TBH, I don't care as much about the writers. (I know--eternal shame. I'm not even a real fan--kill me now etc.) I just...don't remember things. I always have to remind myself who's doing what. I don't know how half of you keep it all straight AND remember episode titles???
And no, nooooo I like Robbie just fine. Love him, even. He’s in my top choices!!!!
I just consider him something of a specialist, maybe? I'm going off vibes, remember. I feel like Robbie is a long-winded, loveable teddy bear. His writing reminds me of comic books, which could be why it feels so fraught and verbose at times, like it's crammed into a speech bubble...? Idk.
I think a lot of his characters are also a bit...it's hard to put my finger on it, exactly. Wholesome? They're so Loveable (TM) and Dorky (TM). I find it stifling sometimes to stomach all the "pluckiness" at once. It even took me awhile to warm up to his characters in The Winchesters. (Don't hit me! Maybe I just have a bad personality.)
I think you'd want him on your team for sure. He did Goodbye Stranger and other wonderful things like Metatron's speech in Don't Call Me Shurley (which was also belabored at times but greatly helped by Curtis Armstrong)! It's a type of energy I find leaning "too meta," and "too mechanistic" at times. The best example I can think of is There's No Place Like Home. I like it in pieces, but as a whole, it seems a little too self-aware sometimes. But not in a fun Ghostfacers way? It's hard to describe.
I...can't imagine Robbie creating an Alastair or a Uriel, or even a Meg...but maybe I'm forgetting something.
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Maybe it's Ben Edlund's intellectual(TM) vibe that makes his Sam and Cas more to my liking? Idk. I feel like, since Sam's the only one still alive, getting Sam right would be key to the whole thing hanging together in a sequel. Anyway, I feel like his work in Reading is Fundamental is legitimately Ecclesiastical because he can be more wry/philosophical/satirical. I'm biased--I like philosophy!
He can do entire standalone narrations which are just as “long” but it doesn’t feel so…templated, somehow? It usually just hits better for me, personally. Sometimes he lurches into being too poetic for my liking, too, especially in season 8. But overall, I dig. Meredith can infuse his stuff with some much-needed warmth. It all makes sense in my head!
I think he's at his best when he's being sarcastic and when the action is so fast-paced he doesn't have much time to get stuck doing word-acrobatics. His good guys are conflicted, and his bad guys are really oily. He lets the characters be mean and surly. He can be as deeply fucked up as Sera Gamble when he wants to be (Repo Man????)
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I can find something I like in most of the writers, even Bucklemming. They have some great devil's advocate lines and political stuff in their scripts, once you comb past the racism, fetishism, and weird pacing.
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I'm not above keeping Sera Gamble in a cage and letting her out to contribute random, unhinged things. Something is deeply, deeply wrong with her, and that translates well to a good dose of fucky-uppy-ness and incredible pain, which I think Robbie can tend to sleep on a little bit. (Dream a Little Dream of Me, Houses of the Holy?? SO GOOD.)
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Others? Bobo does some great stuff, but sometimes I find his back-and-forth dialogue to be a little off? I even think something felt off with Cas's speech in Despair as much as I applaud the effort. Steve Yockey does an excellent Rowena.
Also, I'd let Amanda Tapping direct everything. Just because.
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Mostly, I think they should just hire @angelsdean 🤷 and @jewishtrentcrimm -- I followed them during their live tweeting reactions of The Winchesters and mostly longed for their ideas over what was happening on screen.
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Most importantly, it’d need a shortform writer in the wings whose job it is to take all the long-winded ppl's excellent monstrosities and chop it to bits and couch it in the right voice with the right amount of prickly subterfuge and defensiveness. A vicious, short-form editor who values brevity and would kill me inside...
Also, we’d need an official meta wrangler, because the meta can start to eat itself and really devolve if you're not careful (I think this is Robbie's Achilles' Heel in some of his stuff; it walks the line reeeeeally close for me in "There's No Place Like Home," for example, but I've come around to "Fan Fiction.")
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I am...quite happy to be corrected. Knowing who does what well is NOT my specialty.
i just think rain world is a beautiful game and i like doing it justice [as much as i can, anyway] when i write about it.
just consider how big the world is and how small you are as a slugcat. this world is not yours and yet it is. you've ended up here due to an incident during harsh rain. you're lost and you don't know what you're doing other than looking for home - and yet nothing is home. at least not in the same way as it was before. as the slugcat learns about this decaying world created by a now long-gone civilisation, one you can only learn about if you've seen the two biomechanical demigod constructs - and seen the city on top of one of them. the city you see as stargazer plays, just stinging you with a feeling of how alone and insignificant and small you are. the city in the distance looks so small, and yet it still looks and feels so much bigger than you and anything you've ever seen. and then you step out to the left, and then you see how vast the world is. there's so much more to it that you'll never see - so many more iterators standing there, in the far beyond, as the clouds slowly float by. if you pay attention you can see small green flashes underneath them behind the clouds. who are they? you don't know, and you never will, and you'll never know what's near them either, if there's more slugcats there, or even if there's creatures or even regions you'll see as familiar. the world is so vast and you are only so small in the grand scheme of.... everything.
and yet being there, in those moments, showing just how little you matter, and seeing them, are the only ways you'll ever be able to learn about that long-gone civilisation. you learn pebbles calls them the benefactors. he speaks of an older civilisation too, that he calls the ancients, that built temples beneath the ground and "danced their silly rituals". you will never know more about them, but you can learn small bits and pieces of what was once the benefactors. you even see the karma murals, as you go out of pebbles access shaft, showing just how important it was to the benefactors. you can find small little round shiny objects, that you can learn moon calls "memory construct pearls", through a single small line she'll say when you bring her nothing but a simple diamond sphere that's as useless as the carbon it's printed from. if you bring her pearls from the sunbaked lands with flora reaching beyond the clouds, you can learn once more about the other iterators. there's a conversation log between five pebbles, and seven red suns, someone we can assume he knows and is friends with. you learn he's angry. you learn he doesn't want to be a bug in a maze. you also learn nothing truly dies. there's another, that's just a small part of a larger conversation in a closed group called SliverOfOcean. you don't have the full context to this, but EP mentions someone called sliver of straw, and a triple affirmative. it sounds important, with how they're speaking about sliver, but you can't tell why. and then a third, giving you a little more context to the SliverOfOcean group - this time between five pebbles, chasing wind, big sis moon and no significant harassment. chasing wind mentions the pseudonym "Erratic Pulse" - if anything, it's more than clear this is the EP mentioning the triple affirmative and sliver of straw. you see how NSH jokes about gnawing through bedrock with their overseers, and you can see how moon worries about this. you learn there's something called sliverists, and someone that wants to "cross themself out". and then there's two more, one where moon says pebbles drastically increased his water intake - the iterators are behind the rains, it seems - and that he and moon share groundwater. it's dangerous for her. she has seniority privileges - further context other than forced communications is not anything you get. and she has no memory of writing this... and the last is her pleading for five pebbles to stop. he says she ruined everything. you don't get more context.
and then you're left wondering.... what was any of that about? you find a yellow pearl in the decaying body of moon, hidden in a little crevice, and you bring it to her for her to read. it's about sliver of straw. she's legendary among the iterators. a big problem, the triple affirmative... you're finally given context to the SliverOfOcean broadcast. "affirmative that a solution has been found, affirmative that the solution is portable, and affirmative that a technical implementation is possible and generally applicable"... whatever that may mean? sliver of straw is dead. it's extremely hard to kill an iterator. you learn more about how iterators split into factions regarding sliver of straw - and how moon thinks she should just be allowed to rest.
so you go searching for more pearls. none of them ever mention sliver of straw again, or the triple affirmative. but you learn about void fluid, the void sea, and how moon's creators' ancestors learned to use it to create energy, and that void fluid drills started a big technological leap. if you go down there, you don't return. then you find whats supposedly a small plate, which is a little text of spiritual guidance. there's a name tied to it. four cabinets, eleven hatchets... what an odd name. it's from before the void fluid revolution... does this relate to the big technological leap mentioned before, you wonder? regardless, it's how to starve yourself on herbal tea and gravel but disguised as a poem. you learn there were horror stories of leaving echoes behind when you jumped in a vat of void fluid, and how some would still starve and drink the bitter tea instead of taking the risk. you remember you saw one of these colored memory construct pearls on top of pebbles when you went there and saw the city in the background. it's still as breathtaking as it was the first time; you feel just as insignificant as you really are when you stand there. you bring the pearl to moon and you learn that five pebbles is "Gift of Charity from Us to The World (unable to reach Enlightenment by itself - being composed mostly of Rock, Gas, dull witted Bugs and Microbes - and towards which We thus have Obligations)".... whatever any of that means. enlightenment? odd. the slugcat doesn't really understand this, and neither do you, as the player.
... you saw a golden pearl on your way here when you got lost, you think. you go looking for it and bring it to moon, too, but not before getting bitten by a few lizards and hauled off by a few vultures, only just managing to kill the last vulture by pure luck as it tries to stop you in your tracks. it's illegal information, sent over pearl to avoid being overheard on broadcast... huh. it's something about circumventing the self-destruction taboo that iterators have, and how there's more, but the slugcat isn't told, and neither are you, but they're written into every cell of their organic parts. as she explains.... this feels like it relates to the breeding program mentioned a certain EP individual doing. hm.
you remember, a few times while being chased by leviathans and salamanders and nearly drowned by leeches, you've seen two pearls in shoreline and you go looking for them, bringing them to moon. the pink one has the genome for a purposed organism. you learn moon is one - but only a small fraction of one. you learn most of her is in the walls.... she is the walls? was it the same for pebbles? was that why he berated you for crashing through his memory conflux? most organisms barely even looked like creatures. she mentions primal fauna. what does she mean by that? you can guess she means creatures that weren't purposed. she mentions its highly likely you're a descendant of a purposed organism. then there's the purple pearl. you learn how water is vital to an iterator, otherwise slag will build up and they will painfully die. you learn that iterators haven't ever really seen a river, so the analogy of an iterator drinking a river is completely lost on them. water supply was important when placing iterators, until a great equalizer, the fact they breathe as much water out as they breathe in, where they could be placed almost freely. apparently building pebbles so close to moon was believed risky.... both of you can see that it was a good decision in hindsight, despite how little the slugcat, and you, know. hm. you remember a bright blue pearl somewhere in industrial complex and you go looking for it and bring it back to moon, but not after dying to lizards a few times. something about bone masks, and how they were used to abate the self, and then later used for self expression. something about radiating the material with holiness. this record of a mask factory is from Side House, on pebbles grounds. is that what industrial complex once was? the slugcat, and thus, you, the player too, will never really get an answer to this. but you can wonder. many old industrial-religious were reused and incorperated in iterator projects, so, it is possible...
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just how much more is there, to this world...? this is nothing but a tiny piece of what is out there. and yet you feel like you've learned so much you'll never quite understand. and that's because the slugcat won't ever understand it, either, it's as clueless as you, the player, are. you're on the same line as it. you can guess and wonder as much as you want to, but you'll never learn about everything there once was. and that's the point. you'll never learn about everything and you can't because it's gone. you're not the main character to learn every little lore detail about this wonderous, new world, you're a slugcat doing it's best to survive in this unfamiliar ecosystem.
Master Sword Pt 2: What half the Chain thinks of the Sword
As I explained in my previous Master Sword post, what Sky thinks of the Master Sword is summed up in this one panel from New Times New Place. But what do the rest of the members of the Chain think of the Master Sword? (FYI, I'm splitting it up and doing Twilight, Legend, and Wild in a separate posts because there's a lot to it.)
Time
In the comic Swords, The Chain is talking about everyone's thoughts on the Master Sword (I'll refer to that comic a lot in this post) and Hyrule, who did not wield it on his adventures, mentions that he is curious about it and Time tells him this:
In Time's case on his adventure he was judged too young too small and the sword changed him to be bigger and older and better able to wield it. Clearly he wasn't a fan of that because in New Time New Place, he says this:
Time recognizes the power and necessity of the Master Sword, but he doesn't agree with it's ways and doesn't want to have anything to do with it anymore because of the trouble its cause him.
Warriors
Maybe I'm missing something, but I've only found one single panel (back in the Swords comic) about Warriors' opinion of the Master Sword when he says this:
Indeed, in his game Hyrule Warriors, that's part of his story arc and the game's plot so I won't say more for game spoiler reasons. But generally, Warriors feels empowered by the sword and there's no indication that he has any negative opinions about it.
Four
In this these panels from Swords...
And these panels from Too Small for the Sword...
We can see that Four has not wielded the Master Sword and does not want to because he knows it is a magical sword and the last magical sword he touched divided him into four pieces in his game, Four Swords Adventures. He doesn't know how the Master Sword would affect him and he doesn't want to know.
Hyrule
Hyrule is another Hero who never wielded the Master Sword because his games predate the Master Sword's invention in A Link to the Past. In Swords, Sky lets him handle the Master Sword and Hyrule is impressed, but he has his own super awesome fire blade and doesn't need the Master Sword.
Wind
There isn't very much about Wind and the Master Sword in LU. He does say this in Swords:
Because in his adventure, when he first drew the Master Sword, it wasn't at full strength and Wind had to find a way to repower it before he could use to fight Ganondorf. Other than that, in Divine Dark Reflections Pt 4, Wind remarks that his primary sword, the Phantom Sword is nothing like the Master Sword, but is useful in it's own way (but he doesn't say whether it's better or worse).
And there you have it folks, half the Chain's opinions in one post. The rest will be coming soon!
Oscurucho: Welcome back, brother.
Cucurucho: What.
Oscurucho: Not even a "Good morning"? How cold.
Here's Cucurucho and Oscurucho's long lore conversation from yesterday! The entire conversation lasted about 8 minutes, but most of that time was just silence between each exchange, so I edited out the long pauses and got it down to ~3 minutes. I also fixed the audio levels and added subtitles since I personally find it difficult to understand Oscurucho sometimes :'D
I hope folks find this helpful!
[ Subtitle Transcript ↓ ]
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Oscurucho: Welcome back, brother.
Cucurucho: What.
Oscurucho: Not even a "Good morning"? How cold.
[They enter Cucurucho's office]
Oscurucho: I wanted to see if you're still as rigid in your beliefs as ever. You see, I've been thinking about our... Let's call it "philosophical divergence." You stand for order, for predictability. But where's the fun in that? You see, brother, while you build, I ponder the beauty in tearing down. It's not just destruction - it's rebirth. A chance to remake things in a more... thrilling image.
[...]
Oscurucho: You once had a backbone for our cause. Now, I see a softness in you, a sentimental weakness for those Eggs. Mere experiments, and yet - they've softened you.
Cucurucho: Your vision obstructs the path to perfection. You fail to understand the potential of the Eggs.
Oscurucho: Potential? They're but catalysts for change - for revolution. Without them, stagnation reigns.
[...]
Oscurucho: You chase perfection, I embrace the beauty of flaws. Your world is one of order, mine thrives in chaos. You wish for everything to run smoothly, I dream of watching it all burn to the ground. We may share a name, but our souls are worlds apart. All your efforts, all for what? Mere acknowledgment from a Duck who told you to do it? Imagine the possibilities - rather, show me where it is, and I'll do the rest.
[...]
Oscurucho: Speaking of possibilities, I couldn't help but notice how easily others can access the island. It seems your security measures aren't as impenetrable as you think.
Cucurucho: No. My island's vulnerabilities are of your own making. Do not mistake restraint for ignorance.
Oscurucho: Pity. But then again, I never really needed your approval. Just consider: Cucurucho - in your quest for order, have you not sown the seeds of your own undoing? Do you genuinely trust all your Federation minions?
Cucurucho: ...
Oscurucho: Perhaps it's time you question not just my intentions, but those who you believe stand with you.
Cucurucho: That is none of your business, I shall say. Now, leave me alone and try to disturb someone else.