'm thinking this arc could wrap up while the group is still in Karafuto. We'd need to see at least one more chapter to see how things progress from this point on; unless Noda suddenly feels like jumping back to Hokkaido and showing us what Hijikata has been up to since vol.18 and whether Tsurumi reunited with his men already, with the arc “introduction“ over and the situation laid out to both the cast and the readers, chap.204 should serve as the starting point for the resolution of the current subplots.

My last fan comment of the entry has to do with Vasily. While I'm happy to see him back in the plot and sticking to the protagonist cast for the time being (and hoping he stays in the plot and with the cast for at least the remainder of this volume), his personality as shown in the current events has caught my attention. I wouldn't say he's that different or plain out-of-character in comparison to his first appearance in vol.17, but it's also true he now acts carefree enough as to join Sugimoto in a fanart-sharing moment, and is more emotional as opposed to his cool-headed demeanor during the ambush in the frontier. And adding to his minor hairstyle change, he also looks more youthful now, even if the only we get to see of his face are his eyes. We'd need to see more of him in upcoming chapters to have a better grasp at his character... but if you'd ask me, I'd say Noda has made some changes to his personality, or rather, is shaping his character in a different, though not drastic, way. Why? Well, it seems to me Vasily would fit our protagonist cast and all the weird things bound to happen in this convulsed Meiji era just fine and even better now; in comparison, the group he first appeared as part of acted colder, more focused and serious. Until we see more of him, I'm just going to assume Noda decided to give his character another direction because Tsukishima was plenty of a sane, serious man for the group. Any more sane men in the same group at the same time and I might begin doubting what happened to this manga.

#golden kamuy #fan talk

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mostlysignssomeportents · 5 years

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Independent Musician Explains Why Article 13 Will Be An Utter Disaster For Independent Artists

Mike Masnick/Techdirt:

A decade ago, when there were still people laughably insisting that the internet was the worst thing that ever happened to musicians, I kept pointing out examples of artists who were creatively embracing the internet to great success -- connecting with fans, building new business models, and succeeding. And every time I did that, people would complain that this example was an "exception" or an "anomaly." And, they had a habit of qualifying any success story -- even if the qualifications were contradictory. For example, if I highlighted an independent artist's success, people would say "well, that's just a small independent artist, they have nothing to lose, no big rock star could ever succeed that way." And then, when I'd highlight a big rock star having success embracing the internet, I'd be told "well, it's easy for him, he already had a huge following." It got so silly that back in 2008 one of our commenters coined "Masnick's Law" to describe this phenomenon:

Masnick's Law states that in any conversation about musicians doing something different to achieve fame and/or fortune someone will inevitably attempt to make the argument that "it only worked for them because they are big/small and it will never work for someone who is the opposite," no matter how much evidence to the contrary might be readily available.

In 2009, getting fed up with this, I wrote a long article detailing examples of a whole bunch of success stories of artists embracing the internet mixing in ones who were hugely famous with ones who were moderately successful and ones who were small independents... and someone complained in an email that these were all exceptions.

Over the past few years, I thought this kind of "exception" thinking had mostly died out, but it showed up again recently. We posted famed science fiction author Ken MacLeod's excellent opinion piece arguing that, even though he's a big supporter of copyright and against anyone pirating his books, he's absolutely against the EU's plans for Article 11 and Article 13 in the EU Copyright Directive. The key line: "Far greater than my interest in copyright is my interest in a free and open internet – or, failing that, in keeping the internet as free and open as it is now."

And, in the comments... Masnick's Law reared its ugly head again:

Straw-man argument, since he has a big publisher to both pay him and defend his property rights. He's not an indie who markets his own work on the internet and has to fight mass piracy on his own. He doesn't need copyright protection when he has distribution sending his fans to pay for his work (while the same fans might pirate the indies).

He is the one who wants big publishers to continue to dominate and profit, while the indies want direct access to the public and the elimination of the middleman that is this man's meal ticket.

Of course, that's nonsense. That comment is based on the idea that you need to "fight" mass piracy, rather than looking for ways to build a successful business model that involves connecting with your true fans.

And, of course, the impact on independent artists will be even more serious than those signed to big publishers/labels/studios/etc. Indeed, Ken's own Twitter feed pointed me to an independent musician in the UK, Stephen Blythe, who has written about why Article 13 will make life worse for him as an independent musician. After detailing his situation as a musician, he explains that if you want to get your music out there, so that you can build a fanbase, you need to get your music onto the "most popular music" sites. And to do that you have to use a special third party:

If an independent artist wants to get their music out there into the world, to the most popular music sharing sites, they need to use some kind of recognised distributor – as direct submissions are either impossible, or extremely restricted. A pile of these have sprung up, including Amuse, RouteNote, DistroKid, etc. Some charge a subscription fee per year, some take a cut of any revenue generated, and some of them don’t even have a website – operating just from an app. The concept is simple: You send your music to them, and they distribute it digitally to the various partners. One of these partners is YouTube.

But it turns out that those services, as part of their "value add" will "enforce copyright" for you:

What isn’t made clear by these distribution networks is that by submitting your music to YouTube, you essentially give the distributor a licence to enforce your copyright on the platform using the ContentID system. This automatically detects any music uploaded along with a YouTube video (including short clips), and flags it up as unauthorised. To many this might sound great. Stop people stealing your stuff!

The problem of course is that there is very often no way to denote authorised uses or channels with these common distribution services.

He then details two separate scenarios of artists being harmed by this kind of "enforcement" including one that happened directly to himself:

An artist (A) is asked by a fellow musician (B) if they would be interested in a collaboration. The process is simple: B will supply A with some vocal samples that A can then chop up and use however they wish. A gladly accepts, and comes up with a whole electronic composition that brings the vocals to life. B loves the track, and asks if they can use it on their upcoming DIY release. A agrees. B’s friend runs a small label who agrees to put out the album, and they use a distribution service which sends the album to all the major partners automatically – including YouTube’s ContentID system. A few years later, A is producing short video blogs and decides to use one of their old tracks as background music. It gets flagged up as a copyright violation automatically, which A disputes – but the appeal is rejected by the distributor, who has no knowledge of how the track came about in the first place.

He then explains that in a world where everything involves a massive ContentID-like filter, you create a terrible situation for independent musicians, who are at the mercy of much larger companies with no flexibility:

Independent musicians are at the mercy of a system which locks them out from negotiating their own contracts without major label backing, and they therefore have to rely on gatekeepers which provide an inadequate level of information and control over their own music.

Artists who are starting out lack the information required in order to make informed decisions about their interaction with such services, and can inadvertently give away their ability to exploit their creations commercially due to how the systems are constructed.

The ContentID approach to copyright enforcement gives huge clout to the first entity to register a piece of work within their system – which is rarely going to be the artist themselves.

This model has no room for the ad-hoc, informal, and varying ways in which independent musicians create and share their works online.

Or, in short:

The current ContentID system works on a first-come, first-served basis. It puts huge power in the hands of intermediary distribution services which do not provide a service that can ever give artists the amount of control over their licenses they would require to fully exploit their creations. The nature of the beast means that informal collaborations between like-minded folks can unexpectedly tie up their creative expression years down the road. Article 13 will only expand these systems, which will inevitably be less sophisticated on other platforms than ContentID. Independent artists lose the ability to share their work even further.

I'd argue it goes much further than that. First, the major record labels see everything stated in the paragraph above as a benefit of Article 13. Giving huge power to the middlemen gatekeepers puts them back in the position they were in year's ago, where they get to decide who gets distribution and who doesn't. That system created a world in which musicians had to hand over their copyright and nearly all of the revenue generated from their works in exchange for a pittance of an advance (which was really just a loan). So, putting more gatekeeper power back in their hands is the goal here.

Second, and even more concerning, is that Article 13 is premised on only the largest platforms being able to comply -- meaning that there will be less competition on the platform side and fewer and fewer places for independent artists to distribute their work, should they wish to do so. That gives them fewer options and less ability to build a fanbase, unless they get plucked out of obscurity by a giant gatekeeper (again, going back to the way things were a couple decades ago).

Now, I'm sure that someone will pop into the comments and point out that this example doesn't count because it's just a "small, independent artist," and that his concerns don't matter to "real" artists (meaning major label ones), but, haven't we played that game long enough?

https://www.techdirt.com/articles/20190124/22555441466/independent-musician-explains-why-article-13-will-be-utter-disaster-independent-artists.shtml

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intergalactic-zoo · 5 years

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Today we're tackling the most recent version of Superman's origin, as told in Superman Year One. Creative Team: Frank Miller, John Romita, Jr., Danny Miki, and Alex Sinclair. All-Star Summary: Doomed planet. Terrified parents. Last hope. Mesmerized farmer.

Key Elements: As the planet Krypton explodes, a scientist and his wife place their young son in a rocket and launch him into space. He lands on Earth and is found by Jonathan Kent, who brings him home to his wife Martha, and they adopt him. From the start, he has a dense body and superhuman abilities, and these grow as he gets older. He begins using his powers to punish bullies, but learns quickly that his actions sometimes have unintended consequences. When he saves Lana Lang from an attack, he reveals his powers to her and takes her for a flight. He uses his abilities to excel in sports, to Pa's dismay. He decides he needs to leave and see the world. Ma uses the super-durable blankets from his ship to make him a garment.

Interesting Deviations: Baby Kal is old enough to be standing and walking when he arrives on Earth. Jonathan Kent is alone when he finds Kal. It's heavily implied that Kal has some kind of psychic ability, and that he uses it to influence Jonathan to take him home. The Smallville High team is the Wolves here, which is an interesting choice. I don't think that one's been done before. They were the Crows on the "Smallville" TV series and the Spartans in "Man of Steel" as a nod to the director.

Additional Commentary: I know it's probably cliché to criticize Miller's overwrought narration, but it's laid on pretty thick here, switching from baby Kal's perspective to third-person narration of various degrees of omniscience on a page-by-page basis. Ma and Pa Kent talk like a very stereotypical, old-timey kind of farmer.

It's pretty clear that Frank Miller doesn't know what age high school freshmen are, since both the class and the kids are written as though they're in elementary school (when they're not being written as bizarrely anachronistic old men).

Later we see that Clark and Lana are conversant in Plato and Aristotle and Freud and Jung, none of whom are commonly read in high school courses. We know that Clark uses his abilities to speed-read, but it's Lana who brings up the topic. Also, I would have killed for a forty-five minute lunch period.

It's nice to see Clark being friends with a bunch of outcasts and misfits, though it would be nicer if Lana were part of the friend circle, since she's introduced as being somehow connected with Clark, but we don't actually see them interacting until considerably later, as a prelude to...well, to the unpleasantness that really didn't need to happen. I appreciate having thought balloons here, but it's a really strange lettering choice not to make them into the typical scalloped thought balloon shape. And this is John Workman on letters!

And all the sound effects in this comic look like this, which is...a choice, for sure.

Speaking of strange choices: green oatmeal?

It's also a strange choice for Clark Kent to be reading Doc Savage. I suppose there hasn't been a clear indication of when this story is taking place, but there's no time I'm aware of when both goths and 1930s pulp fiction were commonplace. It's one of many places where this book feels adrift in time, not contemporary enough to feel like a modern retelling, not classic enough to feel like a period piece. I could have done without Clark Kent peeing, but I guess this is a Black Label book, so. The bit of this that got the most pre-release controversy is the idea that Clark would join the military (here, the Navy). Jonathan is surprised that he's decided not to go to college, but Martha expresses quite reasonably a fear of his prodigious power being turned toward war. That's still contrasted with Clark's glee at seeing an F-35 flying overhead—complete with a "Look! Up in the sky!" caption—when he arrives on base.

The F-35 is an interesting choice to compare so directly with Superman, one originally intended to be the super-powerful champion of the oppressed, the other a bloated, ineffectual example of government waste and the military industrial complex run amok. As with the Superman in the military angle, it'll be interesting to see how much of this is intentional commentary and how much...isn't. As a bit of a final thought here, people were (justifiably) skeptical of this book before it was released. Frank Miller hasn't exactly had a great track record for the last (checks watch) eighteen years or so, and "the origin of Superman" is such well-worn territory that some chuckleheads have dedicated whole blog series to examining it. Heck, we just had a problematic dude writing a new, modernized exploration of Superman's origins four years ago. When the previews showed Clark joining the military, it's no surprise that there was some backlash. Awareness of the problems with the military—in how it's used, how its members are treated, and how it uses pop culture and superhero media as a recruitment tool—is at a high point in the last couple of decades, and people were uncertain how the guy who wrote Holy Terror was going to handle that relatively sensitive topic. And one issue in, we still don't really have an idea. There's a definite "recruitment commercial" feel to the last few pages of the book, but Martha's vocalization of a lot of fans' fears gives me some hope that it won't all be rah-rah jingoism. As to the rest of the book? I'm interested to see where it goes as a fan of the character, but there's just...not a lot here. From the writing to the art to the letters and coloring, everything about this book feels phoned in. Miller and Romita in particular feel like they're parodies of themselves, and if you'd told me that this was lettered by someone brand new to the industry and not the legend who put words to Simonson's Thor run, I'd believe you. For the "definitive origin of Superman," this just kind of...exists. What's interesting isn't new, and what's new isn't interesting.

The Rocket: We don't get a really clear glimpse of it, but what we see is nonsense.

Not only does it look like a knockoff of some landspeeder from The Phantom Menace, but it looks an awful lot like it should be large enough to hold more than a baby. It's implied that there's some kind of on-board AI teaching Clark along the way, as in "Superman: The Motion Picture," but the overwrought narration and constant perspective-shifts obscure whether that's intended to be the case. Not a fan. One exploding Krypton for this rocket.

#IFTTT #Blogger #TheFortressOfSoliloquy

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maximelebled · 5 years

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Growing Pains - Zelda, Tony Hawk, The Sims, games and related memories from my formative years

This blog post is about my personal history with video games, how they influenced me growing up, how they sometimes helped me, and more or less an excuse to write about associated memories with them.

This is a very straightforward intro, because I’ve had this post sitting as a draft for ages, trying to glue all of it cohesively, but I’m not a very good writer, so I never really succeeded. Some of these paragraphs date back at least one year.

And I figured I should write about a lot of this as long as I still remember clearly, or not too inaccurately. Because I know that I don’t remember my earliest ever memory. I only remember how I remember it. So I might as well help my future self here, and give myself a good memento.

Anyway, the post is a kilometer long, so it’ll be under this cut.

My family got a Windows 95 computer when I was 3 years old. While I don’t remember this personally, I’m told that one of the first things I ever did with it was mess up with the BIOS settings so badly that dad’s computer-expert friend had to be invited to repair it. (He stayed for dinner as a thank you.)

It was that off-white plastic tower, it had a turbo button, and even a 4X CD reader! Wow! And the CRT monitor must have been... I don’t remember what it was, actually. But I do once remember launching a game at a stupidly high resolution: 1280x1024! And despite being a top-down 2D strategy, it ran VERY slowly. Its video card was an ATI Rage. I had no idea what that really meant that at the time, but I do recall that detail nonetheless.

Along with legitimately purchased games, the list of which I can remember:

Tubular Worlds

Descent II

Alone in the Dark I & III

Lost Eden

Formula One (not sure which game exactly)

Heart of Darkness

(and of course the famous Adibou/Adi series of educational games)

... we also had what I realize today were cracked/pirated games, from the work-friend that had set up the family computer. I remember the following:

Age of Empires I (not sure about that one, I think it might have been from a legitimate “Microsoft Plus!” disc)

Nightmare Creatures (yep, there was a PC port of that game)

Earthworm Jim (but without any music)

The Fifth Element

Moto Racer II

There are a few other memorable games, which were memorable in most aspects, except their name. I just cannot remember their name. And believe me, I have looked. Too bad! Anyway, in this list, I can point out a couple games that made a big mark on me.

First, the Alone in the Dark trilogy. It took me a long time to beat them. I still remember the morning I beat the third game. I think it was in 2001 or 2002.

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There was a specific death in it which gave me nightmares for a week. You shrink yourself to fit through a crack in a wall, but it’s possible to let a timer run out—or fall down a hole—and this terrifying thing happens (16:03). I remember sometimes struggling to run the game for no reason; something about DOS Extended Memory being too small.

I really like the low-poly flat-shaded 3D + hand-drawn 2D style of the game, and it’d be really cool to see something like that pop up again. After the 8-bit/16-bit trend, there’s now more and more games paying tribute to rough PS1-style 3D, so maybe this will happen? Maybe I’ll have to do it myself? Who knows!

Second, Lost Eden gave me a taste for adventure and good music, and outlandish fantasy universes. Here’s the intro to the game:

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A lot of the game is very evocative, especially its gorgeous soundtrack, and you spend a lot of time trekking through somewhat empty renders of landscapes. Despite being very rough early pre-rendered 3D, those places were an incredible journey in my young eyes. If you have some time, I suggest either playing the game (it’s available on Steam) or watching / skimmering through this “longplay” video. Here are some of my personal highlights: 25:35, 38:05, 52:15 (love that landscape), 1:17:20, 1:20:20 (another landscape burned in my neurons), 2:12:10, 2:55:30, 3:01:18. (spoiler warning)

But let’s go a couple years back. Ever since my youngest years, I was very intrigued by creation. I filled entire pocket-sized notebooks with writing—sometimes attempts at fiction, sometimes daily logs like the weather reports from the newspaper, sometimes really bad attempts at drawing. I also filled entire audio tapes over and over and OVER with “fake shows” that my sister and I would act out. The only thing that survived is this picture of 3-year-old me with the tape player/recorder.

It also turns out that the tape recorder AND the shelf have both survived.

(I don’t know if it still works.)

On Wednesday afternoons (school was off) and on the week-ends, I often got to play on the family computer, most of the time with my older brother, who’s the one who introduced me to... well... all of it, really. (Looking back on the games he bought, I can say he had very good tastes.)

Moto Racer II came with a track editor. It was simple but pretty cool to play around with. You just had to make the track path and elevation; all the scenery was generated by the game. You could draw impossible tracks that overlapped themselves, but the editor wouldn’t let you save them. However, I found out there was a way to play/save them no matter what you did, and I got to experiment with crazy glitches. 85 degree inclines that launched the bike so high you couldn’t see the ground anymore? No problem. Tracks that overlapped themselves several times, causing very strange behaviour at the meeting points? You bet. That stuff made me really curious about how video games worked. I think a lot of my initial interest in games can be traced back to that one moment I figured out how to exploit the track editor...

There was also another game—I think it was Tubular Worlds—that came on floppy disks. I don’t remember what exactly lead me to do it, but I managed to edit the text that was displayed by the installer... I think it was the license agreement bit of it. That got me even more curious as to how computers worked.

Up until some time around my 13th or 14th birthday, during summer break (the last days of June to the first days of September for French pupils), my sister and I would always go on vacation at my grandparents’ home.

The very first console game I ever played was The Legend of Zelda: A Link to the Past on my cousin’s Super Nintendo, who also usually stayed with us. Unlike us, he had quite a few consoles available to him, and brought a couple along. My first time watching and playing this game was absolutely mind-blowing to me. An adventure with a huge game world to explore, so many mysterious things at every corner. “Why are you a pink rabbit now?” “I’m looking for the pearl that will help me not be that.”

Growing up and working in the games industry has taken the magic out of many things in video games... and my curiosity for the medium (and its inner workings) definitely hasn’t helped. I know more obscure technical trivia about older games than I care to admit. But I think this is what is shaping my tastes in video games nowadays... part of it is that I crave story-rich experiences that can bring me back to a, for lack of a better term, “child-like” wonderment. And I know how weird this is going to sound, but I don’t really enjoy “pure gameplay” games as much for that reason. Some of the high-concept ones are great, of course (e.g. Tetris), but I usually can’t enjoy others without a good interwoven narrative. I can’t imagine I would have completed The Talos Principle had it consisted purely of the puzzles without any narrative beats, story bits, and all that. What I’m getting at is, thinking about it, I guess I tend to value the “narrative” side of games pretty highly, because, to me, it’s one of the aspects of the medium that, even if distillable to some formulas, is inherently way more “vague” and “ungraspable”. You can do disassembly on game mechanics and figure out even the most obsure bits of weird technical trivia. You can’t do that to a plot, a universe, characters, etc. or at least nowhere near to the same extent.

You can take a good story and weave it into a number of games, but the opposite is not true. It’s easy to figure out the inner working of gameplay mechanics, and take the magic out of them, but it’s a lot harder to do that for a story, unless it’s fundamentally flawed in some way.

Video games back then seemed a lot bigger than they actually were.

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I got Heart of Darkness as a gift in 1998 or 1999. We used to celebrate Christmas at my grandparents’, so I had to wait a few days to be back home, and to able to put the CD in the computer. But boy was it worth it! Those animated cutscenes! The amazing pixel art animations! The amazing and somewhat disturbing variety of ways in which you can die, most of which gruesome and mildly graphic! And of course, yet again... a strange and outlandish universe that just scratches my itch for it. Well, one of which that forged my taste for them.

I can’t remember exactly when it happened or what it was, but I do remember that at some point we visited some sort of... exposition? Exhibit? Something along those lines. And it had a board games & computer games section. The two that stick out in my mind were Abalone (of which I still have the box somewhere) and what I think was some sort of 2D isometric (MMO?) RPG. I wanna say it was Ultima Online but I recall it looking more primitive than that (it had small maps whose “void” outside them was a single blueish color).

In my last two years of elementary school, there was one big field trip per year. They lasted two weeks, away from family. The first one was to the Alps. The second one was... not too far from where I live now, somewhere on the coast of Brittany! I have tried really hard to find out exactly where it was, as I remember the building and facilities really well, but I was never able to find it again. On a couple occasions, we went on a boat with some kind of... algae harvesters? The smell was extremely strong (burning itself into my memory) and made me sick. The reason I bring them up is because quite a few of my classmates had Game Boy consoles, most of them with, you know, all those accessories, especially the little lights. I remember being amazed at the transparent ones. Play was usually during the off-times, and I watched what my friends were up to, with, of course, a bit of jealousy mixed in. The class traveled by bus, and it took off in the middle of the night; something like 3 or 4 in the morning? It seemed like such a huge deal at the time! Now here I am, writing THESE WORDS at 03:00. Anyway, most of my classmates didn’t fall back asleep and those that had a Game Boy just started playing on them. One of my classmates, however, handed me his whole kit and I got to do pretty much what I wanted with it, with the express condition that I would not overwrite any of his save files. I remember getting reasonably far in Pokémon before I had to give it back to him and my progress was wiped.

During the trip to the Alps, I remember seeing older kids paying for computer time; there was a row of five computers in a small room... and they played Counter-Strike. I had absolutely no idea what it was, and I would forget about it until the moment I’m writing these words, but I was watching with much curiosity.

The first time I had my own access to console games was in 2001. The first Harry Potter film had just come out, and at Christmas, I was gifted a Game Boy Advance with the first official game. I just looked it up again and good god, it’s rougher than I remember. The three most memorable GBA games which I then got to play were both Golden Sun(s) and Sword of Mana... especially the latter, with its gorgeous art direction. My dad had a cellphone back then, and I remember sneakily going on there to look up a walkthrough for a tricky part of Golden Sun’s desert bit. Cellphones had access to something called “WAP” internet... very basic stuff, but of course still incredible to me back then.

I eventually got to play another Zelda game on my GBA: Link’s Awakening DX. I have very fond memories of that one because I was bed-ridden with a terrible flu. My fever ran so high that I started having some really funky dreams, delirious half-awake hallucinations/feelings, and one night, I got so hot that I stumbled out of bed and just laid down against the cold tile of the hallway. At 3 in the morning! A crazy time! (Crazy for 11-year-old me.)

(The fever hallucinations were crazy. My bedroom felt like it was three times at big, and I was convinced that a pack of elephants were charging at me from the opposite corner. The “night grain” of my vision felt sharper, amplified. Every touch, my sore body rubbing against the bed covers felt like it was happening twice as much. You know that “Heavy Rain with 300% facial animation” video? Imagine that, but as a feverish feeling. The dreams were on another level entirely. I could spend pages on them, but suffice to say that’s when I had my first dream where I dreamed of dying. There were at least two, actually. The first one was by walking down a strange, blueish metal corridor, then getting in an elevator, and then feeling that intimate convinction that it was leading me to passing over. The second one was in some Myst-like world, straight out of a Roger Dean cover, with some sort of mini-habitat pods floating on a completely undisturbed lake. We were just trapped in them. It just felt like some kind of weird afterlife.)

I also eventually got to play the GBA port of A Link To The Past. My uncle was pretty amused by seeing me play it, as he’d also played the original on SNES before I’d even been born. I asked him for help with a boss (the first Dark World one), but unfortunately, he admitted he didn’t remember much of the game.

We had a skiing holiday around this time. I don’t remember the resort’s or the town’s name, but its sights are burned in my memory. Maybe it’s because, shortly after we arrived, and we went to the ski rental place, I almost fainted and puked on myself, supposedly from the low oxygen. It also turned out that the bedroom my parents had rented unexpectedly came with a SNES in the drawer under the tiny TV. The game: Super Mario World. I got sick at one point and got to stay in and play it. This was also the holiday where I developed a fondness for iced tea, although back then the most common brand left an awful aftertaste in your mouth that just made you even more thirsty.

We got a new PC in December of 2004. Ditching the old Windows 98 SE (yep, the OS had been upgraded in... 2002, I think?). Look at how old-school this looks. The computer office room was in the basement. Even with the blur job that I applied to the monitor for privacy reasons, you can still tell that this is the XP file explorer:

A look at what the old DSLR managed to capture on the shelf reveals some more of the games that were available to me back then: a bunch of educational software, The Sims 2, and SpellForce Gold.

I might be misremembering but I think they were our Christmas gifts for that year; we both got to pick one game. I had no idea what I wanted, really, but out of all the boxes at (what I think was) the local Fnac store, it was SpellForce that stood out to me the most. Having watched Lord of the Rings the year prior might have been a factor. I somewhat understood Age of Empires years before that, but SpellForce? Man, I loved the hell out of SpellForce. Imagine a top-down RPG that can also be played from a third-person perspective. And with the concept of... hero units... wait a second... now that reminds me of Dota.

Imagine playing a Dota hero with lots of micro-management and being able to build a whole base on new maps. And sometimes visiting very RPG-ish sections (my favorites!) with very little top-down strategy bits, towns, etc. like Siltbreaker. I guess this game was somewhat like an alternate, single-player Dota if you look at it from the right angle. (Not the third-person one.)

I do remember being very excited when I found out that it, too, came with a level editor. I never figured it out, though. I only ever got as far as making a nice landscape for my island, and that was it!

A couple weeks after, it was Christmas; my sister and I got our first modern PC game: The Sims 2. It didn’t run super well—most games didn’t, because the nVidia GeForce FX 5200 wasn’t very good. But that didn’t stop me or my sister from going absolutely nuts with the game. This video has the timestamp of 09 January 2005, and it is the first video I’ve ever made with a computer. Less than two weeks after we got the game, I was already neck-deep in creating stuff.

Not that it was particularly good, of course. This is a video that meets all of the “early YouTube Windows Movie Maker clichés”.

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Speaking of YouTube, I did register an account there pretty early on, in August of 2006. I’ve been through all of it. I remember every single layout change. I also started using Sony Vegas around that time. It felt so complex and advanced back then! And I’m still using it today. Besides Windows, Vegas Pro is very likely to be the piece of software that I’ve been using for the longest time.

I don’t have a video on YouTube from before 2009, because I decided to delete all of them out of embarassment. They were mostly Super Mario 64 machinima. It’s as bad as it sounds. The reason I bring that up right now, though, is that it makes the “first” video of my account the last one I made with the Sims 2.

But before I get too far ahead with my early YouTube days, let me go backwards a bit. We got hooked up to the Internet some time in late 2005. It was RTC (dialup), 56 kbps. my first steps into the Internet led me to the Cube engine. Mostly because back then my dad would purchase computer magazines (which were genuinely helpful back then), and came with CDs of common downloadable software for those without Internet connections. One of them linked to Cube. I think it was using either this very same screenshot, or a very similar one, on the same map.

The amazing thing about Cube is not only that it was open-source and moddable, but had map editing built-in the game. The mode was toggled on with a single key press. You could even edit maps cooperatively with other people. Multiplayer mapping! How cool is that?! And the idea of a game that enabled so much creation was amazing to me, so I downloaded it right away. (Over the course of several hours, 30 MiB being large for dialup.)

I made lots of bad maps that never fulfilled the definition of “good level” or “good gameplay”, not having any idea how “game design” meant, or what it even was. But I made places. Places that I could call my own. “Virtual homes”. I still distinctively remember the first map I ever made, even though no trace of it survives to this day. In the second smallest map size possible, I’d made a tower surrounded by a moat and a few smaller cozy towers, with lots of nice colored lighting. This, along with the distinctive skyboxes and intriguing music, made me feel like I’d made my home in a strange new world.

At some point later down the line, I made a kinda-decent singleplayer level. It was very linear, but one of the two lead developers of the game played it and told me he liked it a lot! Of course, half of that statement was probably “to be nice”, but it was really validating and encouraging. And I’m glad they were like that. Because I remember being annoying to some other mappers in the Sauerbraten community (the follow-up to Cube, more advanced technically), who couldn’t wrap their heads around my absolutely god awful texturing work and complete lack of level “design”. Honestly, sometimes, I actually kinda feel like trying to track a couple of them down and being like, “yeah, remember that annoying kid? That was me. Sorry you had to deal with 14-year-old me.”

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At some point, I stumbled upon a mod called Cube Legends. It was a heavily Zelda-inspired “total conversion”; a term reserved for mods that are the moddiest mods and try to take away as much of the original foundation as possible. It featured lots of evocative MIDI music by the Norwegian composer Bjørn Lynne. Fun fact: the .mid files are still available officially from his website!

This was at the crossroad of many of my interests. It was yet another piece of the puzzle. As a quick side note, this is why Zelda is the first series that I name in the title of this post, even though I... never really thought of myself as a Zelda fan. It’s not that it’s one of the game series that I like the most, it’s just that, before I started writing this, I’d never realized how far-reaching its influence had been in my life, both in overt and subtle ways, especially during my formative years.

And despite how clearly unfinished, how much of a “draft” Cube Legends was, I could see what it was trying to do. I could see the author’s intent. And I’m still listening to Bjørn Lynne’s music today.

The Cube Engine and its forums were a big part of why I started speaking English so well. Compared to most French people, I mean. We’re notoriously bad with the English language, and so was I up until then. But having this much hands-on practice proved to be immensely valuable. And so, I can say that the game and its community have therefore had long-lasting impacts in my life.

I also tried out a bunch of N64 games via emulation, bringing me right back in that bedroom at my grandparents’ house, with my cousin. Though he did not have either N64 Zelda game back then.

The first online forum I ever joined was a Zelda fan site’s. There are two noteworthy things to say here:

It was managed by a woman who, during my stay in the community, graduated from her animation degree. At this stage I had absolutely no idea that this was going to be the line of work I would eventually pursue!

I recently ran into the former head moderator of the forums. (I don’t know when the community died.) One of the Dota players on my friends list invited him because I was like “hmm, I wanna go as 3, not as 2 players today”. His nickname very vaguely reminded me of something, a weird hunch I couldn’t place. Half an hour into the game, he said “hey Max... this might be a long shot, but did you ever visit [forum]?” and then I immediately yelled “OH MY GOD—IT IS YOU.” The world is a small place.

Access to the computer was sometimes tricky. I didn’t always have good grades, and of course, “punishment” (not sure the word is appropriate, hence the quotes, but you get the idea) often involved locking me out of the computer room. Of course, most times, I ended up trying to find the key instead. I needed my escape from the real world. (You better believe it’s Tangent Time.)

I was always told I was the “smart kid”, because I “understood things faster” than my classmates. So they made me skip two grades ahead. This made me enter high school at nine years old. The consequences were awful (I was even more of the typical nerdy kid that wouldn’t fit in), and I wish it had never happened. Over the years, I finally understood: I wasn’t more intelligent. I merely had the chance to have been able to grow up with an older brother who’d instilled a sense of curiosity, critical thinking, and taste in books that were ahead of my age and reading level. This situation—and its opposite—is what I believe accounts for the difference in how well kids get to learn. It’s not innate talent, it’s not genetics (as some racists would like you to believe). It’s parenting and privilege.

And that’s why I’ll always be an outspoken proponent for any piece of media that tries to instill critical thinking and curiosity in its viewer, reader, or player.

But I digress.

Well, I’ve been digressing a lot, really, but games aren’t everything and after all, this post is about the context in which I played those games. Otherwise I reckon I would’ve just made a simple list.

I eventually got a Nintendo DS for Christmas, along with Mario Kart DS. My sister had gotten her own just around the time when it released... she had the Nintendogs bundle. We had also upgraded to proper ADSL, what I think was about a ~5 megabits download speed. The Nintendo DS supported wi-fi, which was still relatively rare compared to today. In fact, Nintendo sold a USB wireless adapter to help with that issue—our ISP-supplied modem-router did not have any wireless capabilities. I couldn’t get it the adapter work and I remember I got help from a really kind stranger who knew a lot about networking—to a point that it seemed like wizardry to me.

I remember I got a “discman” as a gift some time around that point. In fact, I still have it. Check out the stickers I put on it! I think those came from the Sims 2 DVD box and/or one of its add-ons.

I burned a lot of discs. In fact, in the stack of burned CDs/DVDs that I found (with the really bad Sims movies somewhere in there), I found at least three discs that had the Zelda album Hyrule Symphony burned in, each with different additional tracks. Some were straight-up MIDI files from vgmusic.com...! And speaking (again) of Zelda, when the Wii came out, Twilight Princess utterly blew my mind. I never got the game or the console, but damn did I yearn badly for it. I listened to the main theme of the game a lot, which didn’t help. I eventually got to play the first few hours at a friend’s place.

At some point, we’d upgraded the family computer to something with a bit more horsepower. It had a GeForce 8500 GT inside, which was eventually upgraded to a 9600 GT after the card failed for some reason. It could also dual-boot between XP and Vista. I stuck with that computer until 2011.

We moved to where I currently live in 2007. I’ve been here over a decade! And before we’d even fully finished unpacking, I was on the floor of the room that is now my office, with the computer on the ground and the monitor on a cardboard box, playing a pirated copy of... Half-Life! It was given to me by my cousin. It took me that long to find out about the series. It’s the first Valve game I played. I also later heard about the Orange Box, but mostly about Portal. Which I also pirated and played. I distinctly remember being very puzzled by the options menu: I thought it was glitched or broken, as changing settings froze the game. Turns out the Source engine had to chug for a little while, like a city car in countryside mud, as it reloaded a bunch of stuff. Patience is a virtue...

But then, something serious happened.

In the afternoon of 25 December 2007, I started having a bit of a dull stomach pain. I didn’t think much of it. Figured maybe I’d eaten too many Christmas chocolates and it’d go away. It didn’t. It progressively deteriorated into a high fever where I had trouble walking and my tummy really hurt; especially if you pressed on it. My parents tried to gently get me to eat something nice on New Year’s Eve, but it didn’t stay in very long. I could only feed myself with lemonade and painkiller. Eventually, the doctor decided I should get blood tests done as soon as possible. And I remember that day very clearly.

I was already up at 6:30 in the morning. Back then, The Daily Show aired on the French TV channel Canal+, so I was watching that, lying in the couch while waiting for my mom to get up and drive me to my appointment, at 7:00. It was just two streets away, but there was no way I could walk there. At around noon, the doctor called and told my mom: “get your son to the emergency room now.”

Long story short, part of my intestines nuked themselves into oblivion, causing acute peritonitis. To give you an idea, that’s something with a double-digit fatality rate. Had we waited maybe a day or two more, I would not be here writing this. They kind of blew up. I had an enormous abcess attached to a bunch of my organs. I had to be operated on with only weak local anaesthetics as they tried to start draining the abscess. It is, to date, by far the most painful thing that has ever happened to me. It was bad enough that the hospital doctor that was on my case told me that I was pretty much a case worthy to be in textbooks. I even had medical students come into my hospital room about it! They were very nice.

This whole affair lasted over a month. I became intimately familiar with TV schedules. And thankfully, I had my DS to keep me company. At the time, I was pretty big into the Tony Hawk DS games. They were genuinely good. They had extensive customization, really great replayability, etc. you get the idea. I think I even got pretty high on the online leaderboards at some point. I didn’t have much to do on some days besides lying down in pain while perfecting my scoring and combo strategies. I think Downhill Jam might’ve been my favorite.

My case was bad enough that they were unable to do something due to the sad state of my insides during the last surgery of my stay. I was told that I could come back in a few months for a checkup, and potentially a “cleanup” operation that would fix me up for good. I came back in late June of 2008, got the operation, and... woke up in my hospital room surrounded by, like, nine doctors, and hooked up to a morphine machine that I could trigger on command. Apparently something had gone wrong during the operation, but they never told me what. I wasn’t legally an adult, so they didn’t have to tell me. I suspect it’s somewhere in some medical files, but I never bothered to dig up through my parents’ archives, or ask the hospital. And I think I would rather not know. But anyway, that was almost three more weeks in the hospital. And it sucked even more that time because, you see, hospital beds do not “breathe” like regular beds do. The air can’t go through. Let’s say I’m intimately familiar with the smell of back sweat forever.

When I got out, my mom stopped by a supermarket on the way home. And that is when I bought The Orange Box, completely on a whim, and made my Steam account. Why? Because it was orange and stood out on the shelf.

(As a side note, that was the whole bit I started writing first, and that made me initially title this post “growing pains”. First, because I’m bad at titles. Second, because not that I didn’t have them otherwise (ow oof ouch my knees), but that was literally the most painful episode of my entire life thus far and it ended in a comically-unrelated, high-impact, life-changing decision. Just me picking up The Orange Box after two awful hospital stays... led me to where I am today.)

While I was recovering, I also started playing EarthBound! Another bit of a life-changer, that one. To a lesser extent, but still. I was immediately enamored by its unique tone. Giygas really really really creeped me out for a while afterwards though. I still get unsettled if I hear its noises sometimes.

I later bought Garry’s Mod (after convincing my mom that it was a “great creative toolbox that only cost ten bucks!”), and, well, the rest is history. By which I mean, a lot of my work and gaming activity since 2009 is still up and browsable. But there are still a few things to talk about.

In 2009, I bought my first computer with YouTube ad money: the Asus eee PC 1005HA-H. By modern standards, it’s... not very powerful. The processor in my current desktop machine is nearly 50 times as fast as its Atom N280. It had only one gigabyte of RAM, Windows 7 Basic Edition, and an integrated GPU barely worthy of the name; Intel didn’t care much for 3D in their chips back then. The GMA 945 didn’t even have hardware support for Transform & Lighting.

But I made it work, damn it. I made that machine run so much stuff. I played countless Half-Life and Half-Life 2 mods on it—though, due to the CPU overhead on geometry, some of those were trickier. I think one of the most memorable ones I played was Mistake of Pythagoras; very surreal, very rough, but I still remember it so clearly. I later played The Longest Journey on it, in the middle of winter. It was a very cozy and memorable experience. (And another one that’s an adventure wonderful outlandish alien universe. LOVE THOSE.)

I did more than playing games on it, though...

This is me sitting, sunburned on the nose, in an apartment room, on 06 August 2010. This was in the Pyrénées, at the border between France and Spain. We had a vacation with daily hiking. Some of the landscapes we visited reminded me very strongly of those from Lost Eden, way up the page...

So, you see, I had 3ds Max running on that machine. The Source SDK as well. Sony Vegas. All of it was slow; you bet I had to use some workarounds to squeeze performance out of software, and that I had to keep a close, watchful eye on RAM usage. But I worked on this thing. I really did! I animated this video’s facial animation bits (warning: this is old & bad) on the eee PC, during the evenings of the trip, when we were back at our accomodation. The Faceposer tool in the Source SDK really worked well on that machine.

I also animated an entire video solely on the machine (warning: also old and bad). It had to be rendered on the desktop computer... but every single bit of the animation was crafted on the eee PC.

I made it work.

Speaking of software that did not run well: around that time, I also played the original Crysis. The “but can it run Crysis?” joke was very much justified back then. I had to edit configuration files by hand so that I could run the game in 640x480... because I wanted to keep most of the high-end settings enabled. The motion blur was delicious, and it blew my mind that the effect made the game feel this smooth, despite wobbling around in the 20 to 30 fps range.

Alright. It’s time to finish writing this damn post and publish it at last, so I’m going to close it out by listing some more memories and games that I couldn’t work in up there.

Advance Wars. Strategy game on GBA with a top-down level editor. You better believe I was all over the editor right away.

BioShock. When we got the 2007 desktop computer, it was one of the first games I tried. Well, its demo, to be precise. Its tech and graphics blew my mind, enough that I saved up to buy the full game. This was before I had a Steam account; I got a boxed copy! I think it might have been the last boxed game I ever bought? It had a really nice metal case. The themes and political messages of the game flew way over my head, though.

Mirror’s Edge. The art direction was completely fascinating to me, and it introduced me to Solar Fields’ music; my most listened artist this decade, by a long shot.

L.A. Noire. I lost myself in its stories and investigations, and then, I did it all again, with my sister at the helm. I very rarely play games twice (directly or indirectly), which I figure is worth mentioning.

Zeno Clash. It was weird and full of soul, had cool music, and cool cutscenes. It inspired me a lot in my early animation days.

Skyward Sword. Yep, going back to Zelda on that one. The whole game was pretty good, and I’m still thinking about how amazing its art direction was. Look up screenshots of it running in HD on an emulator... it’s outstanding. But there’s a portion of the game that stands tall above the rest: the Lanayru Sand Sea. It managed to create a really striking atmosphere in many aspects, through and through. I still think about it from time to time, especially when its music comes on in shuffle mode.

Wandersong. A very recent pick, but it was absolutely a life-changing one. That game is an anti-depressant, a vaccine against cynicism, a lone bright and optimist voice.

I realize now this is basically a “flawed but interesting and impactful games” list. With “can establish its atmosphere very well” as a big criteria. (A segment of video games that is absolutely worth exploring.)

I don’t know if I’ll ever make my own video game. I have a few ideas floating around and I tried prototyping some stuff, though my limited programming abilities stood in my way. But either way, if it happens one day, I hope I’ll manage to channel all those years of games into the CULMINATION OF WHAT I LIKE. Something along those lines, I reckon.

#video games

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liesonthefloordramatically · 5 years

Text

A 2018 recap post, heck yeah.

Good stuff that happened this year:

I continue to have the coolest and best friends and roommates in the entire universe. I know I endlessly talk about how great they are and how much I love them, but like...genuinely would not have survived the past couple of years without them. They’re quality humans.

I love teaching so, so much, and I’m proud of all these kids.

Survived Japan. And now I’m not there anymore.

Made a truly obscene number of new recipes.

Joined a writing group for the first time since 2014. It’s Very Good even if I’m Very Shy because everybody is cooler than me and also because deep down in my heart I’m a deeply shy person who has just learned how to pretend she isn’t.

Okay, this already got mentioned in the first bullet point, but Group Chat gets its own shoutout for being the people who managed to keep me somewhat in one piece for the whole year. Y’all. If the universe ever aligns so that we’re all in the same place at the same time again, our power will be unparalleled.

Stuff I made this year:

Blogging: I wrote a whopping three posts this year. The most popular was Coming out in ten vignettes. My favorite was Asexuality as a hard limit. I also finally wrote that danged post on queer futurity instead of just making weird memes about it. Wow, that’s all three posts I wrote. Amazing.

Fiction: god, y’all know what I’m gonna say here: linear time is fake; you can only trust your fists. Genuinely, unironically one of my favorite things I’ve ever written. Honorable mention to Object Permanence. I wrote a lot this year! Over 30k, or so AO3 tells me (and that’s not counting stuff I’ve written but haven’t posted yet).

Playlists: Continued to make A Lot of these. Favorites: you, me, and the whole of Napoli (a Bruabba playlist), the space made strange between us (a playlist for That Uncomfortable Feel), Can’t you just let me call it a - (a playlist for when you’ve got some Feelings and you’re sort of overwhelmed about it), Keep On Loving You (a playlist for 「Keep On Loving You」), Learn to Let Go (a playlist for getting out, letting go, and getting better).

LARP: Revised superqueeroes! We’re running it next year!

Powerpoint presentations: I think I made something like 7 PPTs about JJBA this year; I’m not going to check because I don’t need that particular shame quantified. Anyway, please check out this PPT on why JJL is 3/11 literature.

Other stuff: Presented at some conferences! Taught some kids! Taught some colleagues how to teach some kids! Survived doing ace activism in a non-native language! Did live interpretation for the first time! Finally put all my queer futurity memes in their own tag! Continued to subject all of you to my weird mumblings about obscure nonsense!

Media I enjoyed this year:

Books (fiction): Young Wizards was the winner this year, specifically Wizards at War and The Wizard’s Dilemma (both made me cry). Honorable mention to Bitfrost (trauma and chronic illness: the mood). I haven’t read any novels since I got back from Japan; I should fix that over break, maybe.

Manga/comics: I think the only thing I read this year was JJBA.

Fanfic: Gosh, I read a lot this year. Favorites I read for the first time this year in no particular order: Cinderwings (Supernatural; I don’t even go here but Ben’s worldbuilding is incredible and it’s entirely readable with no knowledge of canon), no time for fairy tales (JJBA: DIU; probably my favorite character study of Yukako ever holy frick), queen of swords (JJBA: BT; the Lisa Lisa character study that will make you want to punch the moon from how good it is), House of Four Doors (JJBA: VA; two mentally ill people trying to figure each other out! facts about anchovy fishing! lovely slow burn!), Timely Matters (NWM; this is just an excuse to get you to read Babs’s fic because it’s Very Good and made me feel at least five (5) discrete emotions), fearless flyer (JJBA: SDC; every time I walk into Trader Joe’s I immediately think of this fic and if that isn’t a testament to its enduring legacy I don’t know what else to tell you), the sun is the same (in a relative way) (JJBA: post-SDC; have you ever had a mood about friendships between traumatized people and then wanted to read a fic about it because BOY ARE YOU IN LUCK). Technically a Twine game but The Shortest Route was a Detour (JJBA: SBR) was also very good and I’ve thought about it a lot.

Films: Watched a surprising number, in part because I was in Japan and just kept going to the movies alone? Winner for this year is Spider-man: Into the Spider-verse, which I cried through a solid 30 minutes of for absolutely no reason other than who I am as a person. Also liked Black Panther and Deadpool 2 a lot. (Dis?)honorable mention to The Wound, which I have thought about a truly ridiculous amount because it upset me deeply and viscerally (it’s the antithesis of queer futurity). It’s a good movie but I can’t recommend it unless you deeply enjoy being bummed out and then dwelling on how bummed out you were for months afterwards.

TV: The only things I watched this year were JoJo’s Bizarre Adventure, Revolutionary Girl Utena (finally finished! only took like 2 years!), and A Series of Unfortunate Events. All of which I liked! So!

Podcasts: I listened to A LOT because I was alone in Tokyo and wanted to like...hear human voices sometimes. The Adventure Zone wins for this year, although The Penumbra Podcast wins for a single arc (“Juno Steel and the Monster’s Reflection” wrecked me in the best possible way).

Music: Spent over 30,000 minutes on Spotify alone this year so *nervous laughter*. Like I said, Tokyo, alone, human voices. (But also I listen to music whenever I’m writing or grading, so.) According to Spotify, my top song of the year was “5 Out of 6” which is not surprising, given that I listened to it like...300+ times in a week while writing a fanfic. Top artist was also Dessa, because Chime is a masterpiece. Other top artists: Mitski (Be the Cowboy, y’all), Sleeping at Last (for like the third year in a row), and CHVRCHES. Bump of Chicken as well, obviously, although they’re still not on Spotify. Leaned into my ridiculous Nagoya idol obsession with BOYS AND MEN (genuinely Chaotic; every time they release a new MV I feel fear in my heart), Team Syachihoko (頑張っとるよね), and MAG!C☆PRINCE (wholesome, androgynous back-flipping).

Misc.: Ripples of Adventure was genuinely one of the best and coolest things I did this year. Also enjoyed the frick out of the JoJo escape hotel, even though we didn’t win. (There is photographic evidence that I Emerald Splashed a dude, though.)

and finally…

Not so good stuff that happened this year:

I feel like a lot of my important realizations of the year are of the “people die when they are killed” school of obviousness but: if you’re in pain all the time it’s probably chronic pain and if you’re ill all the time it’s probably chronic illness.

May through August honestly feels like a fever dream. Maybe it was a fever dream. Anyway, somebody made some bad choices that resulted in me having no social network at the exact same time that my knee went out. I coped by being a workaholic.

Oh yeah also my knee went out. So that’s been...cool. If I don’t finish PT with the most ripped legs in the universe, like, why did I even do it.

My mental health has been bad!! All year!! We’re going into year three of me being vaguely depressed but like year one million of my brain not functioning in a reasonable or appropriate manner. (But actually, I’m now at more than ten years of being diagnosable with PTSD. I feel like I should get a cake or something but also that would be Sad.)

Speaking of brain not functioning, migraines. Are a thing. That have been happening. In my brain. Way more than they should.

Basically, it’s bad! I wound up cancelling my travel this winter because it’s been so bad! Which is the right choice but sure has caused some major guilt!

Anyway, in the immortal words of MagiPuri, “あぁため息ばかりじゃLuckyなコト逃げちゃうはずだね,” so I just gotta be my regular 前向きな頑張り屋さん self, I guess!!!

Anyway, あけおめ！！！今年もよろしく！！！！

#Queenie actually says something on this blog #I'd appreciate it if people didn't reblog this; thanks #a wild annual recap appears

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