#the opening sequence promise a real adventure

[miloscat]

[Review] Toren (PS4)

A flawed but interesting Ico-like.

Swordtales was an indie studio in Brazil, staffed by many first-timers in commercial game development (or at least their Mobygames profiles mostly don't have any other games on file to their names). They seem to have gone defunct, another casualty of the cutthroat video games industry. But before they dissolved, they managed to put out a short Ico-like adventure which, while rough around the edges, has some neat ideas and imagery.

The story of Toren is hard to explain... it's conveyed piecemeal and out of order, via digressions and abstractions. But you eventually glean that human hubris built a tower that challenged the heavens—sound familiar?—to which the Sun (yes, that Sun) took great umbrage, and now the flow of time has stopped. To avert catastrophe and restore the natural order, a girl was granted the hopes of humanity to ascend the tower and something something the moon, and there's a dragon, plus a legendary warrior is involved somehow...

The real central idea of the game is that Moonchild is locked in a cycle of rebirth: aging, dying, and coming back as a baby born from blood, repeatedly fighting the dragon but never victorious. She starts in the prologue a grizzled warrior, before coming back a toddler. As you progress you will age from child to youth to adult, her character design getting cool flourishes each time (check out Pedro Jatobá's ArtStation for a better look at these than the game itself offers). It's like Jaleco's arcade game Momoko 120% but instead of a gun you have a sword.

The idea of resurrection is used in a clever way a couple of times, where the dragon petrifies Moonchild's body, then you respawn but your previous stone form remains, letting you progress somehow. I wish this had been explored further as it's an excellent idea that's just underutilised. Otherwise progression is via little puzzle sections where you have to approach the dragon past its buffeting winds and magic shockwaves, or you're ascending the tower by growing a tree, lighting braziers, or other interactions. Small enemy blobs with teeth sometimes get in your way but they're not a serious hindrance.

You also sometimes go into dream sequences, and Moonchild's inner world opens things up for some more surreal imagery. It doesn't get too wild but it's a nice change of pace, and usually involves a new kind of puzzle where you draw patterns with salt. None of the puzzles are very taxing at all, in fact the whole game is quite gentle but that can be a nice thing. Some of these dream zones (and a couple of unlockable bits of gear) are missable, so maybe check a guide... or play the whole game twice, like I did! With the themes of reincarnation and cyclical time, it seemed appropriate and I got a better grasp of the whole thing that way. It's short enough that I in fact wasn't completely satisfied until having done a second run.

I really must address some rough spots here. The first thing you'll notice is the game's look, which resembles a very early PS3 game with its shoddy textures and performance, coupled with a sort of blurry wobble effect to the lighting, especially in the dreams. The technical shortcomings do a disservice to the art design, so it ends up not totally delivering on its promise, and it is promising! The play control and animations are also stiff and awkward, so on top of unchallenging puzzles and simplistic platforming the gameplay is just not as special as it should have been.

It's unfortunate that the strengths of the concept were let down by these other factors. But hey, it's short and cheap so it's easy to take a punt on it... although I don't know where your money would go, what with the developer defunct and the publisher also defunct after being acquired by Tinybuild then jerked around, leading to a legal battle. Video games, am I right? Anyway, the strengths are still there in some form and manage to shine through at times... there's something there, and I'm glad I got to see it.

#toren #swordtales #review #ps4 #indie

[spyroforlife]

Aight I’m doing it, gonna explore some of my VERY OLD writing, the first “books” I ever wrote. Gonna use the tag ‘my old writing’ for this if ya wanna block it, but anyway it is time for me to reminisce >:) I’ll probably devote a post to each book I decide to post pics of, and I’ll likely do a format where the cover page will be in the main post, and the rest under a read more. Now without further ado…

ah yes. The label on the shoe box I kept all these in. Love how I wrote this as if it would actually stop anyone from opening it

(it has my full name on there so I of course blotted that out lol)

Ahh gotta love that old school Microsoft Office clipart. Anyway it is time to open the box and select my first victim

OH I forgot I also used this much later on to store letters that were written to me in basic training (gently moves those aside)

…I’ve made a fatal error, this box doesn’t have my most ancient stories, it has ones from slightly later on in my childhood. NOO where is my Charmander and Torchic story!! Ah well I may have to delay this adventure until I rescue the early stories from my storage unit, but for now. This will do.

Once upon a time (probably before 2008 but idk when exactly) my older brother made the fatal mistake of revealing to me that people will actually go on the Internet and just post weird lil stories :O Like they’ll just write something funny. And post it. And other people can read it. Wow!

Naturally, I wanted to try it, and came up with a really ridiculous idea about giant weiner (or wiener, I kept changing the spelling) dogs that ended up morphing into a multi-story saga where it turned out the giant dogs are actually ALIENS and Earth ends up destroyed, also it features me and my older brother as self-inserts which he thought was GREAT. The best thing? None of this actually made it onto the Internet but I sure did print out the whole dang story, make a cover, and then tie it all together with nice gold thread. More under the cut

I just wanted to post the full first page so y’all can get an idea of the ridiculousness of my early writing. I was probably like. Actually I don’t think I was even 10 yet. Or maybe I was? Ehh about 10, maybe a little older but I’m relatively sure I wasn’t a teen yet. My brother helped contribute parts of this (like the strange, funky business part) but most of this was written by me.

As you can see the gross out humor is in full effect. Of course. As I was a young child who watched Nickelodeon. Moving on

A small excerpt I just happened to enjoy. “Let’s go drink the sacred toilet water!!” is quality dialogue let’s be real here. From here on out I’m just gonna share my titles from each story

This is the start of the second story in the series, and it heralds a running thing with me criticizing people if they happen to skip stories and read out of sequence

“if you had even bothered” TWEEN ME WITH THE SNARK

Yeah said picture of Kibblion is actually what was on the cover page. Made in MS Paint, to everyone’s shock I’m sure

I don’t care what anyone says, I was funny back then. My older brother said so which means it’s true

How much do you wanna bet this one wasn’t actually the last story? Don’t bet anything, it actually was, whoa :O I had a thing back then where I liked doing Animal House style epilogues so-

I promise there was context to all this. My self insert (Kari, of course) and the guy from the start, Joe, got to go to Kibblion and we inexplicably turned into alien weiner dogs ourselves. I think I handwaved this as “radiation”

My brother (Chris) got to be the villain who also survived Earth’s destruction and he had psychic powers just because.

the weiner dogs have a thing in their society about not eating animals unless they’re dangerous ones, hence them pulling bullshit like “oh this animal is tasty but not a threat? Oh- we’ll make it dangerous then :)”

Other names are just other random characters, mostly weiner dogs. but uhh yeah. There you go

the random shit I wrote back then. I promise I’ll dig out the truly old stuff but ohh my god looking back at this series was so funny. Maybe I could transcribe it all and post it to AO3. I already did that with some other old stories of mine which can be found here so. HmMM >:)

well lemme know what you think and I hope you enjoyed this ridiculous nostalgia trip

#sfl’s life #writing #my old writing #long post

[thatscrewyballyhooeyhollywood]

Classic Film Festival Day 1

Picture it: it's Labor Day weekend 2023. The town is El Segundo, a charming postcard-esque community just south of Los Angeles International Airport. The venue is the Old Town Music Hall, a 188-seat movie palace originally built in 1921, and now home to a 1925 Wurlitzer Theater Pipe organ.

And the event is Cinecon 59: a five-day film festival where cinephiles gather to experience rare, sometimes newly restored, and often otherwise unavailable classics from the silent and studio eras.

I was excited to attend this year, and see an incredible line-up of rare gems over five days, starting with Opening Night.

A Language All My Own (1935)

Paramount Pictures

Director: David Fleischer

Among the many animators working during the Golden Age of Hollywood, the Fleischer brothers (Max and Dave) left their indelible mark on the field with iconic and beloved characters like Popeye, KoKo the Clown, and of course, Betty Boop.

Cinecon opened this year with a newly restored Betty Boop cartoon, in which our titular heroine - a very successful nightclub singer - travels to Japan to perform in front of her adoring fans overseas. At a brisk 6 minutes, much of the cartoon's humor comes from Betty's flight in an anthropomorphic airplane (the plane literally "runs" down the runway), but it does include a unique Betty Boop number - the eponymous "A Language All My Own" - and plenty of classic Betty dance moves onstage.

A very fun opening to what promised to be an exciting weekend.

The Gold Diggers (1923)

Warner Bros.

Director: Harry Beaumont

Betty Boop was immediately followed by this light and airy rom-com, a film long thought lost until four of its six reels were found in the back of an old van a few years ago. Newly restored, and very likely premiering for the first time since its original 1923 release, The Gold Diggers tells the story of Wally Saunders (John Harron) who has fallen madly in love with chorus girl Violet Dayne (Anne Cornwall) and wants to marry her. Unfortunately, Wally's rich uncle and guardian, Stephen Lee (Wyndham Standing) pulls the plug on that dream - all chorus girls are ruthless gold diggers, after all - and he forbids the union.

Heartbroken, Violet turns to her best friend and fellow chorus girl, Jerry La Mar (Hope Hampton) who decides to show Uncle Stephen what a real gold digger is. Maybe once he falls for one himself, the stubborn old codger will realize Violet is truly in love with Wally, and let the two live happily ever after.

Jerry's plan is brilliant, but one thing she doesn't count on? Falling in love with Stephen herself.

I will admit this was a difficult one for me to follow because it was missing two reels, and even with the intertitles explaining the missing sequences, it felt a little discombobulating. But what did survive was beautifully restored, and it had some great laugh-out-loud moments.

Adventure's End (1937)

Universal Pictures

Director: Arthur Lubin

The last film I watched on opening night was this early, pre-Stagecoach (1939) John Wayne high seas adventure.

Funnily enough, Wayne plays "Duke" Slade, a pearl diver working in the South Pacific, who manages to piss off the locals and escapes their wrath by sneaking aboard a whaling ship docked nearby. Slade is immediately drawn into shipboard drama - the captain is dying and he doesn't want his beloved whaler to fall into the hands of his crafty first mate. He implores Slade to marry his daughter, Janet Drew (Diana Gibson), so he can name Slade his heir, and hand the ship over to the two of them.

Surprisingly (yeah, actually, not surprisingly since Diana Gibson is drop-dead gorgeous), Slade agrees to this mad plan, and he is named captain right before Captain Abner (Montagu Love) passes on.

Does first mate Rand Husk (Moroni Olsen) fall in line with this new arrangement? Of course not. He had his sights set on marrying Janet himself, and he sure as hell isn't reporting to some half-naked bum that clambered onto his ship.

So, Slade sure has his hands full. In addition to a new wife anxious to annul their marriage now that her beloved father has died, he now has to captain a whaler that hasn't caught anything in ages, deal with a mutinous crew, and somehow stop his meddlesome pearl diving partner, Kalo (Paul White), from making things worse.

This really was an adventure, even if a bit *cough* of a stretch when it came to the storyline... a dying captain marries his daughter off to some bedraggled stranger who just climbed aboard his ship? But eh, it is what it is. And the visual effects were spectacular for 1937. Some of the whale chasing sequences were clearly rear projection, but some others were done.... how???

[themovieblogonline]

Called to Duty Review: An Uninspired and Painfully Boring Adventure

Called to Duty, directed by Ashley L. Gibson, claims to take audiences on a thrilling adventure, following a squadron of female Navy air show pilots as they find themselves thrust into combat alongside a male fighter pilot. However, beneath the shiny veneer of military aviation, this film suffers from a painfully generic and tedious plot that does little to engage or inspire. To make matters worse, "Called to Duty" shamelessly rips off Top Gun: Maverick in both content and marketing, leaving viewers with a sense of deja vu and disappointment. Starring Susannah Jane, Brandi Mosko, Cabrina Collesides, Toni Ann Gisondi, and Joseph Baena, the performances fail to elevate the lackluster material, leaving audiences yearning for something more. https://www.youtube.com/watch?v=-1_3DF3NZ0s The Bad: From the opening scene, it becomes painfully evident that Called to Duty brings nothing new to the table in terms of plot. The premise of a group of talented pilots overcoming challenges and forming camaraderie in the face of adversity has been done countless times before. Regrettably, the film makes no effort to reinvent this cliché, resulting in a narrative that feels predictable and uninspired. The character arcs are disappointingly shallow, with no real growth or development throughout the film. We're left with a group of one-dimensional characters who do little to evoke any genuine emotional investment. Adding to the film's lack of originality is its obvious parallel to Top Gun: Maverick. From the core concept of military aviators forming close bonds to the theme of determination and sacrifice, Called to Duty appears to be a mere copycat, without the charm or charisma of the original. Even the poster design is strikingly similar, a blatant attempt to ride on the coattails of its predecessor's success. This lack of creativity leaves one wondering if the filmmakers had any original ideas at all or if they were merely trying to capitalize on the nostalgia of the Top Gun franchise. While the cast does its best with the material given, their efforts cannot save the film from its inherent mediocrity. Susannah Jane, Brandi Mosko, Cabrina Collesides, Toni Ann Gisondi, and Joseph Baena all demonstrate talent, but the poorly written script provides them with limited opportunities to shine. Their interactions lack chemistry, and the dialogue feels forced, contributing to the overall lack of engagement in the film. Furthermore, the film's action sequences fail to impress. For a movie centered around Navy air show pilots engaging in combat, one would expect gripping and intense aerial sequences. However, the action scenes in Called to Duty feel lackluster and unconvincing, lacking the adrenaline-pumping excitement that should accompany such moments. The CGI effects are subpar, and the cinematography does little to enhance the overall visual experience. In comparison to Top Gun: Maverick, which boasts state-of-the-art aerial cinematography, Called to Duty falls woefully short. Beyond its unoriginality and uninspired performances, Called to Duty suffers from pacing issues that make the film feel longer than necessary. Scenes drag on without adding anything substantial to the plot, making the audience feel increasingly detached from the characters and their struggles. The lack of a coherent and engaging story arc leaves the film meandering aimlessly, with no clear sense of direction or purpose. The Good: On a positive note, the film does attempt to highlight the accomplishments of female Navy air show pilots, shedding light on a group often underrepresented in mainstream cinema. However, this small glimmer of good intention cannot salvage the film from its overall lack of creativity and poor execution. Overall: Called to Duty is an unoriginal and tedious film that fails to deliver on its promising premise. From a generic plot to unconvincing action sequences, the movie lacks the excitement and originality it so desperately needed. Additionally, its blatant similarity to Top Gun: Maverick only serves to highlight its lack of originality. Despite the efforts of a talented cast, Called to Duty remains an uninspired and forgettable addition to the military aviation genre. Save your time and money, and opt for a more innovative and gripping film experience instead. Read the full article

[thetoxicgamer]

Finished Dead Space Remake? Try This Free Demake, Available Now

As there have already been some excellent horror games, it goes without saying that Motive's Dead Space Remake is one of my choices for the best horror game of 2023. One developer has released their Dead Space Demake, which is currently free, giving the renowned Ishimura adventure a fresh look. While it may not be the very real Dead Space Remake remake we promised on April 1, Fraser Brumley’s Dead Space Demake is absolutely worth playing. Inspired by the pixelated graphics that define the 90s and early 2000s, the Dead Space Demake sees you traverse the hallowed halls of the once proud Ishimura as a bright orange, glowing Isaac Clarke. The trailer shows off the starting sequence of the game where you collect plasma cutter. Scrawled in blood above the iconic weapon is the ominous “cut off the limbs,” and when you raise it to cut off said alien limbs your met with an aqua, binary UI. Pull the trigger, and a loud ‘pew’ echoes off of the ship’s metallic walls, with the laser looking like it’s straight out of Tron’s Grid. As the next door opens we catch a glimpse of the Necromorph, which somehow looks even more like a mound of twisted flesh because of how pixelated it is. As it lumbers towards Isaac with a warped, twisted expression, he lasers off its limbs, reducing it to a bright red mound of flesh and bone on the floor before the trailer returns to its starting point. https://twitter.com/brumley53/status/1644730400126959618 I was terrified of Dead Space as a kid, and reliving that terror as an adult with the remake was so much fun. Weirdly, the demake feels even more creepy to me, because while graphically it can’t compare to Motive’s, there’s something so unsettling about a huge mound of square flesh launching itself at you out of the shadowless dark. For avid fans of the series, this is an absolute must – but even if you love a good demake, I’d consider taking this for a spin, too. The Dead Space Demake released on April 10, and can be downloaded on itch.io. You can follow Brumley there, too. If you haven’t played the Dead Space Remake (there’s a lot of ‘makes’ here) then be sure to load up the best Dead Space Remake settings so that you’re suitably terrified. If you’re a lover of that retro style because, let’s face it, games aren’t as good as they were in the ’90s, we have a list of the best old games and PC classics to keep you entertained. Read the full article

[academyguide]

Among the most famous children's book writer today is a British woman named Joanna Kathleen Rowling. This lady, in my opinion, is one of the greatest storytellers of our time. She was the one who brought us the amazing wizarding world of the wizard kid extraordinaire named Harry Potter, the boy who lived.Quite aptly, I first got wind of the "Boy Who Loved" from a kid. I just finished college and was tutoring some brats when one of the said brats excitedly told me about a boy who have these amazing adventures in a school where magic was always the order of the day. Back then, I just smiled at the brat, nodded my head condescendingly, and told her to continue studying for her spelling test the next day. Well, what was I supposed to do? I was still an unenlightened muggle back then that I know Hermione would have forgiven me for my snobbery. A few months after that, one of my childhood friends excitedly handed me a book that looked suspiciously like it belonged to an encyclopedia collection. She was animatedly mumbling things like "wizard", "orphan", "spells", and "witchcraft magic" all in the same breath that I accepted the book just so she would stop babbling. And since I have never been picky when it comes to reading materials, I gladly promised her that I would check the book. So, I read the book that very night. And boy, was I surprised! Stunned! Astounded! Taken aback! The minute I opened the book and read the first page, I was hooked. I gobbled the book in just one day. (What about sleep, you ask? What "sleep"? The concept flew right out of my head when I read the word "wizard".) And by the time I got to the last page, I was grinning like I was under a laughing spell or something. I loved both the quirky and scary teachers of Hogwarts, I so wanted to hug Hagrid, and I was absolutely awed by their headmaster. And I felt so involved in the story that I really thought I would be seeing a real fire-breathing dragon flying by my window that night.Oh yeah, I forgot to mention that the first book in the series that I got to read was the fourth book. Well, never you mind that. Not being able to read the series in the correct sequence did not diminish any of its greatness for me. And years after I have had that first glimpse of Harry's world, the memory of it still has the power to make me giggle like a little kid. Witchcraft magic, spells, dragons, goblins, ghouls, dark wizards, magic wands, and flying broomsticks...what more could anybody wish for? And now, in between 'The Journey to Trad Witchcraft by Adrian Eglinton'wi and The Vampire Chronicles by Anne Rice, I still find myself browsing through Ms. Rowling's brilliant masterpiece sometimes. Well, real or not, I'm glad I got acquainted with Harry Potter's magical world where pictures are like movies without sound and people could travel by just touching a smelly old boot. Source by Alice Jones

[crusherthedoctor]

Can you list anything you unironically like in the games (and cartoons and comics) that you don't like?

I won't bother mentioning music, since that goes without saying and is to be expected for a Sonic game... unless you're Chronicles.

Sonic Adventure 2 (mixed gameplay-wise, annoying story-wise) - While I prefer Sonic's SA1 levels for a number of reasons, I still think his and Shadow's gameplay in SA2 is fun on its own merit. I also don't mind the treasure hunting gameplay returning or how big the levels are this time around, since Knuckles and Rouge are still fast and not '06 levels of slow. It's mainly the gimped radar that creates the unfortunate domino effect of making them a problem.

- Introduced Rouge, one of my favourite characters for how playful she is and how she's a lot more nuanced and intelligent than you'd expect.

- Some genuinely good scenes, like Eggman's trap on the A.R.K and Sonic escaping from the G.U.N. helicopter.

- Had some good ideas going for it, like the Pyramid Base and the Biolizard as a scientific monster instead of an ancient one.

- Despite my thoughts on the backstory itself (or rather, its execution), Shadow has enough depth and subtle qualities and occasional unintended hilarity to stand out from the typical dark rival characters you see in media.

- The Last Scene's music in particular is one of my favourite cutscene tracks in the series.

Sonic Heroes (mixed gameplay-wise, loathed story-wise) - The gameplay is fun when you're not being screwed over by repetitive combat, overly long levels and/or ice physics.

- Boasts some of the most consistently Genesis-worthy environments in the 3D games, up there with SA1's and Colours'.

- The in-game dialogue that isn't the same tutorial drivel repeated ad nauseam can be interesting, funny, etc.

- Reintroduced the Chaotix, which provided me with another character I quite like in the form of Vector.

- Bringing Metal Sonic back in full force and front and center in the plot after a long absence (not counting cameos and the like) is a perfectly fine idea. Just... not like this.

Sonic Battle (decent yet repetitive gameplay, mixed story-wise) - Emerl's arc is compelling, and it earns the emotional weight of having to put him down at the end.

- While some characters are iffy (read: Amy), other characters are extremely well-handled. Shadow is probably the prime example.

- Gamma's belly dance healing animation is fucking hilarious.

- When I was young, and the game was first announced, I was really excited about being able to play as Chaos. This proved to be my downfall when it turned out he was arguably one of the worst characters in the game due to being slower than me during the writing process, but I still recall that excitement fondly.

Shadow the Hedgehog (comedy classic) - The sheer amount of legendary stupidity this game has going for it makes it practically impossible to actually hate. It helps that it's not quite as white-knighted on the same level as '06... usually. You know you're in for a unique experience when you hear a gunshot every time you click something in the menu.

- By extension, Black Doom never gained an unironic fanbase like Mephiles/Scourge/Eggman Nega did, which means I'm a lot more willing to take Doom's dumbass brand of villainy in stride. He even has a unique design... a terrible one that rips off Wizeman granted, but alas, even that is a step-up from Fridge Shadow and Bumblebee Eggman.

- Despite being... well, Shadow the Hedgehog, some of the environments would fit right in with any other Sonic game, like with Circus Park, Lava Shelter, and Digital Circuit. Even the Black Comet levels look pretty cool.

- This game understands amnesia better than IDW does.

Sonic '06 (what do you think?) - The obvious one: Shadow's character was handled pretty well, even if it came at the cost of everyone else being a dummy and being forced to interact with Mephiles.

- Like SA2, there are some good moments, like the Last Story ending sequence with Sonic and Elise.

- In the greatest form of irony ever, I like Solaris as a concept and design(s), and its backstory has potential to serve as a parallel with Chaos without being a complete ripoff. Iblis sucks, Mephiles sucks, but I'm fine with Solaris.

- Introduced legendary characters like Sonic Man, Pele the Beloved Dog, Hatsun the Pigeon, and Pacha from The Emperor's New Groove.

The Rivals duology (apathetic outside of Nega-related grumbling) - There were some cool zone ideas in both games that were sadly let down by the restrictive and limiting gameplay. I particularly like Colosseum Highway for thus far being the only full-on Roman level in the series instead of merely having a couple minor hints of Roman, and Meteor Base for the unique scenario of the space station being built into an asteroid. These level concepts and others deserve a second chance IMO. (At least Frontier Canyon got a second chance in the form of Mirage Saloon, amirite?)

- Ifrit has a better design than Iblis. Not saying it's amazing, but the Firebird motif it has going on is a lot more interesting for a fire monster than the Not-Chaos schtick they had with Iblis.

Sonic and the Secret Rings (a very frustrating gaming experience) - Erazor Djinn, A.K.A. Qui-Gon Djinn, A.K.A. Dr. N. Djinn, A.K.A. I'll Take It On The Djinn, A.K.A. Not From The Hairs On My Djinny Djinn Djinn, is one of the best villains not associated with Eggman in the series. He's a Mephiles-type character done right, and there's actual weight and reason to his actions, however sinister or petty.

- I don't have strong opinions either way on Shahra as a character, but the Sonic/Shahra friendship is sweet and well-handled.

- The ending is one of Sonic's greatest moments. The sheer contrast between how ruthlessly he deals with Erazor and how comforting he is towards Shahra speaks volumes... Still gonna make fun of the mountain of handkerchiefs though. (Before anyone lectures me, I understand the significance of it and can even appreciate it from that angle... doesn't mean I'm not allowed to poke fun at it. :P)

- Another game with some redeeming environments. I love the aesthetic of Night Palace, and Sand Oasis looks gorgeous too.

Sonic Chronicles (my personal least favourite game in the series) - Uh...

- Um...

- Er...

- I like Shade's design?

Sonic Unleashed (overrated game and story IMO) - The obvious two: the opening sequence and the Egg Dragoon fight deserve all the praise they get.

- Seeing Eggmanland come to life was an impressive moment to be sure. While part of me does feel it didn't quite measure up to what I had in mind (ironically, the Interstellar Amusement Park ended up being closer to what I had in mind), it still looks badass and works well for what it is. I also don't mind the idea of it being a one-level gauntlet... key word being idea.

- Obviously, the game looks great. Not a fan of the real world focus (real world inspiration is fine, but copy-pasting the real world and shoving loops in it is just unimaginative), but it can't be denied that the environments look good.

- This game pulled off dialogue options a lot better than Chronicles did, since they didn't rely on making Sonic OoC.

Sonic and the Black Knight (just kind of boring all around) - Despite my gripes with the story (Merlina wasn't nearly as fleshed out as her unique anti-villain status deserved, which ends up severely undermining the ambition of the plot in more ways than one, and the other characters go from being useless yes men for King Arthur to being useless yes men for Sonic), I will admit it provides interesting insight into Sonic's character.

- Like '06 and Secret Rings, the ending is very nice... well, aside from Amy being an unreasonable bitch ala Sonic X at the very end.

Sonic the Hedgehog 4 (apathetic) - The admittedly few new concepts sprinkled within had promise. They may not have been as fleshed out as they could have been, but level concepts like Sylvania Castle and White Park, bosses like Egg Serpentleaf and the Egg Heart, and story beats like the Death Egg mk.II being powered by Little Planet, all could have been brilliant had they been better executed.

SatAM (apathetic outside of SatAM Robotnik-related grumbling) - I'm not a fan of the environments on the whole due to them looking too bland or samey, but there are some exceptions that look pleasant or interesting, like the Void.

Sonic Underground (apathetic) - The character designs make me feel better about myself.

- Does "large quantities of unintentional meme material" count as a positive?

Sonic X (mostly apathetic outside of Eggman's handling) - Helen was a better human character and audience surrogate in her one focus episode than Chris was throughout his entire runtime.

- Actually, most of the human characters not named Chris were legitimately likable. Including everyone in Chris' own family not named Chris. Hilarious.

- Despite arguably having the most Chris in it, I actually don't mind the first season that much, partly due to slight nostalgia from seeing it on TV when it was new, but mostly because Eggman actually acted like a villain for the most part, and certain other characters weren't quite as flanderized yet. It's season 2 and onwards where things started going off the rails IMO. (Incidentally, Helen's episode was part of season 1...)

The Boom franchise (apathetic) - Along with Chronicles, the games provide yet more proof that just because someone isn't SEGA/Sonic Team, that doesn't mean they're automatically more qualified to handle the series.

- The show had some good episodes here and there, and Tails' characterization was probably the most consistently on-point out of the cast.

- Despite not exactly being favourite portrayals for either character, even I'll admit that many of Knuckles and Eggman's lines in the show on their own were genuinely funny.

Archie Sonic (pre-reboot is mostly terrible, post-reboot is mostly... bland) - Whenever I doubt myself as a writer, I think back to Ken Penders, and suddenly I'm filled with a lot more confidence.

Sonic the Comic (apathetic) - Fleetway isn't a comic I tend to recall much of aside from how much of a loathesome cunt Sonic is, but IIRC, Robotnik's portrayal is pretty good. Different, but good.

IDW Sonic (stop pissing me off, comic) - Putting their handling aside (and being too obviously "inspired" by MGS in the latter's case), Tangle and Whisper are good characters IMO.

- Same goes for Starline, before he was killed off-screen and replaced with Toothpaste Snively.

- Execution aside (noticing a pattern?), the zombot virus was a fine concept on its own and an interesting new scheme for Eggman.

- I get to remind myself that I've never drawn scat edits and posted them publicly on Twitter.

#Crusher's Asks #Opinion #Sonic the Hedgehog #Sonic Adventure 2 #Sonic Battle #Shadow the Hedgehog #Sonic the Hedgehog 2006 #Sonic Rivals #Sonic and the Secret Rings #Sonic Chronicles: The Dark Brotherhood #Sonic Unleashed #Sonic and the Black Knight #Sonic the Hedgehog 4 #Sonic SatAM #Sonic Underground #Sonic X #Sonic Boom #Archie Sonic #Sonic the Comic #IDW Sonic

[diavolodigitale]

Dream Sequence. Lucio

It’s been a while since I had so much fun writing something. No plot, really, it’s a pretty light read and I am proud of it.

All parts of the trilogy: Lucio - Asra - Julian - All stories in PDF

A part of the "trilogy" about dream encounters dedicated to Lucio (because I love him, apparently). Nothing special, just You (or the Apprentice, or the Reader, however you view it) and Lucio spending some time together (if you know what I mean, which you probably don't, so go ahead and read it, it's pretty short, I promise). My character was male, but you are free to imagine whoever you want since there are no references to it in the text.

Genres: Romance, Fluff, Humor, Dreams, POV First Person, One-shot, Light-hearted

Pairing: Lucio/Apprentice(or Reader or You or Whatever)

Characters: Lucio, Reader/Apprentice/You

Rating: G for Geez that’s a good story

Size: around 2500 words

I open my eyes and look around. The room I am in is quite spacious. Despite barely containing any decorations or even furniture, somehow it still feels inviting and cosy. It is dimly lit, the only light sources that I can spot are a few candles standing here and there.

Suddenly, I hear a loud thud, as if something heavy fell on the floor, and I hastily turn around to investigate. I immediately spot an empty decanter lying on the ground at the leg of an old wooden table and a figure crouching beside it. The figure looks like it’s glowing in the darkness of the room because everything about it is so brightly white.

“Didn’t mean to scare you,” says Lucio awkwardly and stands up, cradling the decanter in his arms. “Or did I?” he immediately proceeds to ask, roguish smile plastered on his face.

I smile in return and shake my head. This is probably another dream we’re sharing. It happened a few times before. There is no logical end to it, no specific purpose, nothing. We just seem to linger in an accidental place, surrounded by whimsical decorations or nothing at all, until one of us wakes up and cuts the ties to this place rendering it forever lost in time and space. I suppose it has something to do with our connection as the spirit of Lucio seems to be drawn to me whenever I slip out from the deep slumber and see dreams.  

“And why would you want to do that?” I ask and cross my arms, raising my eyebrow inquiringly.

“Isn’t it obvious? If you’re scared, you will seek my protection and want to hold hands. Maybe, even more than that,” he responds without even a hint of embarrassment and casually puts the decanter back on the table.

“Oh, you would need to do more than that to scare me, don’t you know?” I say playfully. This encounter doesn’t seem to differ much those we usually have, so I decide to behave as I always do around him.

“What a shame…” he says and pouts, hardly being able to supress his impish smile. “I was hoping I could find a reason to hold you.”

“Since when do you need a reason to do that?” I ask as he slowly approaches, his walk as gracious as ever.

“Huh, true,” he says and grins, now standing much closer to me. There is not enough light in the room for me to see the features of his face clearly, but I am nevertheless able to spot the playful glim in his eyes.

“What do you feel like doing this time?” I ask more seriously. We’ve been on quite a few thrilling trips in my dreams as they are often filled with peculiar apparitions and location, but right now I cannot find anything that could interest Lucio with his insatiable appetite for adventures.

“Hm…” He puts an index finger to his lips and musingly looks around. As I expected, nothing in the room is able to pique his curiosity so his gaze wanders back to me.

“I have an idea,” he says mischievously and immediately covers my eyes with his hand for a second. When his hand is removed, the only thing I can see is complete darkness.

Intrigued, I summon a small glowing orb to light up the place. To my surprise, we are in a completely different room that resembles a closet more than anything else. The place is a tight squeeze, with Lucio standing right before me and the orb hovering above us. Though we’re not actually close enough to be touching, there is hardly enough room to move around at all.

The room quickly fills with heat and I feel my head spinning. The feeling of almost tangible warmth around me reminds me of the time I first met Lucio. His presence had the same effect on his surroundings, which seems to be the sign of him being agitated or excited about something. My gaze is wandering from his jawline to collarbone and back since I don’t want to stare him directly in the eyes. Lucio might be shameless, but I immediately feel flustered in such a situation.

“You are quite a fast learner,” I say nonchalantly, looking up for a split second. He grins even more, flattered by my words.

In spite of his utter incapability when it came to using magic in the real world, he somehow was able to learn to manipulate matter in my dreams quite easily. There was rarely a need for him to resort to this skill, but his still tried to use every opportunity he had to give it a try.

“I can do many more things,” he says and moves closer to me, resting his heavy gilded hand against the wall right above my head and leaning a bit closer. “You know, I am very talented.”

I nod and look down. The orb illuminates every little detail of his face, and I am afraid he is provided with the same sight of mine, so I do my best to hide my flustered expression. I find the position we are in uncomfortable, but I am also curios to see what he has on his mind.

Lucio leans even closer, propped up on his arm, and starts whispering into my ear.

“Have any plans for tonight?” he asks, his eyes narrowed in a cunning smile.

“No, not that I am aware of at least,” I reply. “What are you up to?”

“Well, I was thinking we might find a monstrous beast for me to slay…” he whispers, tickling my ear with his warm breath, “I would look exceptionally good swinging its ugly head left and right, with a few light wounds here and there and covered in its blood. Or we might show up to an extravagant ball and have the time of our lives there. We could demonstrate the public our best, most elaborate dance, and they would cheer and applaud, flabbergasted at our awesomeness and grace.”

I chuckle a bit at how unsurprisingly flashy his suggestions are. But it is usually my job to tease him, so I can’t let him beat me so easily, even if I seem to be much less at ease in such… circumstances.

“Your idea certainly sounds entertaining,” I mutter and slide my hand down his side and onto his waist.

“Wh– which one exactly?” he asks, visibly taken aback by my display of interest.

“Both of them, actually,” I say, as my hand wraps around him and pulls him a tad closer.

Lucio’s face blossoms with light-pink and he lets out his breath with a loud sigh. The air of confidence he always has around him disperses in a matter of seconds every time I unexpectedly agree to play by his rules. He just cannot get used to it for some reason.

“And… which one would you chose?” he asks carefully, moving away from my red ear to steal a glance at my face. He is a bit taller than me and stands so close that it’s hard for me to look at anything else except for his squinted eyes and blond locks of hair framing his face.

I pull him even closer, pressing him to me and squeezing his side, and rest my other hand on his cheek. His face is growing redder every second and he starts to squirm a little, trying to avoid my gaze and the intimacy he seems to still secretly enjoy.

“I believe, I have an even better idea,” I say, smiling, and raise my hand to cover his eyes for a split second.

Before he has the time to protest, we are back in the room we first appeared and it is hardly different from the way we left it. I release him from my grip and give him a light push on the chest. With nothing to grab on his way down, he helplessly falls onto the bed behind him, a startled “Ah!” escaping his lips.

I smile, savouring the look of surprise on his face, and approach the bed.

Lucio is flushed but doesn’t seem to mind losing control over the situation. Invitingly, he reaches out with his hand to me, but I shake my head and climb on the bead on top of him without his help.

The bed is incredibly soft so I doubt he felt any discomfort landing on it. It reminds me of the one I saw in Lucio’s old chambers, only in its pre-catastrophic state. The cover is pleasant to the touch and seems to be crimson, but it’s difficult to discern the colour in almost complete absence of light in the room.

“You’ve got something red on your cheeks,” I say playfully and run my hand over the side of his face. It’s warm, hot even, and I feel the muscles twitch on his face as he smiles at me.

“Oh, it’s nothing,” he says casually, “when I felt you were here, I ran with all my might to get to you as fast as I could (and had to cover infinitesimal distances, of course) so now I might feel a little too warm.”

I quickly land a kiss on each of his cheeks, pressing him more with the weight of my body, and he laughs merrily, trying to catch my hands in the process.

“There’s something here as well,” I say and kiss Lucio on the tip of his nose.

He tries to escape my touch and turns away, giggling, so I kiss his ear shell which is even redder than his face now.

He struggles playfully a bit, but it doesn’t feel like he really wants to win this fight. I stop to look at him, and he returns my glance without a second thought. His hands are resting on my thighs and he moves them up and down carefully.

“You’re as light as a feather,” he notes, tilting his head, “we need to start feeding you properly. What is your favourite food?”

I take a second to consider my answer.

“Bread. With spices,” I reply, remembering fondly the times Asra and I would go to the bakery near our shop and enjoy the heavenly taste of freshly baked bread.

“Then it’s decided!” says Lucio excitedly and lands his hands on my thighs with a clap. “When I’m officially reinstated as the Count, I’m going to buy you all of the bread I can find! No, the whole stall! No, wait, the whole street! I will buy you a whole street worth of shops with all the bakeries you want!”

I cannot help but laugh at how foolishly he behaves. He pouts and turns away, trying to pretend that he lost interest in me.

“Okay, I’m sorry, I’m sorry,�� I say, still laughing. “I am truly sorry, Your Highness. How could I ever make up to what I have done?” I ask inquisitively, observing his face.

Lucio’s eyes spark with mischief again and he pretends to be thoughtful before proceeding to say what has been on his mind, perhaps, this whole time.

“I might forgive you if you lend me a hand for something. There seems to be something wrong with me…” he says worriedly, but I am not buying into his act. “Something wrong…” he repeats, slyness becoming visible through his cracked façade of seriousness. “It’s become so hard to breathe, I am almost suffocating… Could you please help me with this problem? Pretty please?” he says and dramatically rests his hand on his neck. I look into his eyes full of fake innocence and nod with understanding.

Lucio moves his hand away and starts watching me with unhidden curiosity and excitement. I carefully touch his chest which is rising and falling steadily and, to my surprise, notice, that his coat is buttoned up more than usually. It even makes me think that it really might be hard for him to breathe as he is definitely not used to walking around like this.

I go ahead and start untangling the lace that holds his cloak. I feel soft fur brushing against my hand as I purposefully tinker with the clasp much longer than is really needed. Lucio is growing visibly impatient but seems to do his best not to hurry me. I, in turn, try to hold back my laughter.

Having delt with the cloak, I proceed to unbutton his jacket. The fabric is very delicate, and I again take my time to tease him instead of just dealing with it quickly.

Lucio loses what was left of his patience and opens his mouth with a frown of unsatisfaction.

“What’s taking you so long?”

I look up at him as if he was a child with which I had to reason.

“We wouldn’t want to damage your magnificent attire, would we?” I ask and airily brush my finger against his bare chest that is now partly exposed. “Better proceed carefully.”

He flushes again because of my touch and appears to be at a loss for words. In the end, he just swallows loudly and pretends he did not want to say anything in the first place.

I occupy myself with the buttons again, and this time he waits almost patiently until I finish torturing him. Every time I “accidentally” land my hand on his skin instead of the soft fabric, I feel his pulse quickening, and every time I am forced to bite on my lip to hold back my treacherous smile.

Once I am done, Lucio exhales with relief. I don’t know what he expects me to do next, but suddenly an idea flashes in my mind and I already know I just have to do it.

With his eyes half shut and mouth a little agape, he watches as I delicately lay my hands on his sides and stroke him. It looks like he wants to say something, but I don’t give him a chance as I begin to tickle him violently, running my fingers along the skin between his ribs.

Lucio struggles and kicks below me but cannot do anything to escape my attack. He breathes erratically and I hear his muffled giggling when he jerks up from the bed and presses his body against mine to give me no room for movements. I decide to spare him and hug him instead, wrapping my hands around his neck.

“Well, that didn’t help me at all!” he exclaims jokingly, hugging me back and burying his face near my collarbone. His gilded hand is stroking my back and it feels a bit ticklish because of how sharp the tips of his fingers are, but I decide not to complain as it is more pleasant than anything.

I nestle closer and start twirling a strand of his hair around my finger. He has calmed down and I can hear him breathing steadily against my chest.

“I wish we could sit like this forever,” he says quietly.

“And who told you we can’t?” I ask, and he looks up at me, astonished and puzzled. “Show me who said that and I’ll give them a nice thrashing!” I say and it makes him laugh again.

“Not if I do that first!” he exclaims and plops back onto the bed with me startled but still securely held in his arms.

“I’ll be there to watch then,” I say, resting my chin on my arms crossed on top of his chest.

“Of course, you will! Why else would I do that?” he asks with indignation. “You just watch me. Don’t watch anybody else, just me, okay?”

“Oh, I would never…”

#The Arcana #Arcana #Fanfiction #Fiction #Lucio #lucio x reader #lucio romance #romance #Fluff #Humor #pov first person #Dream Sequence Trilogy

[mst3kproject]

The Giant of Marathon

For some reason, probably because I've seen them all so many times, I thought I'd already done all four Film Crew episodes.  Evidently this is not true.  Here's one, and if you haven't seen it... wow, Mr. Honcho was not exaggerating about the thousands of sweaty men.

Philippides of Athens is the greatest athlete there is, having won the entire Olympics. With the games over, he returns to his day job as commander of the Athenian city guard.  Followers of Hippias the exiled tyrant are plotting to take control of the city with help from the invading Persians, and they try to seduce Philippides to their cause by offering him wine, women, and homoerotic wrestling (it was ancient Greece, after all).  Philippides refuses to be seduced, and sets off to secure the help of Athens' old enemy Sparta in opposing the Persians.  His mission is a success, but upon his return a spy tells him that the Persians are planning a sneak attack on the harbour of Piraeus.  Can even Philippides get there in time to deliver the warning?

I don't actually know if it were possible to win the entire Olympics in ancient Greece.  I know there were several events and at least one of them involved reciting poetry.  The Battle of Marathon was in 490 BC and a table on Wikipedia suggests that there could have been up to twelve different sports, but some of them were only for children.

The Giant of Marathon touts itself as a tale of epic battles, daring deeds, and political machinations.  I'll get back to the epic battles and daring deeds, but what stands in for the political machinations is mostly a bunch of people pining.  Unimpressive villain Theocritus is pining for the beautiful Andromeda, whose father has promised her to him but she thinks he's a dick.  She's pining for Philippides, who is also pining for her but thinks she's one of Hippias' followers, so refuses to speak to her.  Meanwhile Theocritus' concubine Charis is also pining for Philippides because he's the only man who ever refused to fuck her, I think.

These relationships are important to the plot, too.  Andromeda's love for Philippides is one of the reasons her father refuses to join the traitors, and when Theocritus realizes he cannot have her, he ties her to the prow of his ship to force Philippides to watch her die.  Charis' crush on Philippides leads her to her death, as she is executed for spying.  Yet none of it is ever developed beyond 'these two pretty people saw each other and now they want to bone'.  Philippides declares his love for Andromeda after a single five-minute interaction.  Charis has seen Philippides twice, and both times it went badly, when she decides to betray Theocritus.

Why do the writers hang such important plot points on the 'love' between people who have barely spoken to each other?  I can't decide if it's because they're lazy, or because they're hacks, and I lean towards a combination of the two.  There is absolutely no subtlety to the writing in The Giant of Marathon at all.  Everything is told, not shown.  We know that Theocritus and Creusus are traitors because they talk about it, in dialogue that's clearly written for the audience, not as anything that sounds like a natural conversation. We know that Charis and Andromeda are both in love with Philippides because they say so.  The only thing we're really shown is that Andromeda hates Theocritus, which comes through in her body language (though we are also very much told), so props to actress Mylène Demongeot for that much.

The movie doesn't care about any of this character stuff, anyway.  It just wants to get straight to those epic battle scenes, and it's very obvious how much work and time went into those as opposed to everything else.  The battles are lengthy and elaborate, full of impressive stunts and props and miniatures being destroyed all over the place.  We get to see Persian chariots run down Greek infantry, and while I'm pretty sure this would have been orchestrated so the stuntmen didn't get hurt, I'm not nearly so confident about the unfortunate horses (and neither was Bill).  There are ships in flames and injured men screaming as they fall overboard.  There are even some pretty good deaths, like the guy who was hit in the eye with an arrow.  The desperate last stand of the city guard against the entire Persian fleet, with the Spartans arriving just in time to save the day, is very tense indeed.

I get the impression that this is what somebody really wanted to put on screen, and they did a decent job of it, but pretty much the entire rest of what ought to be the story is just an accessory to the fighting stuff.  It's as if the film-makers wanted so badly for their fight sequences to be epic that they forgot what makes epic-ness – which is the characters and their stake in the events. We don't know any of these people, none of them have anything we might call a personality trait, and so we don't care.

The focus on how epic it all is makes I seem a little strange that the battle ends on a shot of dead Persian guys floating in the water. You'd think they'd want to end with something that more decisively shows the Athenian victory, maybe the men cheering as the Persian ships turn around and flee.  Or perhaps some kind of victory celebration, which could mirror the celebration of Philippides winning the Olympics in the opening and call back to the scene where Philippides asks the goddess Athena to protect her city.

Instead, we cut to a shot of Philippides and Andromeda walking across the farmland together.  This feels a little too sudden, and is also a poor fit with the rest of the movie.  The only time we've seen Philippides on his farm is when he's gotten disgusted with the politics of Athens and returned to the countryside to sulk.  If the farm is supposed to be a place where he's happy and at peace, the movie never establishes it.

So that's political machinations and epic battle sequences, let's talk about some daring deeds.

Unlike the Hercules and Maciste movies we've seen in the past, The Giant of Marathon wants to be grounded in real-life history.  This means that while the script does reference gods and mythical heroes, none of them ever appear and there is no hint of them working behind the scenes to bring events about.  Likewise, Philippides is not a demigod, so we avoid several of the tropes associated with the genre.  Nothing important ever happens (or fails to happen) because the hero was asleep, and he never bends prison bars or drinks a love potion – although a love potion is mentioned, as if to draw attention to this.

This doesn't leave Philippides a whole lot of scope for daring deeds, and when they try the results are a little lackluster.  His main feat is, of course, running all the way from Marathon to Athens (the proverbial forty-two kilometres) to let them know of the impending attack, but while this ought to be the highlight of the movie it's shot in terrible day-for-night and we have nothing to suggest how far this is... I think the writers just assumed everybody knows the length of a marathon.  If we'd seen the army tired from making the march earlier, we would have a better sense of it being a long and tiring journey even at a walk or with horses, and it would seem that much more formidable as a distance for one man to cover before sunrise.  Of course, showing us these things is apparently beyond the scope of The Giant of Marathon's writers, but you'd think they could at least have a character say something like, “it's twenty-six miles!  He'll never make it!”

His other major daring deed is when he pushes giant boulders down a hill onto the attacking Persians.  This is kind of weird because Philippides is not Hercules or Maciste.  He's good at track and field, but we haven't seen any evidence of him having godlike strength, and this is a universe where gods don't seem to do much anyway, so it comes out of nowhere.  The rocks are huge – there are similarly-sized ones at the park near my house and I know one guy couldn't move them no matter how buff he might be.  Did somebody just forget that they weren't making a Hercules movie?

Between the battles and the various plot twists, The Giant of Marathon could have been a pretty fun sword-and-sandal movie, but it's like a tower without a foundation.  The fights have nothing to hold them up, so we just can't get into it. Also, what the Underworld happened to Hippias? We see him once, chatting with the king of Persia, and then he vanishes and the movie decides weaselly little Theocritus is the big bad instead. I'm sorry, but if you've got a character with a name as cool as 'Hippias the Tyrant', you really can't just drop him like that.

The Best Brains liked to complain about the tinyness of the costumes in these movies but honestly, nothing here is as off-putting as actual ancient Greek sports would have been to the modern viewer.  When I was in university I TA'd for a course called Introduction to Greco-Roman Civilization. It was an adventure in several ways – the students were mostly dumb freshmen who spent the lectures playing Farmville, and the professor didn't give a shit because she'd just been denied tenure.  I don't know how much anybody learned in that class, but I'm sure they all recall how, after the professor told us that Greek athletes stripped naked and covered themselves in olive oil before wrestling, somebody raised a hand and asked if they removed their body hair.  The professor cheerfully told him that they did not, so next time we see a Greek vase we ought to remember that these guys were much sweatier, oilier, and hairier than terra cotta can possibly convey.

#mst3k #reviews #episodes that never were #the battle of marathon #the film crew #50s #my cheese steak

[dipperdogrpg]

Cloud and Aerith theories/facts and not canon pairing essay

Ended up writing way more then intended lol and thought to share what’s  happening in the FF7 story between Cloud and Aerith. This is a response text I did on my youtube channel where I do commentary as a Cloti supporter. Instead I decided to move it here.

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Wahh lol I got carried away! I enjoyed but also felt bad for Cloud having to dance at the Honey Bee thanks to Aerith and her plans. Gosh darn it though Cloud dancing was great and I squealed along with Aerith, but a tinge of guilt hits when I see his troubled face haha. The thing people confuses here is that Cloud pushes himself to do it for Tifa because he was ready to walk away. Instead of busting through the mansion he sucked it up to ensure Tifa’s safety and chose to sneak inside as a woman.

Yes, I’m also very curious how Sephiroth's schemes will develop and how Aerith will try to stop him in Remake. She's much more focused on Sephiroth and stopping him compared in OG. In the other game Aerith originally joined to understand her Cetra abilities, but it feels pretty evident she has new mysterious powers as a Cetra in Remake and her relationship with Sephiroth is more personal. Also, I think Sephiroth and Aerith’s ancestry will have a bigger role and focus on Jenova and the Cetra's relationship/History. I plan to do an Aerith Theory and a character analysis in the future because she is, as the developers describe her, mysterious. 

It's obvious Sephiroth is harassing Cloud mentally then later physically through his clones. He is scheming something big and I look forward how Aerith will try to counter it because she is probably the only one capable to do it as a Cetra. One of the big schemes was removing the Arbiters of fate, but I think they both wanted that. Both Sephiroth and Aerith want to change something that doesn’t fit with the planet’s “destined” agenda.

In Max's commentary he mentioned Sephiroth was intentional with stalling Cloud running into Aerith, which caused a butterfly effect to ruin the events the planet has planned. While it tries to fix itself, the party are becoming aware of the Arbiters of Fate existence and sees it as a problem. At the end the team removes it when Sephiroth had some control in manipulating it. Its been mentioned the three figures you fight are a representation of the three sephiroth remnants from AC, Kadaj, Loz and Yazoo. So maybe we are getting hints of Sephiroth's abilities with the clones and the lifestream which could lead to some complicated trouble. We also get evidence Aerith is already more powerful than her Og counterpart by creating the portal to fight the Arbitors. When the heck did she learn that? 

My theory about removing the arbitors of fate are so the creators can have wiggle room for slight variation in scenes they've considered fixing in the past to improve a more consistent story and of course a new way for Sephiroth to exercise his goal along with Aerith because definitely getting hints those two know more then they should. My theory, they are from the future and traveled to the past using the Life stream and I’m using the OTWTS Novel as evidence when Aerith and Sephiroth talk about their time in the Life Stream. In there they gained new powers. Evidence- Sephiroth talks about it at the temple of ancients and that he gained new knowledge from there, so why not Aerith too. Either way the party will stop him at the end with Aerith's help because her role in the story is to save the world while Tifa's role is to save Cloud. That is a canon statement by one of the developers btw. Aerith and Tifa have their roles to play in FF7 that lead to its success.

Fun fact, but Cloud is not himself with Aerith. The developers did say Cloud truly is himself with Tifa. Why? because love. Now, the cool thing in Remake we are witnessing is Cloud learning how to make friends. A poor social skill set that may have contributed with his insecurity when he was a child. Wanting to join tifa and her friends but instead stayed away. To make himself feel better he makes up a story that he chose not to play with the other kids because he is special. In FF7 we get to witness Cloud learning these relationship skills, which helps develop his character to grow up until we get to the Lifestream sequence. It's after that he can stop pretending to be what he think is the ideal cool grown up version of himself and instead work on his real self with the new bonds of friendship he made who stuck around Cloud regardless of him pretending to act as someone else during their adventure. Cloud is still Cloud. Even with the messed up memories he had. He is not Zack. He is like a little boy picking up traits he likes from other people and mimic them. Very confused why people think he is Zack. He’s not. He is Cloud trying to be cool and does it poorly. That’s a canon thing.

Soldier Cloud is a facade, an illusion of himself he truly believed in until he sorted out his memories and realized "oh I'm not being myself and just mimicking what would Zack do. A friend I look up to"  It's been pointed out Cloud isn't actually grown up mentally and is still a child with insecurity about himself along with 5 years of trauma thanks to Hojo. Poor BABY! This whole copy/mimic theme gets reflected with the kids in sector 8 that mimic Cloud in remake over time during the side quests. Cloud is doing the same thing with Zack. Even Biggs hints that Cloud and the kids have a lot in common. I'm not crazy about Sector 8 but it shows best what Biggs told Cloud before the plate falls. And one more thing I want to add lol. When Cloud gets his red drink from Tifa there's a pause of him looking up and down at the drink and Tifa, before he says beautiful. That moment of pause he thinks to himself what he should do here and then came up with what he believes a confident person/Zack would do. Zack doesn't hesitate when giving a compliment. Confident people don't normally hesitate when they talk. It's why we get moments of Cloud saying some awkward lines when he doesn't give himself time to think and its one of the best moments to watch lol cuz I think that's when real cloud slips out trying to act cool or is at a lost for words. It's canon by the developers that Cloud isn't cool but tries to act it.

Another Fun fact. Most party members and NPCs in Remake mention and hint in game they see past the facade Cloud puts up. Tifa, Barret, Wedge, Biggs, Marle, Jessie and Aerith are some of the characters that see past it and either go along with it, poke fun at his attempt or tell him to his face they know he's pretending to be someone he's not. Basically seeing past the character he pretends to be and can see he has a good heart over the course they spend time with him. Even though Cloud tries to convince others and himself he could care less about them and is only in it for the money.

Now OG is really awkward with the romance honestly from my playthroughs so far. (Follow me on Youtube Dipperdog15 if you want to catch my FF7 commentary when I go live playing OG and Intergrade.) But with Remake it's very clear they are building up Aerith's love story with Zack so we can cry hard later. All of Zack scenes so far is related to Aerith. In Remake and OG Aerith display some of Zack's mannerisms too because people copy/mimic what they do to feel closer to them when in love. She continues to wear the bow Zack gave her and the pink dress in memory of Zack. She's said "gotta move forward not back" in remake and/or that Zack probably moved on with another girl in Og but what if what she said is a lie. We have Cloud as the unreliable narrator so why can't it also happen with Aerith who is likely lying to convince herself to move on to protect her heart. In fact a lot of characters in FF7 lie to themselves and we get character development when they stop and face the truth. It's one of the many themes in FF7 which I think I’ll deep dive into on my podcast channel in the future.

Another thing to keep in mind is that Zack is risking it all to make it to Midgar to see Aerith while risking Cloud's life on this mission, because he promised her. Promise is a big important theme in FF7. Cloud and Tifa are the canon couple and Zack and Aerith are the canon couple in FF7 because these pairings promised each other. I won't disagree about Cloud not caring about Aerith, but he cares for all his friends as said in AC. Also why make it possible the idea to bring Zack back? To create a love square? No. It’s have us the players focus instead the reunion of Aerith and Zack. That’s more attention grabbing because we never got to see it before and I’ll cry when they cry finally getting to be together. If they don’t I’ll cry some more. The developers are pushing for Zerith and their development in Remake/Intergrade. 

Another thing to notice, there are a lot of similarities between Jessie and Aerith's relationship when they are around Cloud. This directive choice, I believe, isn't a coincidence in order to water down scenes that are suppose to be special. It is instead not a “one of kind’ scene. They both get carried bridal style. They both tell cloud My Hero. They both invited Cloud over for dinner. They both ask about who Tifa is. They both got a pikachu face from Cloud when jessie optionally kissed Cloud on the cheek and Aerith wearing the optional red dress. They both have strong personalities that overwhelms Cloud and that is a developer canon statement. They both worked hard to befriend Cloud so he can open up and be nicer to them. Cloud treats them both the same.

Aerith’s relationship with Cloud in Remake is directing us to friendship. In the novel it mentioned she loves Cloud, in what way we don’t know. But we can say for a fact Cloud was living a lie in OG and his real self loves Tifa. In fact his other self loved Tifa too, you just have to catch the moment. Example, Barret teasing Cloud if he is eager to see his baby when you first see Tifa in OG. It happens when you run to the bar, but only if you catch Tifa on the porch before she goes inside. That’s means in both remake and OG, Barret knew something was up with those two. Another moment is the interest Cloud has with what Tifa almost said in the gondola. It was obviously sounding like some kind of confession from Tifa at Gold Saucer. When you get this date the story is more fluid when you arrive at the northern crater and Cloud says “only your opinion matters” to Tifa. Huge RED FLAG Cloud considers Tifa important to him. Meanwhile Aerith and Cloud’s relationship was open for interpretation that it may have been love in OG, but the scenes that helped implied it were removed in Remake. The point system was just for fun because it was a popular thing in the 90s. Plus the points for Tifa, Aerith, Barret and Yuffie’s are their feelings for Cloud not Cloud’s feelings towards them. Then you get rewarded learning a little about the character, but that’s it. FF7 remake/intergrade is not an otome game. Cloud ends with Tifa no matter what. Even if Aerith was to stay alive the Life Stream sequence will always be Cloud and Tifa’s moment to learn about their feelings for each other. The developers have said it is one of their favorite scenes, so they won’t change it. ok now back to Remake. 

Aerith in her resolution tells him not to love her and it’s not real. A deliberate choice of words I think she picked to shoo away the thought they could be a thing for both their sakes and us the players lol. Doing that made it weird now because Cloud doesn’t want to ruin what ever progress he has with Tifa in Remake. Plus Cloud only known her for a few days and if his actions are making her think there’s this growing romance between them he’s not going to encourage it. Those lines raised his awareness to watch himself I bet, so Tifa doesn’t get the wrong idea and you can see the distance he put between himself and Aerith later in game. Meanwhile in Intermission we see Cloud continues to make quick glances at Tifa whenever he can. We get it Cloud. You can’t keep your eyes off her. Ok getting off track. So Cloud and Aerith are instead just friends. Doing this allows Tifa to pick up the role to be there for Aerith. Which will help develop their friendship to be stronger as the two girls encourage each other. because I didn’t pick up on the two being best friends in OG but in Remake it’s very clear. He already looked uncomfortable when Aerith grabbed his arm back at the ghost station in front of Tifa. To include Cloud with this idea of him falling in love with another woman in front of Tifa would leave a poor taste in our mouths after spending several hours watching him develop several intimate moments with Tifa. That freaking hug scene and train roll you guys screamed sexual tension and love. Cloud is not that kind of guy who easily falls in love. His whole hero’s journey is because of Tifa and he makes sure to be nice to her while trying to get her attention. With anyone else he is quite hostile with new people and slowly learns to tolerate them before liking them.  Cloud treats Tifa differently in a special way. He’s been pinning for Tifa since they were kids and even imagined scenarios of Tifa noticing him. That’s right, not all of Cloud’s visions may be accurate. We may see more scenes of kid Cloud imagining moments with Tifa to confuse our perspective they are childhood friends. Again, Cloud is the unreliable narrator thanks to Jenova and 5 years of trauma.  Now back to Aerith. Their relationship definitely felt different when Cloud, Tifa and Barret rescued Aerith. In fact Aerith’s relationship with everyone is different in a better way. The relationship between Tifa and Barret are better fleshed out compared to OG Aerith and I’m for it. Very happy they removed the jail scene. It was upsetting watching Aerith flirt with Cloud while Tifa was stuck in the cell forced to listen and Aerith owing Cloud a date. Which changed also in Remake. Taking Aerith home and spending time her was the date as mentioned in game by Aerith herself. 

When I play through Chapter 8 and 9 I get this feeling Meta Aerith looks uncomfortable sticking to the OG lines of herself but does it anyways so the Arbiters of fate won’t come for her because she wants to hold on to her memories. Something she believes can help her friends I’m guessing. This is if my theory is right lol. What we have now is an Aerith that’s more mysterious than she was in OG. If this is OG Aerith making a return in Remake then I believe she was acting a lot, but then we see hiccups of her mentioning Cloud being a mercenary when he never mentioned it or acting like she knows Tifa for like forever before she actually met her in Remake. And then there was her knowing the plate would fall in sector 7. I’m betting the burden of knowing it was so hard to hide that Tifa picked up that she might be hiding something. 

We are near the end! 

Aerith’s resolution explored further. The resolution helps proves my theory this is OG Aerith that travel back to the past using the Lifestream to help her comrades in the fight against Sephiroth in Remake who also returned to the past. What’s also interesting about her resolution are the things she said are something you want to tell someone before you disappear. It was so sudden in OG that it sounds like Aerith wants to make up for it and also doesn’t want Cloud to suffer in guilt as he did in AC. Cherish the moment. Every one dies. 

Aerith knows the truth with Cloud and Tifa’s relationship hence her stopping herself interfering. Now maybe Aerith did fall in love with Cloud, and maybe while Cloud pretended to be someone else was loving the idea, which is a stretch cuz there are plenty debunking the idea which I can go over later. They both may have been using each other to fill the hurt in their heart not having their true loves instead. Zack and Tifa. In her resolution, Aerith has declared she will not pursue Cloud as she did in OG and we have evidence of that when they rescue her. there were so many opportunities for Cloud to be Aerith’s hero. Instead those moments were replaced with Tifa consoling her and rescuing her.

The Arbitors of Fate are gone, so I believe Aerith’s normal clips of her flirting with Cloud will get removed or changed as many have already. This allows the directors to remove lines that painted Aerith poorly some moments and better her relationship with the team too. Aerith will still have flaws like everyone does. No one is perfect and I’m perfectly fine with that.

Crap if I keep going this will turn into a podcast in writing I think lol. Anywho, yes the arbiters of fate were eliminated, who knows if it's permanent, but as the developers have repeated, FF7 story will remain the same at heart. Iconic moments will remain. If it is not then that's a risky move to say to fans. Aerith will die to protect her loved ones and the planet and will reunite at the church in spirit with Zack perhaps. She can’t escape her role as the last living Cetra. That is her truth which she denied when she was little as shown in a flashback with kid Aerith. The other theme in FF7 is trying to move forward after a loss. Which extends to Advent Children which some of the team members has to deal with survival guilt. Some fans are getting their hopes up that Aerith will live. The developers are using Biggs and Jessie’s possible surviving scenes to prove lives lost can live in Remake. I think they may die later though if that is their fate, but we never actually saw them die in OG either. It was just implied. This is a set up so Aerith’s death scene can be impactful again in Remake, so we can cry again.

This was a lot and little bit everywhere, but I hope you enjoyed it. You can follow me on youtube in the link below where I invite other FF7 fans to talk about the story and Cloud and Tifa’s relationship Or me doing my own Cloud and Tifa commentary and Remake talk while I play the game. Thanks for reading! Hope you check out my channel and sub to check out my videos when convenient for you. Thank you!

https://www.youtube.com/c/Dipperdog15/featured

#cloti #FF7 Remake #ff7 #cloud strife #final fantasy vii #Final Fantasy 7

[firstagent]

Recap! Digimon Adventure: (2020): Ending

In this episode, we wrap up a reboot with so much style and so little substance, then talk about the future because, unlike the Adventure: children, we are mortal beings. As doing so during a currently running series defeated the intention of allowing us a breather, we’ve been slacking off on the catch-up posts that used to happen around every ending change. There wasn’t much to say anyway. By the time the second ending theme ran its course, we’d sniffed out the fatal flaws of the Adventure reboot. A lack of quality wasn’t the issue. Digimon has had plenty of subpar material over the course of twenty-plus years. You can even argue there’s plenty of quality in Adventure:, just invested in places we’re not used to in Digimon, ones that don’t add much besides another shiny, empty thing to gaze at for a few seconds. But as we gaze one more time, we realize the real killer was the lack of anything compelling to think about. Which is a real problem since that’s primarily what we do here. Back in episode four, even as we were enjoying the hell out of Action Girl Sora’s rebirth, her instant rapport with Piyomon stood in such stark contrast with original Sora’s early reticence that we wondered where the angst was going to come from. It was the first clue that the mother issues that defined her character twenty years ago would be scrubbed and abandoned, leaving… well, Action Girl Sora and nothing else of consequence. Other signs, like the way too early debut of Omegamon and the minimal development involved with the first couple rounds of evolution foretold a show that was going to be light on the one thing Digimon Adventure excelled at: endearing characters working through genuine problems making them seem like real people. The longer the series went, the more that concept felt abandoned, and the harder it was to root for these cardboard cutouts of the Adventure kids. The result is a series chock full of exciting action sequences, a serviceable enough plot, and not a lot of thought behind it. It spends most of the first half as an intense, relentless, exhausting escalation of battles… then takes its foot off the gas in the second half to meander its way through two arcs where nothing of consequence happens outside the climactic fights. You’re likely to get smoother pacing watching every episode on shuffle. Worse, within these two extremes is a shocking dearth of meaningful message to discuss. Digimon isn’t worth all this blog space because it stands above other shows like it, but rather because its depths give us so much to talk about regarding childhood, technology, relationships, evil, loss… nothing of the sort gets any thought here. A few interesting concepts sneak in through Patamon, Tailmon, and even Negamon towards the end, but nothing explored to its full potential. We’re left with precious little to sift through except pondering how empty the series feels compared to everything else Digimon has offered us. The next series, Digimon Ghost Game, already shows signs of promise. In just their introductory bios, the three leads offer up more character, family background, and flaws than the entire Adventure: octet gave us in sixty-seven episodes. Given the ratings the reboot pulled, it was easy to fear that the future of Digimon would be the same hollow action fests. So far Ghost Game appears to be resisting the temptation, and deserves discussion. Unfortunately, for several reasons, it won’t be here. The window between Saturday night episodes and Monday morning posts is becoming too much of a burden, especially with a five year old that actually likes to do things on weekends. I’ll still post my thoughts on Twitter and maybe even quick reactions on Tumblr the way I did for Appmon’s initial run. Like Appmon, I may even come back for full retrospective Ghost Game posts. The blog was always meant to be retrospective after all. So for now, we close up shop after a hell of a ten years. Our mission of writing something for the six seasons of Digimon kept getting extended as the franchise reinvigorated itself and kept on going, a testament to the endearing nature of the show that made us write about it in the first place. Thanks to everyone who helped out through Patreon, Ko-Fi, or Amazon, or even for leaving a comment, especially in the early days when Digimon was still on the verge of regaining its momentum. You can still catch me on Twitter and Tumblr, along with the With the Will podcast (I’ll also be discussing the final episode on Podigious in a few days!). And Nexusworld is all finished now so you have two novel-length adventures of multi-season madness! Twitter will be the best place to catch news of any future endeavors, whether Digimon or not. Until then, enjoy Ghost Game! Digimon Adventure: Ending 5: Dreamers Figure I slack off on talking about the ending themes in the season with the best ones (that third one is so cute!). This one’s a little generic, but it’s boppy and fits Digimon so well. The endings are nice in that they’re a little less Taichi-centric than the opening or the show itself, and only the first one tries to elevate a character the series doesn’t justify elevating. Dreamers is one those songs that makes me realize I should listen to K-Pop more.

See reviews of every Digimon episode at Digimon: System Restore!

#digimon #digimon adventure: #digimon adventure (2020)

[chiseler]

Blood on the Moon

“The beauty of that man. He’s so still. He’s moving. And yet he’s not moving.” –Lee Marvin on Robert Mitchum

All cloudy skies and discouraging words, the range in Robert Wise’s Blood on the Moon (1949) is a place where no one can feel safely at home. The film opens on a dismal panorama of rain pounding a formless landscape, blotting out the horizon. Robert Mitchum comes riding alone, head down, rain dripping off his hat, stopping to gaze dejectedly over a dark valley.

If any one actor embodies the very notion of the “noir western,” it is Mitchum. Before he distilled the noir ethos with his world-weary pessimism and cool insolence, Mitchum started his career as a heavy in the amiable, low-budget Hopalong Cassidy series, earning “$100 a week and all the horse manure I could carry home,” he later recalled. After seven films with Cassidy—parts he described as “a lot of beard, very little dialogue”—Mitchum signed a contract with RKO, and the studio tried him out as a clean-cut cowboy hero in two Zane Gray westerns, Nevada (1944)and West of the Pecos (1945). He was wasted on these cardboard good guys and boy’s-adventure stories, which had no use for his undercurrents of melancholy, disaffection and skepticism. The first film to fully express his persona as the eternal outsider was Raoul Walsh’s seminal noir western, Pursued (1947), which cast him as a displaced foundling followed through life by the black cloud of his mysterious past.

As befitting a man who arrived in California aboard a freight train, and who never stopped identifying himself as a hobo, Mitchum was the movies’ quintessential drifter. He played all kinds of itinerants: exiles escaping criminal pasts, globe-trotting marines, roaming preachers, nomadic sheepherders, travelers on the rodeo circuit. He had hit the road at 15, driven not by an unhappy home or dire poverty but simply by the restless urge to wander, to taste the sweet anguish of loneliness far from hearth and home. In his memoir, Them Ornery Mitchum Boys, John Mitchum wrote that he initially saw his older brother Bob’s penchant for “running off” as a weakness of character, but came to admire the way he “simply released himself from emotional bondage.” Mitchum himself said that he had “been in a constant motion of escape my entire life.”

In Blood on the Moon he plays Jim Garry, a man with nothing: no home, no family, no job. In the opening scene his few possessions are destroyed by stampeding cattle as he sits miserably drying his wet, mud-caked boots by a small fire. This is the truth of the cowboy life. (When co-star Walter Brennan saw Mitchum in his elegantly rugged costume, he declared, “That is the goddamndest realest cowboy I’ve ever seen!”) Down on his luck after watching his own herd die of fever, Garry has been summoned by an old trail-herding partner to be cut in on a big deal. He doesn’t know that he’s being hired for his gun, or that the friend who sent for him is scheming to steal another man’s herd through a back-handed deal with a crooked government agent for the local Indian reservation. Walking into this charged situation as a stranger, he’s immediately greeted with hostile suspicion by both sides in a range war, and he counters evasively, refusing to take sides or reveal his true nature. Keeping to himself a lifetime of bad breaks and worse choices, Jim Garry gives the film a sad, uncertain, jaded heart. Mitchum never once smiles; the closest he comes is when Jim says that a murderous brawl with his erstwhile friend was “a pleasure.”

That friend is Tate Riling (Robert Preston), a shameless, smirking con man who lies to local farmers to get them on his side and seduces his enemy’s daughter into betraying her own father. Garry gets the picture but goes along without enthusiasm; he doesn’t like being a mercenary, and is acutely aware of the contempt he now inspires in decent people, but accepts it quietly. He is what Mitchum called himself in real life, “a patient cynic.” Watching on the sidelines, he’s riveting in his immobility. When he moves, it’s with weighted, lazy power. In one scene he confronts a gunfighter and walks toward him across the wide Main Street. All he has to do is walk, with his inimitable panther tread, and the other guy knows he’s outclassed and slinks away.

Jim is drawn to the feisty, outspoken daughter of the man Riling is trying to swindle (Barbara Bel Geddes—she and Mitchum meet cute by emptying their rifles at each other), but he’s motivated even more by growing disgust at Riling. “I’ve seen dogs wouldn’t claim you for a son,” he declares, setting off a savage brawl in which Mitchum and Preston hurl punches, chairs and bottles at each either as they wrestle, lurch and crash around an empty barroom in near-total darkness. The darkness and slashing gleams of light come courtesy of DP Nicholas Musuraca, who pioneered noir cinematography in Stranger on the Third Floor (1940) and diversified it in Out of the Past. Here he brings his mastery of shadows to the range, flooding much of the movie in an enveloping gloom that obscures actions and identities. For contrast, there is a gorgeous sequence of pursuit through a snowbound pass, with paths slicing through white drifts and across glittering plains. There is a shootout in a dense pine forest at night, with figures moving almost invisibly through the faintly glimmering boughs.

With its dirty deals, government corruption, romantic betrayal, mean thugs, gloomy bars, and its broke, lonely hero pondering whether or not to throw away his honor, Blood on the Moon’s story could be translated to any grimy, gang-ridden city. The film grows more conventional as it goes along, but the genre staples are well-handled, and there are powerful scenes like the one where Garry goes to tell Walter Brennan’s character that his son has been killed, and must endure the old man’s stricken, dry-eyed accusation. Mitchum’s reserve, detachment and neutrality are so attractive that it’s easy to ignore how they can turn into a wholesale abdication of moral responsibility. Under noir’s probing skepticism, the western hero’s stoic reticence becomes unhealthy passivity, his righteous determination becomes obsessive vindictiveness. The west’s promises of unbounded freedom and opportunity dwindle and close,  the way once open grazing lands become bitter battle-grounds. Almost unseen in the film, yet key to its central crime, are the Indians confined to their reservation, while white men fight amongst themselves over the money to be made by feeding captive mouths. This land’s economy is dirtier than the muck of its cow-trampled pastures.

by Imogen Sara Smith

#Imogen Sara Smith #The Chiseler #Blood on the Moon #Robert Mitchum #Buster Keaton #In Lonely Places #Criterion

[danasfilmreviews]

“The Island” (2005) Review

*THIS REVIEW CONTAINS SPOILERS*

Set in a dystopian future, people live in an isolated compound with strict rules, and are told that the outside world has become too contaminated to live in. Residents in the compound hope to win the lottery to be taken to the Island; a paradise, and supposedly the last uncontaminated place on Earth. Early on in the film, Lincoln Six Echo (Ewan McGregor), learns the truth about what it means to go to the Island. He discovers that the “lottery” is really a selective system used to remove inhabitants from the compound. The “winner” is used for organ harvesting, surrogacy, and other important purposes for each one’s wealthy sponsor, of whom they are clones. Dr. Merrick (Sean Bean), a scientist who runs the compound, learns that Lincoln has found out the truth, which forces Lincoln to escape. When Lincoln’s friend, Jordan Two Delta (Scarlett Johansson), wins the “lottery” to go to the Island, the two of them escape the compound and find themselves in a desert, out in the real world, on a mission to expose the cloning operation. 

The dystopian theme is very evident for the very start of The Island. The beginning of the film opens with a dream sequence and a voice saying "You're special. You have a very special purpose in life. You've been chosen. The Island awaits you." This already sets the tone for a dystopian future and allows the viewer to begin to understand the way the world in the film functions. In addition to this, all residents in the compound dress in full white outfits, are told what to eat, how to act, and who to interact with, which further proves how strictly controlled residents are. 

Next, let’s talk about the style of this film. The Island can easily be identified as one directed by Michael Bay. Bay is known for his exaggerated explosions, destruction, and high-action scenes, often referred to as “Bayhem”, and this film definitely reflected that. Bay’s style is most evident during the highway chase scene. During this scene, intensity rises as cars are seen crashing, shots are firing, and explosions ensue. On top of all of this, men from the compound chase Lincoln and Jordan down the highway, while they hop between cars, trucks and jets. This is truly a prime example of “Bayhem”. 

The acting, specifically from Ewan McGregor and Scarlett Johansson, also deserves some recognition. Their characters, Lincoln Six Echo and Jordan Two Delta, are raised to be obedient, and well, not the brightest, and their performance definitely captured that, not to mention the chemistry they bring to the screen. The beloved Steve Buscemi also made an appearance in the film and did great in his supporting role.

The Island closes in a satisfying and happy way. Lincoln and Jordan make it back to the compound after their adventure in LA, and are able to work together in order to kill Dr. Merrick, and free the residents into the outside world. The film ends with Lincoln and Jordan sailing away to their new life; the life that they were promised the “island” would give them. 

I rate this film a 7/10. It demonstrates a combination of a cool version of the future, philosophical aspects and intense action scenes. This film perfectly highlights director Bay’s film style, while still focusing on the storyline, and not taking away from that. I would recommend this film to anyone who is interested in the dystopian genre, or anyone who enjoys high-action movies. Although at times the action scenes were a little too excessive for my liking, I realize that it does a great job of encompassing what “Bayhem” really means. 

#theisland #film #film review #michael bay #bayhem #scarlett johansson #ewan mcgregor #dystopian

[alwaysalreadyangry]

most of the UK reviews i’ve read of martin eden have been a disappointment, tbh. i don’t know if this is because critics have been busy with cannes or because outlets here just don’t have the space, or because it’s kind of seen as old news. i have seen no real engagement with the politics or form beyond a couple of cursory lines, and it’s a shame because... i think it’s really rich wrt those elements?

so i am looking again at the (wonderful) review from film comment last year and it’s such a shame that it’s not available freely online. so i thought i’d post it here behind a cut. it’s long but worth it imo (and also engages really interestingly with marcello’s other films). it’s by phoebe chen.

COLLECTIVE CONSCIOUSNESS              Jan  3, 2020                    BY PHOEBE CHEN

EARLY IN JACK LONDON’S 1909 NOVEL MARTIN EDEN, there is a scattering of references to technical ephemera that the 20th century will promptly leave behind: “chromos and lithographs,” those early attempts at large-scale reproduction; “a vast camera obscura,” by then a centuries-old relic; a bullfight so fervid it’s like “gazing into a kinetoscope,” that proto-cinematic spectacle of cloistered motion. These objects now seem like archaic curios, not much more than the flotsam of culture from the moment it shifted gears to mass production. It’s a change in scale that also ensnares the novel’s title character, a hardy young sailor and autodidact-turned-writer-célèbre, famously an avatar of London’s own hollowing transmutation into a figure for mass consumption. But, lucky him—he remains eminent now on the other side of a century; chance still leaves a world of names and faces to gather dust. Easily the most arresting aspect of Pietro Marcello’s new adaptation is its spotlight on the peripheral: from start to end, London’s linear Künstlerroman is intercut with a dizzying range of archival footage, from a decaying nitrate strip of anarchist Errico Malatesta at a workers’ rally to home video–style super 16mm of kids jiving by an arcade game. In these ghostly interludes, Marcello reanimates the visual detritus of industrial production as a kind of archival unconscious.

This temporal remixing is central to Marcello’s work, mostly experimental documentaries that skew auto-ethnographic and use elusive, essayistic editing to constellate place and memory, but always with a clear eye to the present. Marcello’s first feature, Crossing the Line (2007), gathers footage of domestic migrant workers and the nocturnal trains that barrel them to jobs across the country, laying down a recurring fascination with infrastructure. By his second feature, The Mouth of the Wolf (2009), there is already the sense of an artist in riveting negotiation with the scope of his story and setting. Commissioned by a Jesuit foundation during Marcello’s yearlong residency in the port city of Genoa, the film ebbs between a city-symphonic array and a singular focus on the story of a trans sex worker and her formerly incarcerated lover, still together after 20-odd years and spells of separation. Their lives are bound up with a poetic figuration of the city’s making, from the mythic horizon of ancient travails, recalled in bluer-than-blue shots of the Ligurian Sea at dawn, to new-millennium enterprise in the docklands, filled with shipping crates and bulldozers busy with destruction.

Marcello brings a similar approach to Martin Eden, though its emphasis is inverted: it’s the individual narrative that telescopes a broader history of 20th-century Italy. In this pivotal move, Marcello and co-writer Maurizio Braucci shift London’s Oakland-set story to Naples, switching the cold expanse of the North Pacific for the Mediterranean and its well-traversed waters. The young century, too, is switched out for an indeterminate period with jumbled signifiers: initial clues point to a time just shy of World War II, though a television set in a working-class household soon suggests the late ’50s, and then a plastic helicopter figurine loosely yokes us to the ’70s. Even the score delights in anachronism, marked by a heavy synth bass that perforates the sacral reverb of a cappella and organ song, like a discotheque in a cathedral. And—why not?—’70s and ’80s Europop throwbacks lend archival sequences a further sense of epochal collapse. While Marcello worked with researcher Alessia Petitto for the film’s analog trove, much of its vintage stock is feigned by hand-tinting and distressing original 16mm footage. Sometimes a medium-change jolts with sudden incongruity, as in a cut to dockworkers filmed in black and white, their faces and hands painted in uncanny approximations of living complexions. Other transitions are so precisely matched to color and texture that they seem extensions of a dream.

Martin’s writer’s optimism is built on a faith in language as the site of communication and mutual recognition. So follows his tragedy.

Patchworked from the scraps of a long century, this composite view seems to bristle against a story of individual formation. It feels like a strange time for an artist’s coming-of-age tale adapted with such sincerity, especially when that central emphasis on becoming—and becoming a writer, no less—is upended by geopolitical and ecological hostility. At first, our young Martin strides on screen with all the endearing curiosity of an archetypal naïf, played by Luca Marinelli with a cannonballing force that still makes room for the gentler affects of embarrassment and first love. Like the novel, the film begins with a dockside rescue: early one morning, Martin saves a young aristocrat from a beating, for which he is rewarded with lunch at the family estate. On its storied grounds, Martin meets the stranger’s luminous sister, Elena Orsini (Jessica Cressy), a blonde-haloed and silk-bloused conduit for his twinned desires of knowledge and class transgression. In rooms of ornate stucco and gilded everything, the Orsinis parade their enthusiasm for education in a contrived show of open-mindedness, a familiar posture of well-meaning liberals who love to trumpet a certain model of education as global panacea. University-educated Elena can recite Baudelaire in French; Martin trips over simple conjugations in his mother tongue. “You need money to study,” he protests, after Elena prescribes him a back-to-school stint. “I’m sure that your family would not ignore such an important objective,” she insists (to an orphan, who first set sail at age 11).

Anyone who has ever been thrilled into critical pursuit by a single moment of understanding knows the first beat of this story. Bolting through book after book, Martin is fired by the ever-shifting measure of his knowledge. In these limitless stretches of facts to come, there’s the promised glow of sheer comprehension, the way it clarifies the world as it intoxicates: “All hidden things were laying their secrets bare. He was drunk with comprehension,” writes London. Marcello is just as attentive to how Martin understands, a process anchored to the past experiences of his working body. From his years of manual labor, he comes to knowledge in a distinctly embodied way, charming by being so literal. At lunch with the Orsinis, he offers a bread roll as a metaphor for education and gestures at the sauce on his plate as “poverty,” tearing off a piece of education and mopping up the remnants with relish. Later, in a letter to Elena, he recounts his adventures in literacy: “I note down new words, I turn them into my friends.” In these early moments, his expressions are as playful as they are trenchant, enlivened by newfound ways of articulating experience. His writer’s optimism is built on a faith in language as the site of communication and mutual recognition. So follows his tragedy.

One of Marcello’s major structural decisions admittedly makes for some final-act whiplash, when a cut elides the loaded years of Martin’s incremental success, stratospheric fame, and present fall into jaded torpor. By now, he is a bottle-blonde chain-smoker with his own palazzo and entourage, set to leave on a U.S. press tour even though he hasn’t written a thing in years. His ideas have been amplified to unprecedented reach by mass media, and his words circulate as abstract commodities for a vulturine audience. For all its emphasis on formation, Martin Eden is less a story of ebullient self-discovery than one of inhibiting self-consciousness. There is no real sense that Martin’s baseline character has changed, because it hasn’t. Even his now best-selling writing is the stuff of countless prior rejected manuscripts. From that first day at the Orsini estate, when his roughness sticks out to him as a fact, he learns about the gulf between a hardier self-image and the surface self that’s eyed by others.

WITH SUCH A DEEPLY INHABITED PERFORMANCE by Marinelli, it’s intuitive to read the film as a character study, but the lyrical interiority of London’s novel never feels like the point of Marcello’s adaptation. Archival clips—aged by time, or a colorist’s hand—often seem to illustrate episodes from Martin’s past, punctuating the visual specificity of individual memory: a tense encounter with his sister cuts to two children dancing with joyous frenzy; his failed grammar-school entrance exam finds its way to sepia-stained shots of a crippled, shoeless boy. These insertions are more affective echoes than literal ones, the store of a single life drawn from a pool of collective happening.

But, that catch: writing in the hopes of being read, as Martin does (as most do), means feeding some construct of a distinctive self. While the spotlight of celebrity singles out the destructive irony of Martin’s aggressive individualism, Marcello draws from Italy’s roiling history of anarchist and workerist movements to complicate the film’s political critique, taking an itinerant path through factions and waves from anarcho-communism in the early 1900s to the pro-strike years of autonomist Marxism in the late ’70s. In place of crystalline messaging is a structure that parallels Martin’s own desultory politics, traced in both film and novel through his commitment to liberal theorist Herbert Spencer. Early on, Martin has an epiphanic encounter with Spencer’s First Principles (a detail informed by London’s own discovery of the text as a teen), which lays out a systematic philosophy of natural laws, and offers evolution as a structuring principle for the universe—a “master-key,” London offers. Soon, Martin bellows diatribes shaped by Spencer’s more divisive, social Darwinist ideas of evolutionary justice, as though progress is only possible through cruel ambivalence. Late in the film, an image of a drunk and passed-out Martin cuts to yellowed footage of a young boy penciling his name—“Martin Eden”—over and over in an exercise book, a dream of becoming turned memory.

In Marcello’s previous feature, Lost and Beautiful (2015), memory is more explicitly staged as an attachment to landscape. Like Alice Rohrwacher’s Happy as Lazzaro, Lost and Beautiful plays as a pastoral elegy but lays out the bureaucratic inefficiency that hastens heritage loss through neglect. Rolling fields make occasional appearances in Martin Eden, but its Neapolitan surroundings evoke a different history. Far from the two oceans that inspired a North American tradition of maritime literature, the Mediterranean guards its own idiosyncrasies of promise and catastrophe. Of the Sea’s fraught function as a regional crossroads, Marcello has noted, in The Mouth of the Wolf, a braiding of fate and agency: “They are men who transmigrate,” the opening voiceover intones. “We don’t know their stories. We know they chose, found this place, not others.” Mare Nostrum—“Our Sea”—is the Roman epithet for the Mediterranean, a possessive projection that abides in current vernacular. Like so many cities that cup the sea, Naples is a site of immigrant crossing, a fact slyly addressed in Martin Eden with a fleeting long shot of black workers barreling hay in a field of slanted sun, and, at the end, a group of immigrants sitting on a beach at dusk. Brief, but enough to mark the changing conditions of a new century.

Not much is really new, however: not the perils of migration, nor the proselytizing individualists, nor the media circus, nor the classist distortions of taste, nor, blessedly, the kind of learning for learning’s sake that stokes and sustains an interest in the world. Toward the end of the film, there is a shot of our tired once-hero, slumped in the back seat of a car, that cuts to sepia stock of children laughing and running to reach the camera-as-car-window, as if peering through glass and time. It recalls a scene from Wim Wenders’s Wings of Desire, which leaps backward through a similar gaze, when the weary angel Cassiel looks out of a car window at the vista of ’80s Berlin and sees, instead, grainy footage of postwar streets strewn with rubble in fresh ruin. Where human perception is shackled to linearity, these wool-coated and scarfed seraphs—a materialization of Walter Benjamin’s “angel of history”—see all of time in a simultaneous sweep, as they wander Berlin with their palliative touch. Marcello’s Martin Eden mosaics a view less pointedly omniscient, but just as filled with a humanist commitment to the turning world, even as Martin slides into disillusion. All its faces plucked from history remind me of a line from a Pasolini poem: “Everything on that street / was human, and the people all clung / to it tightly.”

Phoebe Chen is a writer and graduate student living in New York.

#martin eden #film

[egelantier]

Yuletide Recs

Having had two days of more or less nothing but reading fics, I come bearing recs!

First of all, my amazing gifts:

The Goblin Emperor

For Thy Principles

The nohecharei of Edrehasivar VII were unparalleled in their defense of his person, but there were limits to even their prowess. When Maia first developed the fever, Cala quickly determined that it was not the end result of a magically-based assassination attempt – and from there it had to be left to the court physicians.

Maia falls ill, and Csethiro protects him as best she can.

Beautifully gentle Maia sickfic, with Csethiro holding him together. For me all for meeee.

Benjamin January Mysteries

Dry as a Bone

“Oh. Well, I’ve been better, maestro, been a hell of a lot better to tell truth.” Shaw stared at him for a long moment, and he was stunned to see honest to God grief in his eyes. Even when Shaw had just lost his brother he had been so much more himself than this lost man currently standing before him. “Not that I mean to put anything extra on your shoulders, I’m sure you’ve got enough of your own shit going on at present moment, but it seems like I’ve just lost my job.”

Shaw loses his job, and finally confronts Ben about trust (and lack thereof) between them. It’s GREAT.

The Tarot Sequence - K.D. Edwards

A Distraction Worth Losing

They may never be together, but the gods would have to move heaven and earth to split Rune and Brand apart.

Brand, Rune and The Kiss incident. (Poor messed up babies, somebody save them.)

And fics of the collection:

17776, Astreiant, Raksura, Frederica, The Gentlemen, The Goblin Emperor, Hades, Innkeeper Chronicles, Jeeves, Kate Daniels, King Arthur the movie, My Next Life as a Villainess, Nirvana in Fire, No. 6, Psmith, The Secret Garden, The Sleuth of Ming Dynasty, Swordspoint, The Tarot Sequence, Teixcalaan Series, The Temple of the White Rat verse

17776: What Football Will Look Like in the Future

so far, so fast

When Manny gets a craving for some fancy meal he had once, over ten thousand years ago, Nick decides he’s gonna fulfill that craving, no matter how hard it is. Because real romance is about making the impossible happen for his husband.

Goddamn transcendental.

Go Get It

Sometimes you start out just planning to get some groceries with your husband, and next thing you know, you’re committing to join the most hopeless team in college football.

Nick and Manny decide to play. It’s perfect.

Afterlife

A young man dies six months before the end of human death; his loss saves five lives, which end up much longer than anyone expects. (A series of worldbuilding vignettes about original characters in the 17776 setting.)

Made me cry, in a very cathartic way.

Astreiant Series - Melissa Scott & Lisa A. Barnett

April dressed in all his trim

A quiet evening in spring.

Sweet little slice-of-life with lovely sensory details.

Books of the Raksura

The Second Consort

“When Glow arrives, be friendly and welcoming,” Ember said. “Not scary.”

“Why does everyone think I’m going to scare him?”

Chime said, “They can see your face when you look at him.” He paused, glancing over at Moon. “That face, that’s the one.”

Ember sighed. “I remember being in his position. It’s pretty nerve-wracking coming to a new court and not knowing what’s going to happen to you there - whether they’re going to welcome you or shun you, whether you’ll make new friends, whether a queen is going to claim you…” He came and put a sympathetic hand on Moon’s shoulder. “Glow is probably worried about all of those things, and missing his home and clutchmates, and it’s our job to try and help him relax.” For a moment Moon thought he was just being soft-hearted, until Ember added, “He won’t open up and tell us what’s really going on unless he’s relaxed.”

Jade takes in a new consort, on Moon’s permission, and everybody is delightfully adult about it.

Frederica

Lady Alverstoke

Frederica commences her first Season as a married woman by planning a ball, promising most straitly that her husband will have nothing whatsoever to do …

Sweet and funny slice-of-life post-happy-ending for canon.

**The Gentlemen (2019) **

Even

The week after he intercepts Fletcher, that squirrelly little cunt, outside the London Miramax office, Raymond reluctantly ventures down to Brixton.

Under normal circumstances, Raymond tends to give this part of Brixton a wide berth, but he has unfinished business that needs attending to. Of course, that doesn’t mean he has to like being accosted by the overwhelming smell of greasy fish and chips when he pushes the car door open, doesn’t mean he has to be pleased about stepping into a piece of chewed-up gum the moment he sets a foot on the kerb.

But then, he can always take a shower after an errand in Brixton. The deep-seated discomfort of unfinished business doesn’t wash off that easily.

Raymond tries to pay Coach back for saving his life, and it doesn’t quite go as planned :D

The Goblin Emperor

The Archduke’s Discovery

Prince Nemolis goes on a journey, and learns a bit more than he wanted to know.

Really great point of canon divergence, and true and precise character voices.

Hades

all the spaces between us

For a place full of the dead, crammed with ghostly shades and nothing but the endless lull of eternity unchanging, gossip sure travelled fast in the Underworld.

Or, Zagreus mulls over his relationship with Thanatos while the rest of the Underworld get overly invested.

Slow, slow, slowest of burns.

Innkeeper Chronicles - Ilona Andrews

A Quick Trip

“It’ll be a quick trip,” Maud said, more to herself than to Arland. “No one will even notice we’re gone.”

Pirates are plaguing an ally, just outside of vampire space. Maud and Arland don some aesthetically beat-up armor and try to get more information from the pirates themselves. Of course, plans only last until you meet your enemy. Or your enemy’s giant alien attack boar.

Excellent canon voice, action/adventure sprinkled with badassery and hilarity.

Jeeves & Wooster

August Thirteenth

Discovering that this is not the first August thirteenth that he’s lived through, that certainly was a head scratcher. Luckily Bertie has the stalwart presence of his man’s man, Jeeves.

Very, very great and satisfying use of the time loop.

Kate Daniels - Ilona Andrews

lookin’ like a snack (cake)

It took Barabas a while to figure it out, because he wasn’t used to not being taken seriously.

Barabas considered several ways to phrase it, and finally settled upon, “Do you have a thing for twinks?” Christopher knocked his head back against the headrest: once, then again. “Is that a yes?”

King Arthur: Legend of the Sword (2017)

When Goosefat Bill finds himself in a difficult situation, the last thing he wants is the King to show up and “help”, in his own unique and unexpected way.

Goosefat Bill does not need to be rescued by his King. But he might just enjoy it a little.

My Next Life as a Villainess (Anime)

All I Have To Bring Today

Catarina and Sophia had been discussing the latest in the Devilish Count series, and Sophia had mentioned how romantic the surprise picnic the count had planned for his lover was and how she wished for someone to surprise her like that.

“What about you, Catarina? Have you ever wished for someone to sweep you off your feet?” Sophia had asked.

Catarina makes a choice! As sweet and as hilarious as the canon.

Nirvana in Fire

Adverse Event

What a pitiful man must he have become, if the only thing he could provoke in bed was a monologue on his character flaws.

: or, the famous strategist mei changsu plays xanatos speed chess against truth serum: the fic.

Mei Changsu gets hit with an accidental truth serum; it doesn’t stop him from lying to himself, but it does buy Jingyan a clue.

Records of the Land of Xiang

There was something of Xiao Jingyan there, in the firmness of his jaw, the unforgiving slash of his brows, and most clearly in the eyes that neither saw nor conveyed deception. But Long Zhan was not Jingyan, could never be, no matter how much Changsu might wish otherwise, because Jingyan was dead.

In service to a very-much-alive Prince Qi, Jingyan dons a Jianghu-typical disguise and infiltrates the Jiangzuo Alliance to suss out this Mei Changsu fellow and see if he might be useful in helping them re-open the Chiyan conspiracy case. Basically, a slightly ridiculous premise where everyone is running around the Jianghu with masks, multiple identities, and secret agendas.

Fascinating and fun AU scenario that delves, among other things, into Mei Changsu the jianghu chef, not Sir Su the court schemer.

suffering as I suffer you

The first time Jingyan stays the night at Su Manor, he discovers an uncomfortable truth about Mei Changsu.

Excellent extrapolation of Mei Changsu’s illness into his nightly routine - with Jingyan watching…

Here, In Our Arms

With the world put to rights, however briefly, Xiao Jingyan and Mu Nihuang take the opportunity to make a fuss over their beloved Lin Shu, and will not take no for an answer.

Sweet moment of comfort.

Find the Coals Amid the Ashes

Despite Changsu’s assertions, Lin Chen is a well brought up person. He would never violate his host’s privacy during a social call. It would be inexcusable, for example, to break into a marquis’s private alchemy lab in the middle of said marquis’s birthday party, in order to search said alchemy lab for certain hard to find medicinal herbs, which one has reason to believe can be found therein. These would be the actions of a man without honour, of a man who has only desperation to his name.

Lin Chen crashes a party and makes a new friend.

The best team up ever :D

Dead Letters

Mei Changsu isn’t the only schemer in Da Liang.

Fei Liu fixes things, in the most Fei Liu way imaginable, and it’s great.

No. 6

All Good Things

In the midst of a crisis for No. 6, Nezumi returns to Shion’s side.

A reunion! And cuddling.

Psmith

The Psky Is The Limit

“As this ship’s Orator, my mission is still as it was in the beginning and shall ever be, world without end. It is to hail any message sent by comrades from outer space and pass it on to you verbatim. Well! The hour, I say, has come. The Word has come into being. Here comes Psmith, bearing news of great mirth: the intercom has spoken.”

(A Mike and Psmith Space AU)

Psmith in space! Hysterically funny Psmith in Pspace, at that.

Psmith Pops In

Psmith reached over and solicitously loosened Mike’s scarf, his fingers brushing the skin of Mike’s neck, and that young man, to his horror, felt heat creeping up from where gloved fingers brushed his bare skin. Really, this blushing nonsense was getting out of hand. Ever since Psmith had tried to take the blame in the case of the painted dog, Mike had developed an inexplicable habit of turning hot and cold around him, and these odd responses had become more and more frequent.

Very funny! And then very tragique! And then jussssst right.

The Secret Garden

The Space Garden

When Meri La Nix was sent from the Mars colony to live with her aunt at Missiles Wait Manor, nobody said she was the most disagreeable-looking child ever seen. But some of them thought it.

Beautifully inventive space retelling - with gardens, still.

The Sleuth of Ming Dynasty

The sky spinning above him

In which there’s a jewellery thief on the loose, Tang Fan plays dress up, gets a mild concussion and also a boyfriend.

Frothy, sweet, well-grounded and hot. Also hilarious (check the end note!)

truth in fiction

Three days after Wang Zhi leaves the capital, bits and pieces of his extensive library begin arriving at Sui Zhou’s house.

Sui Zhou is really committed to research and accuracy in Tang Fan’s porn. It’s delightful.

Time don’t fool me no more

“The electrician is a Tang dynasty spy,” he says, dumping some of his eggs in Tang Fan’s bowl.

Tang Fan nods, shovels more food in his mouth, and starts talking again.

Past or future, Tang Fan has Priorities. And Sui Zhou is weak.

Meeting at the End

Sui Zhou knew he never should have let Tang Fan go alone. He knew he should have gone with him.

Really, really great and desperate whump. Super satisfying.

clever boy

Tang Fan never spares a smile for any of the girls at Wang Zhi’s establishment, he’s noticed. That’s alright, though. It means Wang Zhi gets his attention for himself.

Wang Zhi falling, falling hard; it’s delightful.

a bold and brilliant sun

“You’re sure you didn’t do something to it? They don’t usually stall out,” Sui Zhou says. He looks away from Tang Fan, out the windshield at the endless rust-red of the planet.

Tang Fan pouts at this, and slumps down on the edge of the console, feet propped up at an absurd angle against the pilot’s seat. “You think I’d fake a mechanical issue just so that they’d send a sexy Fleet crewman out here to rescue me?” As soon as the words are out of his mouth, he giggles. “Okay, I would do that, but I promise that this time the problem is real.”

Space AU! Most excellent space AU condensing all there is to love about the canon in one perfect package.

Blind Taste Test

Wang Zhi invites Tang Fan to evaluate Joyous Brothel’s chefs — but it’s Tang Fan and Sui Zhou who are really being tested.

Wang Zhi, ever helpful :)

Authorial Intent

Sui Zhou and Tang Fan end up in hot water yet again. Kinky sex ensues.

Hilarious, kinky, heartfelt, and in character.

Swordspoint Series - Ellen Kushner

Chrysopoeia

It struck Alec that this would have been much easier if their positions were reversed. Richard would have known what to do if he’d been dragged back here with a hole in his gut. He was quite simply not supposed to be the one on this end of the equation. In fact, it was possible he had done something very bad to deserve this.

Richard is wounded, and Alex is coping. Excellent h/c and excellent bloodplay and sharp, painful slice of Alex’ POV, excellently rendered.

At first — this was just like him — he thought he was hearing god. But it was only the man in the bed, whose face had turned toward him on the ragged pillow.

The Tarot Sequence - K.D. Edwards

Third’s a Charm

Addam asks a favor of Brand.

Addam asks Brand for help, which ends up being exactly what Brand and Rune need.

Pretty good

Five times Brand crawls into Rune’s bed and one time Rune crawls into Brand’s.

Brand and Rune, through the years.

Teixcalaan Series - Arkady Martine

Also in the Act of Reaching

When Three Seagrass arrived at Lsel Station, she was, officially at least, traveling as a private personage. She had missed Mahit and the possibilities they’d both chosen to turn away from. She also had– would always have– a gaping hole in her life where Petal had once stood.

It was simply that, left on her own, Three Seagrass wouldn’t have let either absence drag her to the ass-end of beyond.

Reunion, metaphors and realigment. Subtle and clever and just right.

The (concept of the) World Was Wide Enough

Yskandr Aghavn comes to the world like a drowning man comes to shore, but he is living on borrowed time. Teixcalaan has so many wonderful things to choke on.

Teixcalaan has had his heart for all of his life, has elevated him, corrupted him, and discarded him.

It is Lsel that he thinks of as he dies.

Temple of the White Rat Universe - T. Kingfisher

If Grace Is Too Much

Zale is given a case by Bishop Beartongue which turns out to be more complicated and personal than a holy advocate-priest would prefer.

Clever and sweet and carefully shocking, but in a very right way.

Outreach

“We don’t generally assess the… cursédness… of objects, trees or otherwise,” Beartongue said.

Utterly delightful.

#17776 #astreiant #books of the raksura #sleuth of the ming dynasty #nirvana in fire #white rat universe #telxcalaan series #the tarot sequence #swordspoint #the goblin emperor #psmith #the secret garden #benjamin january mysteries #yuletide recs

[welcometomy20s]

January 10th, 2021

Action Button Review

Review

Tim Rogers reminds me of Hank Green. They are about the same age, they look about the same age which is a combination of young and old that feel eternal. They also have the same length of experience in writing in online spaces, interest in Japanese media, and apparently have Crohn’s disease? In summary, he might be the closest equivalent to Dave Green that exists in the real world. Well, I guess Dave Green is not apt, as Dave Green is not special in a way, while Tim Rogers is special, but his speciality comes from his failures rather than his counterparts' success.

Tim Rogers is a hypothetical Green brother who did not decide to publish that book. He’s a hypothetical Green brother who went to Japan instead of Alabama or Florida. Whose project crashed and burned rather than a surprise success. He’s forged in fire while the Green brothers are eroded by water. Both are wonderful people, but with a different ground of intensity and differing wealth of wisdom.

I encountered this series because I found a twitter post about a six hour review of Tokimeki Memorial, and a white middle-aged man talking about a dating sim for six hours with laudatory blurbs would always pique my interest, but since I didn’t know the guy, I went ahead and looked if he made other videos, and found he has four other review that were all about three hours or more. Now I knew that I had to watch all the reviews to prepare myself for this six hour review of Tokimeki Memorial.

Now, I wasn’t a stranger to three hour reviews of video games. I watched Joseph Anderson, Raycevick, Whitelight, matthewmatosis, and Noah Gervais-Caldwell. In fact, in the comments below Action Button Reviews, many people talked about a comparison to Noah Gervais-Caldwell (and Brian David Gilbert) and that was quite funny since I actually watched a recent Noah Gervais-Caldwell video.

His first two reviews were perfunctory, him opening himself up and trying out new things and polishing his review style, as he went through the Final Fantasy VII remake and The Last of Us. While I watched The Last of Us, I distinctly remembered and contrasted Noah’s The Last of Us Part 2 review with Tim Roger’s The Last of Us review. I liked Tim Roger’s defense of interactive movies (although he denies it!) contrasted with more cynical but ultimately positive connotation in Noah’s review. And Noah’s thesis pairs nicely with Tim’s observation that Ellie was the main protagonist all along. That fact makes Part 2 much more understandable, even the bad parts.

When I finished watch his first two reviews, I went ahead and also watched several of Tim’s videos on Kotaku, which were slightly shorter, the longest being just over an hour, which is a review of the best games in 1994, and does contain a short segment about Tokimeki Memorial, which his six hour review was my destination. To put in context, Tokimeki Memorial was #3. #1 was Earthbound, #2 was Final Fantasy VI, and #4 was Super Metroid. And I just watched a playthrough of Super Metroid basically on a whim, because it’s a monumental and a great game to play and watch.

And while the segment of the games that I knew to be great and monumental in my absorption of knowing video games was deeply personal and rightly claimed its stake that it deserved its spot, his segment of Tokimeki Memorial never got there. It was almost as if he was deliberately hiding behind something. In the end of 1994 review, Tim pitched an idea about a three hour Earthbound review, which probably was Tim’s idea of floating a departure from Kotaku, which would happen two months later, and I wonder if he was trying to deliberately throw a curveball by making a video of Tokimeki Memorial instead of the promised Earthbound review. This may be a far leap, I admit.

I went back and watched the video about Doom. It was much better in quality and in darkness. I was reminded of Film Crit Hulk’s writing of The World’s End and James Bond, another very long essay that was deeply personal and chapter for easier consumption. Few commenters noticed that Tim Rogers was just doing a dramatic reading of his written reviews on Kotaku and Action Button dot net, and how they liked that approach, and I found myself liking that approach as well. You might believe a video review needs more than just reading an essay out loud, but just the act of reading an essay out loud in the correct intonation and inflection adds ton to experience. And Tim Rogers sounds like he has decades worth of experience to present a dramatic reading of his essay very effectively, much like Hank Green.

I continued scaling the mountain to my goal. I went through his review of Pac-Man and was delighted by his reading of Namco games, and was impressed by the opening sequence, and just generally enjoyed it. I was getting excited to set a day aside and let the six hour review of Tokimeki Memorial watch over me and reduce me to dust.

And it sure did. That six hours was a harrowing experience. What Tim Rogers is best at is telling a story, and so to go through a let’s play was a wish I never made, fulfilled. In the end, I was left with nothing and everything. It was like finishing a really good book.

I wanted to watch it again, then again I never wanted to watch it again. It was almost a traumatic experience. Tim talked about there being endless variation of love, and the love Tim Rogers went through was not the fluffy yet melancholic one that I craved, but one akin to a devotion of an eldritch god. Love made in justification for one’s efforts in attending and maintaining a relationship. A love stronger than most kinds of love, but most draining and taxing as well. Tim Roger’s synopsis of Tennis Monster reminded me of Asking for It by Louise O’Neill, which is also about empathizing a quite hateable character because we kind of have to. Apparently one person knows the full plot because Tim Rogers rambled on about it as he was couch surfing in his house, and unbelieve as it usually is, I fully trust that the commenter is telling the truth.

I was like a heroin addict, who really wanted a different hit, like talking to friends or hiking, my mother wanted me to go hiking with her, and I didn’t because, after the pandemic started, all I wanted to be was inside. Outside felt diseased. The air outside felt contaminated to me, hard to breathe. I was stuck in this place.

Tim Rogers is an exceptional figure. He seems to be a movie protagonist, he reminds me of The Librarian, played by Noah Wyle. Tim has eidetic memory, as he has access every single autobiographical memory formed, but not other types of memory. We know that those types of memory are different because of people like Tim and people who are opposite of Tim, someone who has no memories of autobiographical memory but otherwise fine. These people tend to have very few emotions and have a hard time deciding things. Lack of emotions is correlated with difficulty in decision making.

So Tim is the opposite of that, Tim is full of emotions, complex emotions and he can make decisions and carry it out in a snap. He would be good at school, and he was, but he would be too focused on his grandeur to be under some authority, which is how he became who he was. His anti-authoritarian nature rings throughout his reviews, highlight the general Generation X vibe that Tim exudes but also the modern socialistic movement of Generation Z, which adds to this odd mix of old and new.

Not only does Tim have eidetic memory and intense work ethic that he never seems to move away from, therefore making a three hour video masterpiece at a clip that seems unbelievable for a seasoned viewer, he also has exceptional skills in fast math and language, he seems to be at least familiar with dozens of languages, and of course Tim’s experience is bounded by his decade of living in Japan.

I think this is why Tim naturally gravitates towards video games. When Tim says ‘welcome to video games’ there’s a natural supposition that Tim Rogers is the protagonist of video games, and I think he is. Tim wants to be in video games, because he needs to be in video games, instead of some almighty god cruelly deciding to plop him into a real life. He should be an video game adaptation of The Librarian and go on world-spanning adventure and romance impossibly beautiful girls instead of toiling the grime of what real life portends to. His life is dramatic, but impossibly mundane as well. It’s a simulacrum of a movie or a video game, which is pretty cool on its own.

But of course Tim Rogers isn’t the only part of Action Button Reviews. In the ensuing five videos, Tim Rogers tries to do something. Video games are a wide net. There is so much to video games, something like Gone Home and Geometry Dash are included alongside Wolfenstein The New Colossus and Farmville. What makes a video game? Actually, the more interesting question is, why do we have the term ‘video games’? Why do we put all of this mess into a single category, as if there is some throughline.

Tim Rogers starts to do that. Tim Rogers boldly states that things like Doom and Tokimeki Memorial are intimately connected to each other. And that all video games are in conversation with each other, through deep and complex meta-narratives. Tim Rogers is a cartographer, trying to map out how video games are made whole.

I’ve always strived to be that kind of a cartographer, to showcase the weave of reality, of connecting two seemingly unconnected parts, and showing to a profound implication both existing, instead of one or the other. If you don’t know, I have been trying to write something out of my current obsession with Virtual YouTubers, and mostly Hololive, and while I think I stumbled upon the six hour video review of Tokimeki Memorial outside of my interest in virtual YouTubers, this video, as I expected in the back of my head, gave me plenty of thoughts about Hololive. Its rumination of cyberpunk and idol culture is so directly connected with the peculiarities of Hololive that I was quite astounded.

From the very beginning, I wonder how Tim Rogers thinks about Hololive, especially after he has done that six hour review. I’m sure he will have a lot of interesting thoughts about the prospect. I want to get in contact with him, maybe work under him. But then I don’t want to hang out with him. I want to be near him as he talks to a crowd at a party, but I don’t feel safe to be near him when there’s less than ten people nearby. I think below ten, I would be swept in some danger that I won’t be prepared for.

Tim Rogers and Action Button Review is a fascinating review series and if you have the time, I suggest you should take the journey. It’s well worth it, just to get a different perspective on video games and the world around it.

#action button #tim rogers #video games #web video #review