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ronnytherandom · 3 years

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I forgot to watch content all week so i wrote about games ive been playing

9/2/2021: The Truman Show

You should fear your fears but embrace them and use them to guide you into the unknown, to explore and experience what life has to offer. Fear stands between you and the fullest experience of life so you must pass through it to better yourself. Heed not the walls built about you and the chains made to hold you. Though the architects insist it will preserve your life, containment is anathema to life. Do not take in faith the benevolence of powers that be; instead trust those who would support and liberate you, guide you through fear and into life.

As best I can lay it out, I think this is the philosophy of the Truman show but there is so much more to read into it also. There is critique of systems of commodification and celebrity (i.e. capitalism) reducing human beings to a consumable good as well as encouragement to find and pursue your goals despite adversity and even sensibility which is also tied to the illusion of economic responsibility. You can’t put a camera inside a human head, you can never “know” them without being an active and intrinsic part of their life, but also there is need for reciprocation. If one half exists with ulterior motive then the entire relationship is rotten; sincere humanity is what creates real connections. Without such your world is fake. A world built around one person is a world where no one can truly live. All these actors have given up basically their entire lives for the sake of watching Truman have his life built around him by outside forces, have allowed themselves to be commodified and dehumanised for the good of one man, Christoph. The man at the top has delusions of grandeur and thinks only of his own bottom line, he cares not for his subjects but simply wants them to do as he tells them because it benefits him to commodify their lives and interactions. Even then he cannot stand to lose control and in seeking to demonstrate Truman’s “realness” he structures his life so thoroughly that eventually there’s no reality left, only a script and adverts. But the people watching still empathise with Truman because everyone in the working class understands what it is to be trapped because real life is our own Truman show and one day we must all pass through fear, step out of the dome and create a real life for ourselves outside of the system of commodification which consumes everyone’s life and removes all realness and sincerity and emotional catharsis from it.

I unreservedly love this film.

14/2/2021: Assorted Game Reviews

Horizon Zero Dawn (Unfinished due to technical issues, 45 hours inc. parts of Frozen Wilds): This game is really cool and really fun. I think it is defined by its incredible setting which somehow creates a fresh feeling post-apocalyptic environment. Said environment creates intriguing alt-future lore and some very interesting environments to explore. I love the machine designs (especially tallnecks!) and was very sad to hear one of their contributing artists passed away recently but I’m glad their work lives on in this visually stunning game. I’m a sucker for Ubisoft-style open world games simply because it tickles a certain kind of itch and somehow this non-Ubisoft game has outdone Ubisoft on their own formula, which is hilarious, but also good for me as running around this world exploring and clearing map markers is engaging fun. Not least because of the combat. I have a minor criticism here that the combat feels slightly awkward on mouse and keyboard, the arrows never seem to go where I’m aiming, but aside from that the experience of fighting is a grand one. Enemies never lose their threat and I love the weak spot system the game employs which makes every tool useful in niche circumstance and rewards curiosity. It specifically manages this in a way that I feel the Witcher series could learn from if it ever returns; by making head on assault less viable and encouraging tactical hunting. I do feel this system makes hunting robots so fun that by contrast hunting humans becomes a chore however, though I noted this improves in the dlc with the addition of humans with elemental weaknesses limited in number as they are. I cannot speak for the story in entirety but what I encountered was pretty good, though I feel as if it was only just really getting going at the point where I could not continue. I find Aloy to be a compelling and well portrayed protagonist and though I can guess about her origin and the ultimate end of the alt-future apocalypse I still want to see how it plays out on screen, so will return to this as soon as I’ve fixed it.

Rimworld (122 hours. Familiar with but do not own Royalty Expansion):

Rimworld is one of those super special games that I don’t think I have a single problem with. Fair warning it can be brutal and is heavily dependent on RNG but this allows it to create truly unique and interesting scenarios on a constant basis. In the wider perspective it could be described as formulaic, with regular cycles of managing the settlement between raids and random events, but the devils in the details. Colonist traits, health and skills dictate how you play and sometimes you’ll be forced to adapt as some colonists simply refuse to perform some tasks. The depth of health particularly amuses me, in that each little part of someone’s body is modelled in a way. If you’re in a firefight you may take a single bullet which grazes your finger and you’re fine. Alternately it could pierce your human leather cowboy hat, your skull and kill you instantly and the game will tell you exactly what happened. The risk/reward element is addictive enough, and that’s without accounting for just how cool it is to see your colony slowly expand. Establishing more and more options for crafting is fun and shows off the full range of different items in the game which is fucking extensive. Between clothing, weapons, armour, sculpture and drugs to name only a few you have the opportunity to create many varied production lines either for your colonists or to trade for money and there is a lot of fun to be had here as well as it is quite satisfying to see psychoid you have grown personally become the cocaine your colonists snort to help them stay awake on limited sleep. From an archaeologist’s perspective it is especially cool to look back over your base and see the hints of how and why structures were built and remember the history of your limitations and development through structure. I think the lore of the universe is really cool too, a very 40k-esque kind of place except with far less order, somehow. But the universe does an excellent job of feeling alive and moving constantly on both a planetary and interstellar level. You can fully believe that while you build wooden shacks to shield yourself from terrifyingly low temperatures there are simultaneously rich pieces of shit living it up on the glitterworld that’s one system over. The music does an excellent job of creating the wild west frontier atmosphere the game cultivates to great effect. Ultimately, for just being a grid with a series of different numbers attached, this game does a fantastic job of creating a compelling, brutal and very real colony management experience. I dont think I can properly put into words the grandness and scope of this one. I didnt even mention the modding scene, which is expansive and tailors to basically any need you could have. The Rim is a terrifying place but theres so much fun to be had.

Factorio (86 hours, mostly 1.1): Having completed a game of Factorio I can tell you reliably that this is one of the best games ever made, thoroughly addictive and fun. If you like numbers, logistics, TRAINS, its gonna be your thing. Not to mention its probably the only documented case of a game with no bugs (so far as official forums are concerned). Strictly speaking this games combat is not the most engrossing thing but good lord do you feel it when you acquire a flamethrower. The way each aspect of the game (production, research, logistics, combat, upgrades for everything therein) feeds into the next is a really well constructed balancing act such that you must experience the full game in order to complete it and I always appreciate this kind of design. I think its one of the best tenets of factory game design especially as its something present in Satisfactory too. Beyond all of this generalised good the game is also excellent in its intricacies, the architecture necessary to build a maximum efficiency base, the level of planning and organisation that can be employed is mind-blowing. Not to mention the mod community, factorion is already an extensive experience and some mad bastards have seen fit to complicate it further, hats off to them. This really is a great moment in gaming.

Destiny 2 (198 hours, all expansions, played some post Forsaken release, mostly Season of Arrivals onwards, spent roughly £20 on microtransactions):

This is a very interesting and enjoyable experience, but I must say it can be a bit controversial at times. What its does particularly well is moment to moment gameplay and design in all aspects. The game is stunning; between environments, cosmetics, shaders ships and ghosts there’s a vast range of incredible things to see, all rooted in the “pseudo-magi-science” aesthetic it’s got going on. The class design is excellent and you really do feel like you embody this rampaging madman / agile gunman / space wizard archetype, whichever you choose to play. The abilities, especially supers, are very satisfying. Everything has heft and power behind it which can be felt in all aspects of design; sound and animation is top notch. Movement is cool, you can feel how fast you move both on foot and in vehicles and the navigation has a little fun subtlety depending on your class jump, even if you can bounce unpredictably occasionally. But for the love of god why is the wall kick in there? It has only ever served to push me from a ledge into a bottomless pit. You're looking to remove antiquated content? Start there. Some guns are not so good to shoot but there’s such a great range of guns that are fun its like complaining about one drop in an ocean; and enemies are fun to shoot at, each faction distinct in meaningful ways and presenting an effective challenge. Speaking of oceans, that’s one way to describe the lore. I haven’t dived too deep but it keeps going down forever and everything I’ve read is intriguing. As a former Elder Scrolls lore nut this is something I could definitely sink my teeth into, though its much more of a pulpy sci-fi vibe than a pure nonsense vibe. I do think the game has a bit of a loot problem, primarily in regards to the conflict between high stats and looking good. This should never be a conflict, and yes you can apply ornaments to any purple gear but that’s not enough when I spend the entire time grinding power levels and thus must change armour and weapons on a constant basis to progress. This game needs a true transmog system and if not that, rethink how gear power level works. Perhaps rather than earning new instances of gear you always possess a version of it and the loot you acquire in missions just upgrades your instance to your current overall power level? This would serve to do away with the current upgrade system which I think is a needless additional grind. Perhaps it could be retained in using enhancement cores to empower gear as present but necessitating a whole upgrade module to keep your favourite weapon on hand is kind of painful honestly. There is also at present the issue of sunsetting gear, mildly controversial to say the least. If it’s necessary to streamline the game and make it function moving forward so be it but surely loot pools should be adjusted so you can actually get useful loot from older locations? And why sunset personal instances of gear which can be acquired at the regular power level anyway? I had to throw away my favourite bow and hunt down a new version of the exact same weapon for… what reason? I do think destination navigation leaves a little to be desired also. I get that having a physical hub world is meaningful but Destiny does not have a very extroverted community; I can count the times someone noticed me in the tower on one hand. And its not even like there’s fun activities to be found in the same sense as say Deep Rock Galactic, which really does take advantage of its hub. Perhaps for players who simply want to go about their business all of the vendors could be set into a menu system where just clicking an icon takes you to their menu from anywhere in the system rather than, per se, having to go through an entire loading screen (Which takes you to orbit and back) to reach a location which serves simply as the front for four menus. These are established player problems. As a dedicated PvE player I can say that this game is immensely fun in combat and growing in power does feel really good. It’s something I recommend getting into, there’s just some very large creases that need ironing which the Bungie should really take the time to address rather than pushing out new in game content every three months.

#the truman show #horizon zero dawn #rimworld #factorio #destiny 2 #d2 #film #movies #video games #i dont know what im doing #hzd #opinion

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dialogue-with-varyu · 7 years

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SUPERNATURAL THE ANIMATION: A Dissection of Dean’s Failed Characterization & Design (PART 1 - The Technicals)

I have a lot on my chest about the anime that I couldn’t really get into in both of my last posts since the topic of what makes the anime series so cringe-worthy is a very intricate one, making the explanation of it all become a SERIES OF ESSAYS. So please read my previous installments before getting into this one because I will be referencing those a lot:

SUPERNATURAL THE ANIMATION: A THESIS OVERVIEW ON JAPANESE ANIME PRODUCTION & CHARACTER DESIGN

SUPERNATURAL THE ANIMATION: THE IMPORTANCE COLOR DESIGN BRINGS TO VISUAL TONE

But anyway, let’s talk about Dean. I’m gonna talk about Dean.

I will talk about Dean because Sam was portrayed pretty okay in the anime and it’s really Dean’s characterization that strikes a chord with a lot of fans of the original Supernatural series. (However I will consider a separate Sam essay to those in favor of it.)

But I haven’t really seen a lot of people put into words about makes them feel the way they do. So what’s the problem with Dean?

Refresher:

While I understand this distinction, I think that we can all agree that the overall interpretation of Dean suck balls and I’d like to argue that:

rather than misinterpreting Dean’s character, the writers were more focused on one of Dean’s major facades and ran with it.

But I’m getting ahead of myself.

First, I’d like to address the elephant in the room: Why an anime series?

Why did Supernatural garner enough attention to GET an anime series? What is so special about Supernatural AND anime that a large group of creatives and investors were willing to marry the two?

Honestly, that question is big enough for another essay on it’s own. But the bottom line is:

Anime is watched for the melodrama.

Nuance and subtitles are more akin to live action film since the culture around the different intricacies of a story have larger factors that contribute to it. (i.e, it doesn’t matter what’s written because an actor may just ad-lib it, Murphey’s Law, etc.)

So basically, when you have an animated show what you see is what you get by convention. There really is no use arguing over what is canon and what is not because, unlike an actor, decisions and change of mind can’t be attributed in the moment when it comes to character performance. People are more likely to question the mindset of a decision behind a scene when it’s animated more often than leaving it to the death of the author.

But it’s because of this that anime often has namely traits of exaggeration: screaming characters crying about their passion in the heat of battle, long ass internal monologues, “-dere” archetypes, the works.

Which means that anime characters are usually walking talking hyperbolic symbols. (Whether or not you enjoy this is usually the deciding factor between anime fans and those who are not.)

And this ties directly into Dean.

Because Dean in the anime series is an exaggeration of himself from the original show.

Rather, an exaggeration of one specific facade:

The facade Dean pulls up in season one episode 1. The fake Dean that tends to overcompensate his insecurities with bravado.

WHY this scene in particular is one that actually makes sense.

Mostly because this scene IS a if not THE root scene that cemented Dean Winchester’s starting point launching endless possibilities of character traits to be explored for seasons to come. It’s a highly impacted scene that’s very memorable, both in it’s first impressions and as a point of reference for his development.

I infer that the writers of the anime series saw this and built upon their own impressions of it. Namely, they saw this facade and thought this was the True Dean Winchester. (Which, to those who have watched past season 2, know is very far from the truth.)

So how did they write Dean Winchester?

Dean Winchester is perceived to be like a generic anime bad boy

(I say “perceived” since by all means the Supernatural anime is a reinterpretation with very deliberate changes.)

What I’m talking about are those “thug” type bullies in every school centered anime show.

And while I make the claim that the writers may have built off of the scene from the pilot in painting a picture of Dean’s character in their heads, I’m also led to believe that this decision to have Dean come off as a “thug” is less of a conscious choice...

...and more of a conventional one.

Because nothing fits Fake Bravado Dean like Generic Anime Thug Dude when it comes to a script laden with anime-like tropes.

(To make a more compelling dissection of the writer’s true interpretation of Dean SPECIFICALLY would require me to rewatch and analyze ALL of the anime’s original standalone episodes.

...for the sake of brevity and the fact that I don’t want to rewatch any of the anime’s episodes in it’s entirety because I can’t stand even 5 seconds of this animated drivel I Am Not Going to Do That unless a lot of people ask about it or if people just wanna see me suffer.)

But okay, it’s sort of weird to gauge the errors of Dean’s characterization when this anime series nearly follows the original show’s 1st and 2nd season’s storylines verbatim.

Now that I think about it, it’s even weirder to be so allergic to an interpretation of a character when the source material is being 99.9% faithfully adapted--especially with the same lines and set up. So what gives?

What makes anime Dean’s characterization so off from the original to a drastic degree?

The “mischaracterization” is greatly tied into Dean’s character design and the way he emotes--which affects him greatly on the narrative of the anime series as a whole.

I already criticized the character designs in the lack of coherence in color design as well as execution narratively, but the latter still stands to be a huge major problem since it does just that.

Affect the narrative.

Which means it also affects the characters and the themes.

Which ties back again to Dean being perceived as an anime thug.

And I know this because Dean makes the same goddamn faces as an anime thug.

(In this case I’ll be referencing Space Dandy since I can’t find generic anime examples of side characters that embody this profile despite this stereotype and it’s mannerisms invading vast amounts of shows. However anyone who has seen enough anime will know what I’m talking about. And again, the “look” given by the artistic nuances/techniques of the character design of the anime series is not very original.)

You know what, as an aside I’m just going to throw in the fact that Space Dandy’s “look” is very similar to to the spn anime down to the BL shadows in which Dandy is compared with Redline

And that Jessica is totally generically designed

Anyway, this extends further than Dean’s facial expressions alone.

It extends to his wardrobe which totally starts to unhinge Dean’s persona. oddly enough.

So here’s a round of nit-picking

Why in god’s name is Dean wearing sunglasses indoors? He already went through an entire spiel about ineffectiveness at night

and it’s not like having it indoors makes it any less ridiculous. And yes, he does wear them again in later seasons both unironically and ironically

But these cues of character insight (that people have written far better meta for) is in the context of later seasons and I highly doubt the anime production team could’ve predicted any of this so I’m just going to have a giant ????? over this.

Back to this awful screenshot again.

But seriously, anyone shirtless in the snow deserves to die of hypothermia.

Dean is the last person to feel comfortable with minimal clothing due to years of sexual harassment/assault from CREATURES more often than not

Even more so whenever Dean is naked, it’s used more for vulnerability over titillation:

I hate this stupid screenshot.

It is awful, why? Because anime characters rarely stray from their trope mannerisms unless the story calls for it, or the animators dedicate some time to create impressive sakuga for novelty’s sake. If Dean has body language like this now, that mean’s he’s likely going to exhibit it again no matter what the context is in terms of story or character.

Leading to this abomination.

I know what you are doing. I get it. I KNOW.

I KNOW YOU’RE DRAWING DEAN THIS WAY BECAUSE APPARENTLY TO YOU DEAN IS AN ANIME THUG WHICH MEANS ANIME THUGS EXHIBIT THIS KIND OF UNCARING BODY LANGUAGE BUT NEED WE FORGET THAT DEAN LOVES HIS CAR MORE THAN LIFE ITSELF

HAVING HIS SHOES AGAINST THE SEAT OR ANYWHERE NEAR THE LEATHER IS THE SAME AS DEFECATING ON IT. ARE YOU SERIOUS RN??? THAT’S LIKE THE ONE THING DEAN WINCHESTER IS ALL ABOUT AND IS SOMETHING THAT SHOULD NOT BE FORGOTTEN ESPECIALLY WHEN IT CAME TO DEVELOPMENTS OF DEMON!DEAN

This...this shit I can’t forgive. This is so absent-minded it physically hurts me. I can’t be the only one bothered by this.

Addendum: I don’t even really care if that’s NOT the impala (in this episode of the anime Sam and Dean were thrown into the backseat of a police car.) I still don’t think Dean would EVER exhibit this sort of body language in any car.

It also still doesn’t excuse the lack of variety in Dean’s emoting and body language as a whole. You could do so much storytelling in his body language (since Jensen Ackles is a master at that) but they instead chose to stick with a template of a character and never strayed from it.

But...I digress.

Incidentally of all places Yuri!! On Ice has closer character designs of Sam and Dean that for some virulent reason exists (Also incidentally, if you so much as breathe the title of YOI you will be immediately blocked I am not joking around. Don’t test me.)

As does Yami Shibai

So it’s not like a competent/more modern design tailored to anime is impossible.

It is very possible. So if you have your defense that the character designs of the spn anime are inherently horrible BECAUSE it’s supposed to “look anime” you’re probably just suffering from media illiteracy.

However, again, I made claim that the “style” of the Supernatural anime character designs are not what make it fail.

It’s the execution of nuances that killed it--both visually and narratively. And I still stand by that.

To form examples, that means more design redraws!!!

However, the redraws this time around will have it’s own separate post since the inner working of what can make or break a design will be discussed and demonstrated there.

SEE YOU IN PART 2!!!

#whelvenwings #supernatural the animation #supernatural #spn meta #spn anime

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curdinway-blog · 6 years

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Tokyo Godfathers

Tokyo Godfathers opens up with three homeless people watching a nativity play on Christmas Eve. An evangelist is loudly exhorting the glory of the Baby Jesus to them; the homeless throngs all nod along, but mostly they’re just there for the free meal. Hours later, they stumble upon a baby abandoned in a heap of trash in the middle of winter night. The baby is not Baby Jesus. Our three heroes are no Three Wise Men. And the mother is certainly no Virgin Mary. Yet for them, the child may indeed prove to be one of providence; their very own Christmas miracle.

Tokyo Godfathers is one of my absolute favorite anime films of all time. Not coincidentally, it also happens to be one of the most original. Satoshi Kon never shot for anything less than the moon, and this film is his masterpiece. Offbeat, bombastic, weird, gritty, and massively entertaining, Tokyo Godfathers is packed to the brim with kidnappings and mob bosses, wild hilarity and somber reunions, street fights and car chases. All of this is balanced with a warm sense of humanism, which may prove to be the film’s most enduring trait. All too often in movies, homeless people are portrayed as wackos servicing cheap comic relief, or screw-ups who just need a kick in the butt to get them right back on track, get them “normal” like us. In Tokyo Godfathers, homeless people are just that; people, who happen to be homeless. That’s not to say these characters are perfect; each of them contains flaws, as we all contain flaws. Each of them has made poor decisions, in the way we have each made poor decisions. Their decisions lined up with the circumstances to make them homeless. Also notable is that while none of the three characters like being homeless, each has deep and cutting reasons they are willing to tolerate the harsh realities of life on the streets. For them, prospects of returning home seem like an even worse option than where they already are. They are, in an essence, trapped. I would surmise many homeless people in our society feel the same.

The film is brave in that it does not shy away from its depictions of a homeless life in downtown Tokyo. There are sneering faces, hunger and exposure to elements, and even beatings. Living in such a precarious environment is equivalent to urban survival, and characters resort to all sorts of measures, from robbing offerings at a grave to skimping out on taxi fares. A lesser film would have invited judgement. Here, the characters are understood and even applauded for their ingenuity. After all, while offerings to the dead are a kind measure, who would rather they not attend to living people in the most desperate need? Particularly when these people are trying to care for a baby that is not theirs, in the dead of winter? The compassion and practicality applied to its protagonists make Tokyo Godfather truly refreshing.

The characterization in Tokyo Godfathers is some of the best to be found in animation. Gin, an alcoholic, Hana, a transvestite, and Misuke, a youthful runaway, form a brilliant stable of protagonists who are great together and on their own, which is as it should be since theirs is more of a happenstance, albeit close, grouping than a solidified family. The way Kon peels back layers via a series of anecdotal fireside stories and minor revelations is masterful and original, and also a tongue-in-cheek reminder to keep our initial judgements in check, especially concerning those who are homeless. When I first met Gin, Hana, and Misuke, my first instinct was to form an initial impression for each of them, the way I normally would for any character to better understand their actions and motivations. By the end of the movie, my grasp of each character was drastically different from my initial impression, and vastly more complex. It was only a movie, but Tokyo Godfathers still made me feel small-minded and prone to rushing judgement based off of what amounted to a person’s book jacket. It’s a true stroke of brilliance by Kon, as well as a great humanitarian touch.

The plot in Tokyo Godfathers is wonderfully engaging and unpredictable, in part because it never feels boxed in to one particular convention. One minute the characters are savoring a quiet recollection at the hospital, the next they are chasing down an escapee in a screeching taxi, and you’re wondering how the hell that just happened but you’re loving every second of it. At the same time, carefully layered intricacies match up so well that nothing ever verges on being out of sync. Twists and turns abound, as one might expect in a film by Satoshi Kon. As usual, the director makes good use of his trademark blending of reality and artifice to throw us off the trail, although it is toned down considerably from his other three films. That is for the best; the plot is meaty enough to support itself. A few red herrings are all that is needed to accentuate the flavor.

In terms of technical attributes, Tokyo Godfathers is great on all marks. The written dialogue is superb; these people talk like real people, and that sense of grounded realism draws us in, allows all the soul-bearing to ring true. This is one of the few animes I have watched that was not available dubbed in English, and having seen the subtitled version I can’t imagine seeing it any other way. The actors do a great job; while I can’t understand the syllables or pronunciations they are using, the emotions and emphasis they are conveying requires no translation.

The animation is richly drawn and wildly expressive; it is not as smooth as, say, the animation of Studio Ghibli, but the more jagged transitions create a “rough” feel that just somehow feels right for this movie. I think it’s perfect. The music is delightfully screw-loose and jazzy, and does just about everything it can to one-up the madcap hijinks going down onscreen. The ending theme is a Japanese hip-hop remix of Beethoven’s 9th symphony. Now you have an idea.

Tokyo Godfathers is a terrific Christmas movie. Oh sure, the subject of Christmas ends up being rather tangential to the actual proceedings (much in the vein of Die-Hard, or even It’s a Wonderful Life), but in spirit the film contains all the trappings of a Holiday classic. Its larger-than-life characters, zany mile-a-minute schemes, strong heart, and air of the miraculous are a perfect tonic against the oppressive onslaught of cold winter months. When I first bought it on a whim at a local resale shop, I eyed it up a bit suspiciously like that last grungy box stashed under the Christmas tree. That is Tokyo Godfathers; the present you never knew you wanted but end up loving and cherishing long after the other ones have languished forgotten upon the shelf. It is a miracle, about miracles, during the most miraculous season of the year. Joy to the world! And whatever you choose to celebrate, may it be a most wonderful time of the year for you, my dear reader.

-Yours Always,

Marcus Ganser

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