#fun fact: i tried to use the generic 3d models as a base to make my life easier. that didn't work out.

[hoardlikegoldenirises]

*leans casually on wall* hey,

i will take ANY excuse to design an outfit, especially wedding outfits, idk why— I just think they're fun.

there were originally two tuxedos involved in this (on the hair timeline drawing), with Flash's white and Peter's blue, but as I was editing my notes I ended up moving some stuff around and shunted Flash's transition forward by about a year and a half because it made more sense to happen around the time they get married instead of nearly 2 years later...

So like any reasonable person, I thought to myself, "oh boy! time to spend four days on a wedding dress!" (the drawing didn't take four days, i just spent a lot of time looking stuff up)

💐

closeups and thoughts under the cut:

in my head the top part of the dress is at least partially some kind of soft, flexible fabric, like a stretch satinet or whatever, or one of those really soft matte stretchy fabrics, but i honestly wasn't sure how exactly to handle that considering I'm not a tailor myself... like there should probably be a waist seam where the top meets the skirt, though probably hidden by the embroidery at least a little bit... though i guess it could also be that there is a layer of already-embroidered georgette over the top of a slip...

i did not hand draw this embroidery by the way. i almost tried. and then after .5 seconds i said, "oh this doesn't look good and i don't know what i'm doing." so then i used some brushes in clip studio paint and colored in colors i liked and added some beads that are basically not visible at 100% zoom (lmao)

they're there, i swear. i just think it would be cute if there were some very small beads adding a bit of sparkle...

Anyway, I just thought the flowers and colors would be nice. And I know you're probably thinking "huh, where'd they get sheer fabric that's only embroidered on part of it?" considering all those pre-made fabrics w/ the flowers all over... or "where did they get that dress custom-made? did one of their friends pay for it?" to which normally I would say "yeah lol they know at least a half a dozen rich people" but in this case... Well, this is a wedding that involves Peter. and Peter is nothing if not extra, impulsive, romantic, and a masochist—

Peter hand-sewed the entire dress, including the embroidery.

I figure, if he can embroider spider webs onto his suit then surely he can handle this ,as long as he has something to go off of. the dress itself isn't exactly the most complex, except maybe the skirt part falling in a specific way, so this is just another idk how many hours for him to spend futzing around with a needle and thread and insisting he can finish it in time. point in favor, because he does, but only because they have to postpone the wedding from March to May for other, unrelated reasons LMAO

also i just think it's romantic... and i like the idea of him making things with his hands all the time... he takes up woodworking a year or two before this iirc lol (the reasons for that are more morbid though... 😅)

anyway, i wanted the skirt to look nice in a wheelchair without getting in the way of things like the brake grips or the push-rims, so Flash can still move herself around (esp since she doesn't have handles on the back of her wheelchair lol) so that was another thing i was looking at pictures of. I really like georgette so I think it's probably layers of georgette, but drawing that is... hard.

probably looks a little more like this?

but plain ivory obviously, not plaid. drapey with a soft hand, not too fluffy or stiff. probably a satin slip or something underneath.

elegant... backless... I mean if Peter is the one designing it (though presumably Flash has SOME input, I mean, she's the one wearing it) how could he possibly resist the opportunity? (i just think backless dresses look nice) (also it shows off her back muscles, probably)

lmao

as it says in the pic, i figured this should be designed so it's comfortable to sit in and doesn't get tugged around a bunch but I will be honest. i did not have a lot of luck trying to research that so I gave up. I'm sure there's a way to do it but I have no idea how to draw it so I'm handwaving it along with the mysterious missing waist seam LOL

but also it's a wedding dress and most wedding dresses are wildly inconvenient even if you have absolutely no disabilities whatsoever.

at least she doesn't have to go commando...

though i'm sure going to the bathroom is a real nightmare lol

the bouquet and the veil are both on the back of the wheelchair—this was already true even before I decided Flash was gonna use this as an opportunity to be way more girly than usual, but it's still true here too. Though I did end up changing the flowers cause I realized I didn't like what I had, so the final bouquet is a mix of peonies, flowering dogwood, and some kind of wildflower that would be in season in May. Plus the red ribbon to match Peter's accessories.

oh and there's Flash's makeup too. Simple, not too dramatic. I don't imagine her ever being a red lipstick and dramatic eyeshadow kind of person, whether at a wedding with colorful dress or not, but some lip gloss and a little bit of shimmery eyeshadow that you can barely see sounds nice... maybe copper mascara or whatever but nothing dark.

her hair is also not super complicated or fancy, and she has no jewelry or anything like that, aside from the engagement ring... just a nice low bun with some pretty wisps 💞 Courtesy of MJ almost definitely!!

And the yarmulke is for a multitude of reasons. "Technically" Flash is not "legally" a woman at this point, isn't even out to her family yet (lol. lmao.) and hasn't legally changed her name yet either (she's going to after they get married), and I don't even know what the rabbi would think (i mean, i'm sure they've discussed by the time the wedding happens lol) but women wear yarmulkes these days too (these days is... 2014... btw), and Flash will have converted like 4 years before the wedding already (for reasons unrelated to Peter) so it's important to her... so, ultimately, regardless of requirements or level of reformness, I think she just wants to wear one.

Peter gets one too.

isn't he handsome?

lbr he probably wouldn't have even thought about it if Flash didn't bring it up. too busy thinking about what color of tiny beads to sew onto her dress XD

I DID loosely base some elements of Peter's tuxedo on the one from the iconic PeterMJ wedding cover—

—but mostly in ways I probably would have done anyway (dark blue tux... red cummerbund... etc.) (actually now that i think about it, the comic tux is probably meant to be black, huh) and I didn't want to make it actually the same so I gave him a pleated shirt and I didn't use a carnation for his boutonniere. Instead, dogwood (to match the bouquet obviously)—all the flowers I picked I'm PRETTY sure are in-season in May in NYC. as if they couldn't just go to any random garden and get some damn roses but I wanted to be more specific.

Peter doesn't make his tuxedo XD He also doesn't buy or rent it—Johnny Storm is the one in charge here because he insists, Peter. It's a special occasion!! He'd never let his best friend who he's totally not a little bit in love with wear a rental tuxedo to his own wedding! God Forbid. Peter eventually allows him to do so under the stipulation that Johnny keeps it tasteful and classy and "not too expensive."

Which to Johnny means "expensive silks and wools."

he's probably wearing suspenders. i didn't bother drawing that.

also these fucking shoes

NO idea if Peter keeps these. I only came up with them today. He was just gonna wear normal shoes before... but again, this is tasteful a la Johnny Storm. But Peter doesn't usually have occasions to dress fancy so having weird pseudo-spat dress boots is like. "What do I even do with these?" ("Wear them!!!")

I almost made the top part white (thus, pseudo-spats) but I think that kind of requires more of a white tie look... it looks nicer black. and hides his spidey-tighties (except he's not wearing his costume under this). Snaps, too! easy on, easy off!

(vaguely based on (these shoes) btw but not 100%)

wedding rings 💍

i already drew the rings a while ago (though i did slightly modify the coloring) so that's still the same. the engagement ring is essentially Flash's very first step into admitting who she wants to be... Peter doesn't even have a proposal planned, he just asks one day over breakfast lmfao but Flash has to think about it a lot so by the time Peter gets a yes (after a serious conversation with Flash about it) Flash is also like... can I have a ring??? and Peter is like OF COURSE (and actually he did have some money saved for this but he didn't know what to do...)

he'd probably make the ring himself if she asked—he doesn't though, they get it from a jeweler. it's... not cheap but it's less than $1000 at least? benefits of being very small and discreet.

Peter probably also offers to get himself one so they're equals here esp since power dynamics is part of the serious conversation and why Flash has to think about his proposal, but it's just not practical for Science Teacher Spider-Man to have an engagement ring and also they do not have money for that many rings.

in my notes Peter is wearing his uncle's wedding ring btw 🥹 i don't think they have Richard and Mary's rings so that's probably not an option. so, resizing Uncle Ben's ring instead.

anyway...

that's everything

here's Flash again, look how pretty she is

normally she just wears comfy athletic clothes and no makeup lol

#peterflash #trans flash #nadiart #arghdesign #fanadiart #rough art #peter parker #flash thompson #came in through the window last night #fun fact: i tried to use the generic 3d models as a base to make my life easier. that didn't work out. #also considering flash getting peter an all white tallit for this... (and possibly herself as well tbh)

[villiedoom]

How did you learn how to use blender? (As someone who wants to learn how to get on your level of talent)

I would say that I learned Blender naturally, meaning that I just had the desire to make models of my creatures and so I was just trying to make things, mostly intuitive but sometimes using information on the Internet (I find video tutorials the most useful).

I started with low poly models, then I tried to make more realistic and detailed models in Sculptris, then I started to import these models into Blender to optimize them, to give them textures and rigging, and mostly I used them as reference for my drawings. I didn't work with it much, it was purely like "I sometimes try to make 3D things, mostly intuitively and just for fun".

I started getting into 3D a lot more about three years ago, when youtube recommended me a video review of a new version of Blender and I found it inspiring enough to try again. This was the first time I started trying to add fur to my models and also make scenes and renders (before that I only took simple screenshots of my models).

I used random videos as help, but in general my approach to learning something still sounded like "I just try it intuitively and do something. If something works out or is just interesting, I remember it and continue to use it in the future". If I come across a problem, then I look for a solution in Google, and also try to understand what it could be based on the experience I already have. But I really don't know how to put it in simple and sequential "how to" so that it doesn't sound like "well, I just did something and over time I gained experience and began to do it better", because in my case it's more of a very slow personal experience than any resources. In fact, it is very similar to how I learned to draw, heh!

For complete beginners, I think I would advise starting with video tutorials, trying not just to repeat all the steps, but to understand exactly what is happening and remember how the program works and how to use things, and then just experiment with this knowledge, trying to do something completely by yourself. I sometimes watched videos without following them at all, but I memorized what functions were used there and then tried to use them for myself ^^

#messages #blender

[lowcaloriesims]

I am so sick of subscription model software. I’ve refused to use adobe all these years because of it, on top of their programs not working as well as they’re made out to be. 

I liked clip studio, but even after 5 years of using the program, there were many features that I felt could have been improved, and even functions I missed from fire alpaca. The fact that they’ve even thought about moving to a subscription service is enough for me to call it quits. I have my own issues with them, and call me crazy, but I have always felt like they wished their western audience would fuck off. 

There are a lot of great features to CSP, but I’ve noticed that a lot of people don’t know how to use certain parts of the program due to the language barrier. There are also alarming 3D poses and models in the asset store (lolis). I’m not even sure if it was intentional, but with the release of their clippy tokens, I was always weirded out that it was abbreviated as CP, as an english speaker.  The translations in general are terrible, and there are a lot of things I know I’ve missed out on bc of this.

I’ve seen people say that the company is trying to stay afloat...they have monthly tutorial contests where some people can win 900 USD. I know, because I entered one of these contests, and won a bronze award. If they are barely making ends meet, then perhaps they shouldn’t give out money to multiple people every month? Further, the asset store has gold, which a person uses real money to get. You don’t have to buy gold, but there are many interesting and honestly useful assets that a person purchase on the store using it.

Trying out other programs right now, and I can see that ironically, CSP hasn’t really tried to bring the program up to par. The stabilization has always been a joke, and I realize that it just sucks. Paintstorm and Affinity both have fantastic stabilizers, and are much more natural to use. They also work wonderfully with my Huion tablet, while Clip Studio has always been off with my pen alignment. I’m seriously considering moving to Paintstorm just off this alone, my hands are permanently shaky due to Graves Disease, and these other programs work so well.

I just want to paint. I want to make pretty pictures, and stupid ones. I want to make loading screens for The Sims 2. I want to make background images for my youtube channel. I want to draw black and white like I did as a teenager, and not have to have 1000 pencils and tortillons in a box somewhere in my room.

I love using technology to help with references and shit. I am just tired man. I am so sick and tired of all the fucking subscription based shits, and am seriously falling more in line with the core of places like neocities; where you can just make your page, be yourself, and have fun. I am so tired of monetizing everything. I’m tired of monetizing my entire fucking life. 

I pay for a mortgage, utilities, medicine, internet, and food every month. Every place online is trying to make a quick buck, no matter if their services actually work or not. Every video on youtube is at risk of a copyright strike because some boomer thinks you’re stealing from them or their friends, because for some reason they think you’re making money off youtube. If you want any sort of entertainment, you’re very likely going to have to pay for it. I’m sick of it all. All this shit sucks. I’m going to make a list of free shit you can use on your computer, at home, or online, because I am so tired of this shit. There are so many good programs that are just...free, and good to use. But Big Adobe, Big Celsys, Big Amazon, and all the other fuckheads don’t want to know that. They act like it’s a crime not pay them.

so fucking over it

#rant #clip studio paint #mostly talking about big companies sucking you dry in general

[jade-parcels]

👯‍♂️💕👯‍♂️💕👯‍♂️💕👯‍♂️💕👯‍♂️💕👯‍♂️💕👯‍♂️💕👯‍♂️💕👯‍♂️💕

The bunnies’ other jobs!

From my bunny cafe au

((I am so peeved :((( I had this all written out!! And I deleted it by accident!! Darnnnnn!!!))

Anon asked “You mentioned that some of the bunnies have day jobs so do they all have jobs outside the cafe or just a few?” (Something along these lines…again…I deleted it by accident 😔)

👯‍♂️💕👯‍♂️💕👯‍♂️💕👯‍♂️💕👯‍♂️💕👯‍♂️💕👯‍♂️💕👯‍♂️💕👯‍♂️💕

Diluc/‘Angel’

After his father got bored with the wine industry, he passed the whole company off to Diluc on his 18th birthday in order to shift his focus to mining. Diluc found himself swamped with all kinds of business decisions while just barely being an adult. He expanded the company and hired some very trustworthy people to handle things for him so he could finish college

When the business was given to him, Diluc and Kaeya had an explosive fight over it. Kaeya felt like he deserved to have some say in what happens to the business, he’s still a part of the family! But Diluc refused to let him in on any decisions so Kaeya packed his bags and left (not before cussing him out in front of their father, staff and business partners). He was just in a silly, goofy mood. They’re fine now, not on the best terms but they do chat and meet up for lunch on occasion.

He is filthy rich, he couldn’t spend all of his all of his money if he tried, so he doesn’t really need the job at the cafe! Kaeya got him the job because he knew his brother was stuck in a weird, antisocial funk and needed some fun in his life

Diluc loves this job, he has a great time, but it isn’t his main job. His priority will always be the family business!! If he has to quit his job at the cafe, he would in a heartbeat

👯‍♂️💕👯‍♂️💕👯‍♂️💕👯‍♂️💕👯‍♂️💕👯‍♂️💕👯‍♂️💕👯‍♂️💕👯‍♂️💕

Kaeya

Kaeya was going to go into the police academy but was scouted out by a modeling agency. They had seen him at Ragnvindr company events and thought ‘well damn’ so they gave him a pretty generous deal

Kaeya makes a good living off of modeling, the tips and paycheck from the cafe. He rakes in cash pretty quickly just cause he knows how to get it. That, and his dad sends him checks every other month as well. Kaeya thinks of it as ‘I’m sorry’ money. He isn’t wrong

He doesn’t travel much for modeling, which he doesn’t mind, so he kinda just hangs around the city with a lot of free time on his hands between photo shoots. That’s why he got this job at the cafe! It gives him something to do and it’s fun as hell ;)

Albedo

Bedo is one busy bunny. He finished college early and is getting his masters degree online. He works most days at the cafe and on the weekends, he tutors other college students in bio/chem/science related subjects

(He was actually Xiao’s tutor back when he was failing chemistry!! Xiao is very thankful for Albedo’s help!!)

His dream is to become a biochemist, he’s always been interested in cells and what makes up living beings. So having a career in that field would make him the happiest man alive

His mother and sister live outside the city in a more rural area so he spends a lot of time FaceTiming the two of them! Klee is always so excited to hear about Albedo’s experiments or the people he’s met while working in such a bustling, fun city :)

Zhongli

Zhongli is a simple man! He’s a bunny waiter and an artist

He creates intricate pieces based on folklore from different cultures, focusing mostly on dragons. His favorite medium is paint, he loves painting on glass and layering the panes in order to create a 3D piece

He sells his works to galleries, shops and anyone who wants them! As long as they appreciate the story behind the artwork. Sadly…He undersells his work. He could def be making more money but he just does not desire money or material goods the way others may

So he got his job at the cafe in order to help out his dear friend Ningguang, not for money, he only planned on working there for a month or two until she got more bunnies but…he ended up really loving the people he works with :’) he looks forward to working with them now and texts/calls them outside of work to meet up for lunch or bowling (such an old man thing to do omfg)

Dainsleif/‘Sweetie’

Dain was a bouncer at another bar before leaving to come to Celestia’s! He’s good friends with Beidou, they belong to the same motorcycle club so when she was talking to him about the lack of security at the cafe/bar, he stepped in to help out

Little did he know…he’d actually become a bunny…And like it

This is his full time job now, he doesn’t have another for the time being. While he is a bunny at the cafe, he still keeps an eye out for any threats to his coworkers and has access to the offices upstairs (Ningguang’s office and the security office)

When he isn’t waiting tables, he’s upstairs in a tank top and sweatpants keeping an eye on the security cameras and talking to the other security guards through their ear pieces

Ajax

Ajax is a student who doesn’t really have much time on his hands

He mows lawns in the summer and he’s quit his job as a cashier to come work at the cafe! He mostly works night shifts his cause he’s still going to school aaaaaand he’s on his college’s swim team! He’s about to graduate so he works close with his coach to help train the others on the team

He doesn’t really want his family knowing that he skips around in a skimpy bunny outfit and fucking customers most nights but I mean…They’re bound to find out if they see him in pictures people post

Xiao/‘Tofu’

Xiao is an art student!! He wants to be a tattoo artist :)

He’s already got one sleeve of tattoos, it’s unfinished but you can’t really tell just by looking. When he isn’t at the cafe, he’s either in class or shadowing Ganyu, his best friend and tattoo artist. Their art styles greatly differ, she focuses her craft on cutesy, colored tattoos, but she is skilled. And Xiao looks up to her

Xiao admires Zhongli too, they met at the cafe and when Zhongli found out Xiao wants to be a tattoo artist he told him that once he’s licensed, he wants to get a tattoo from him :’)

Baizhu/‘Honey’

Baizhu is a (mostly) full time pharmacist, hence why he isn’t usually at the cafe

He also has a niece, Qiqi, who he babysits often. He loves her very much so he has no problem watching her! Baizhu will even bring her to the pharmacy with him when he’s swamped with work. In the break room, he has a play kitchen, coloring books and a bunch of puzzles to keep Qiqi occupied while he works :)

When he’s not at work, he’s at home resting. He has chronic pain flare ups in his back and shoulders that can make life miserable :( he has plenty of good days that outweigh the bad! And as a pharmacist, he has access to any medicine he needs to make his life easier!

Dottore(Alain)/‘Doc’

Alain’s an oral surgeon who’s a little bit….too into his job

He isn’t phased by blood or gore so he’s easily able to conduct procedures that would make other squeamish. He’ll pull teeth, put in dental implants, remove rotten tissue, any of that without even flinching

Outside of that, he works at the cafe. He wears a mask in order to avoid being recognized even though at his job as a surgeon, he’s usually wearing a medical mask anyways. It’s just a precaution

This has nothing to do with his career but he used to be a tap dancer and actor so he’d join in on local theatre shows! He helped build sets when he wasn’t rehearsing. He doesn’t have time for that anymore (which kinda makes him sadddd) but he has all kinds of theatre playlists on his phone and in his car that he’ll sing along to

Scaramouche/‘Boss’

Scara’s job at the cafe is his main job! His side job is something you may not expect from such a grump

He works at an animal shelter! In fact, he brings cats home to train so they have an increased chance of being adopted. Someone is more likely to adopt a potty trained, socialized cat than a feral cat who doesn’t know what a litter box is. So Scara brings them to his apartment for some one-on-one socializing, training and cuddling

One time he offhandedly mentioned working at an animal shelter while he was working at the cafe and sure enough, three separate customers from the cafe came by to adopt!!! Only one actually took an animal home but he was still surprised that those people had listened to him and cared enough to come by

Scara is a jerk most of the time but when he’s at home…by himself…With a lil kitten sleeping in his lap while he plays games on his PC…Yeah, he softens up a bit

So as you can see, we have a very diverse group working at the cafe! They’ve all learned a lot from each other, come to appreciate each other’s friendship and come to help each other out when one of their coworkers is in need or upset.

#UGH TECHNOLOGY;-; #I just have to be more careful ;-; #thats 30 mins I won’t get back #but again it’s my fault lmao #genshin impact #genshin imagines #genshin impact writing #genshin impact headcanons #series: bunny cafe 💕 #genshin impact diluc #genshin impact dainsleif #genshin impact kaeya #genshin impact albedo #genshin impact baizhu #genshin impact dottore #genshin impact tartaglia #genshin impact childe #genshin impact zhongli #genshin impact scaramouche #genshin impact xiao

[loadet851]

Pc Games With Character Creation Offline

Games With Character Customization Pc

Steam Games With Character Creation

One of the things I love most in a RPG (Role-Playing Game) is the possibility of creating my own character with tons of different options and add-ons. I made a research yesterday and found some interesting PC Games I already knew about, adding them to the titles I have or plan to get with the best Character Customization. I’m going to list them here for you guys also attaching a few videos so that you can see directly how they work and what kind of possibilities they offer.

It’s the main reason I enjoy games like Skyrim and Fallout. But there seem to be so few good (single player) games with decent character creation - and not just picking from a few presets. The character creation in Dragon Age: inquisition was amazing (although I struggled to enjoy the game) as well as Saints Row (which I really enjoyed). Addicting Offline Co-op Games For PC You’ll Want To Play. Dennis Patrick / Features / Best Co-op PC Games, Co-op, Cooperative. Sonic the Hedgehog is a staple video game character. Best MMORPG with Character Creation. Final Fantasy 14 has one of the most complex and sophisticated character editors. In this game, you can change the smallest details using different sliders, pick a unique voice, or add unique tattoos, accessories and facial paint. What Are Best RPGs With Character Creation? Role-playing games let us live out some of our greatest fantasies like slaying dragons, saving the world and owning a house. Whether your main character is dead, alive, or somewhere in between, these games will let you adjust your appearance and abilities to however you see fit. I've always loved games that give you the option to create your character before you start in the world. I enjoy the game even more when it has role playing or social aspects added to it, allowing you interact with NPCs, or other players if the game has a multiplayer feature. Just character creation would interest me enough to check any game out.

Follow me under the cut if you’re curious!

I’ve been introduced to this type of creation with a game I still keep in my heart and consider one of the best of all times; The Sims 2. Seriously, I’ve created so many 3D characters that if I could win an award I’d have 200 on my shelf by now.

With that said, here you are my personal list of PC games with their awesome customization in no particular order:

I tried this game myself (the free beta that is) a few times in the past and I swear the CC included in it is currently one of my favorite. Without the complete pack I probably didn’t have a lot of additional options available in terms of clothes, makeup and hair, but what truly mesmerized me at the time was the shaping tool, not yet common in games when they released EVE. You can grab and drag different parts of the head and body, modeling unique characters every time.

2. Black Desert Online

This game has been released recently with two different packages and it seems to be quite a popular MMORPG (Massive(ly) Multiplayer Online Role-Playing Game) in Russia and Korea. I’m not surprised considering the quality this game seems to have and its customization is clearly no less. Just like EVE Online, Black Desert offers a good sculpt instrument to shape faces and bodies as much as you like, plus a beautiful variety of colors and combinations.

UPDATE: The game is also available on Steam!

This patch lets you play Legend of Zelda Spirit Tracks with mostly non-touch based controls. The new control bindings are Control Bindings: D-Pad=Run Y+Dpad=Walk B=Wide slash B+Dpad=Long slash Y+B=Spin Attack A=Interact A+Dpad=Roll. Legend of Zelda Spirit Tracks D-Pad Patch This patch implements non-touchscreen controls for essential actions in Legend of Zelda Spirit Tracks. Legend of zelda spirit tracks xenophobia patched rom.

3. Blade&Soul

This is another Asian MMORPG with the classical ‘Anime’ style, you cannot freely reshape the character’s structure, only pick one of the available presets and play around with the sliders to modify the whole body. Andy mckinney molly hatchet. Still, I honestly like the bright colors, the races/classes and the fact that you can actually recreate other existing characters using additional content (just like this guy did with Cloud from Final Fantasy VII).

4. BLESS Online

Yes, another Asian online title. Hey, it’s not my fault if they look so pretty! Bless is quite recent and not yet released in its final stage, but judging by how the CC works you have as much freedom as in EVE or Black Desert and the same unmistakable Fantasy touch.

5. The Sims 4

Didn’t I mention The Sims 2? Well, looks like the latest title in the series has improved quite a lot in this area. The shaping/sculpting method is here as well, considering that we finally have more possibilities I certainly won’t complain!

Note: In this video I can see the woman has a few mods installed. If you decide to get this game (or even the previous chapters) I definitely suggest you to do the same if you don’t like the default character design.

6. Fallout 4

Another recent (and quite famous) game. Apparently you can only work on the face here, but once again we see the sculpt tool in action. Even if the hair options are a bit limited you can still customize your character and create unique features playing around with your cursor.

7. Dragon Age: Inquisition

Who knows me is well aware of the fact that I am completely OBSESSED with this game, thus I couldn’t really leave it out. The hair options are definitely questionable and just like in Fallout 4 you do not have any body morph nor slider to alter, but as you can see from this video example you are still able to personalize your Inquisitor in a good way, also using real people or other characters as reference. To be honest I like some of the default presets too, if you don’t like spending two hours working on a face (I do that all the time, but I am a basket case so please ignore my madness :P), you can pick those and get a good result nonetheless.

And don’t forget about mods! ��

8. Skyrim (The Elder Scrolls V)

This one has been around for a very long time and it remains probably the top 1 Fantasy game out there. If you’re not into mods at all and want to keep your game vanilla be sure that the overall quality is not as improved as the current generation, you can see that from the low-res hair and general textures. The reason why I’m including this CC in the list anyway is because even if old, Skyrim looks quite good compared to other games where you only get 3/4 slider options.

9. APB Reloaded

The last game I’d like to mention (and I literally just discovered it) is this not so new title which has a kick-ass Character Creator. Not only it shows some quality graphics there, but the level of customization is unbelievable! You can make hair shorter, beards longer, create beautiful tattoos (and place or rotate them wherever you want!), add patterns to clothes and even get your personal car! 😀

Chose one serial + PILIH Salah satu WORKING 99% per 13 Januari 2013 1330-1971-4830-1762 1330-1912-2628-0850-0232-4869 1330-1148-0472-2735-6555-0617 1330-1544-4195-8131-3034-5634 1330-1886-0283-4688-9152-2034 1330-1118-3174-6558-8260-5378 OR 1330-1971-4830-5668-6067-1762 1330-1912-2628-0850-0 232-4869 1330-1148-0472-2735-6555-0617 1330-1544-4195-8131. The serial number for Adobe is available. This release was created for you, eager to use Adobe Cs6 master collection full and without limitations. Our intentions are not to harm Adobe software company but to give the possibility to those who can not pay for any piece of software out there. Adobe cs6 master collection activation key wondershare.

There are of course many other games with a Character Creator, but they all seem pretty similar or not good enough to be mentioned in my list.

What do you think about these? Let me know with a comment if you like!

Those late-night multiplayer sessions can be really fun sometimes. Surely, everything is better with friends, they say and you’ll agree with that at some point. However, after a long day of work and studying, I like to relax with offline games. Sometimes, it’s satisfying to let yourself indulge in a great single-player story and forget about any problems bothering you. So, if you are like me, then welcome to the club! Below is my list of 20 best offline games for PC and I hope you’ll enjoy them.

1. The Witcher 3: Wild Hunt

W2k16 pc download. Well, you’ve guessed it! The Witcher 3: Wild Hunt takes first place on the list with its epic setting, characters, gameplay, and those breathtaking visuals! It’s a compelling game that will offer you more than a hundred hours of non-filler gameplay, and there’s always something to explore. The game looks amazing, and the combat system is great. This open-world title is everything you need on your free days! Combine that with the great RPG elements and fun dialogues with NPCs, and you got yourself a pretty good offline game! Go and play it now, it’s a must-play.

2. Wolfenstein 2: The New Colossus

Wolfenstein series has been once again revived with Wolfenstein 2: The New Colossus. The positive reviews flashed all around the globe, and this game quickly became one of the best shooting games of 2017. B.J Blazkowicz is such a badass protagonist and the characters surrounding the game are interesting. You’ll quickly start to care about each and every one of them, making this game a worthy offline title. Bethesda said that they won’t be focusing on multiplayer, so they can bring an immersive single-player experience. Well, you nailed it, Bethesda; great job!

3. The Elder Scrolls V: Skyrim

Bethesda is one of my favorite companies when it comes to gaming, at least they were a few years back. A few years back, this masterpiece called The Elder Scrolls V: Skyrim was released and it took the Earth by storm! This offline open-world title offers hundreds of hours of exploration and you’ll probably never get bored of it! The combat system might be dated, but it’s damn fun to play and explore every corner of the game. After six years since its release, I’m still eager to give Skyrim another go. It’s that great!

4. Fallout 4

Games With Character Customization Pc

Fallout 4 is one of those top offline games that you either like or dislike. It’s a great single-player experience, as you explore a huge world of fictional city Commonwealth. I mean, the story here is scattered here and there, and our protagonist is in search of his abducted son. However, the game often steers away from that and let you have some freedom and exploration. It’s a fantastic reboot of the series, and it’s surely the best game in the franchise. If you are up for that Stalker-ish feeling, then give this a try!

5. Hitman (2016)

Hitman isn’t a strictly offline game, but I included it because it has a great single-player campaign. While the previous entry in the series Hitman: Absolution relied more on linear, claustrophobic, and confined experience, Hitman (2016) went in a different direction. Here, you’ll experience a vast, open-world with lots of stuff to do. The levels are not that numerous, but they are as big as hell! You can complete your missions in various ways and earn certain rewards and points for doing so. Hitman is a challenging stealth experience, but once Agent 47crawls under your skin, there’s no going back!

Steam Games With Character Creation

6. Nioh

Nioh is a less-known offline game released this year, and I feel like this game is very underrated. It’s a child of Dark Souls and Bloodborne series, which can tell you much about this game. It has a single, crushing, and unforgiving difficulty that will leave you begging for mercy. It’s hard, and you’ll need some blazing fast reflexes and huge gaming skills to finish it. There are more than twenty bosses in the game, and every single boss will kick your ass! Don’t expect to finish this game in a few days; you’ll need weeks to finish it and it will be painfully slow as the bosses shame you every little time… you helpless gamer!

7. Nier: Automata

Another underrated game – Nier: Automata. How could the gaming community overlook this game? Are you blind, or what? This game offers thirty hours of a pure, refined, and amazing experience! It’s a hack-and-slash title that mergers several genres with it. The open world in this game is huge, and the post-apocalyptic environment looks depressing and feels like a void. Nier also introduces RPG elements so you can now level yourself up, upgrade weapons, buy stuff, etc. On top of that, there are some 2D sections that feel like a great platformer, and that’ very unique! Nier: Automata is better than most AAA titles and costs double the less of that price, which is one more reason to get it.

8. Dark Souls 3

Dark Souls series got a fantastic reboot with Dark Souls 3. Just if it wasn’t enough for the previous games in the series, and now we got this punishing game. What can I say? Prepare to die a LOT in this game, as it’s created to kill you. I’m not joking, the whole game is against you, and you can’t do anything about that except fight like a lunatic. Even when you die, the enemies around you respawn and you must fight again and again, which is really frustrating. However, if you have the balls to play it, and manage to finish it, then you deserve a medal, Sir!

9. Bioshock Infinite

Bioshock Infinite is the newest installment in the Bioshock series. This cheap game can give you a huge value for your buck, especially when the Holidays come. I mean, for just a couple of bucks, you can get a fantastic FPS game, which campaign isn’t short and definitely isn’t boring! Bioshock Infinite continues its tradition with great shooting mechanics, various powerups, and that fast-paced shooting in a beautiful environment of the game. Get ready to cause mayhem!

10. Alien: Isolation

Alien: Isolation is that PC offline game that will haunt your dreams every time you try to sleep. It’s a horror game in which you try to stay in one piece and escape that damn space station called Sevastopol. Sounds similar? Well, that’s because the game is based on Alien (1979) movie, which was a very disturbing experience at the time. It’s an intense game that makes your palms sweat and your heart beating so fast that you’ll think it’s gonna come out of your chest! Try this horror if you dare, and watch yourself getting swallowed by the Alien, in a single bite!

11. Far Cry Primal

Elephants are cool, but mammoths are so badass! In Far Cry Primal, you can hunt mammoths and even ride them when you get to higher levels! How cool are you from zero to riding a mammoth? This beautiful-looking game is set 10,000 years BC and no, you aren’t going to shoot guns, but bash the hell out of your enemies. The arsenal of weapons might not be that huge, but the combat is great and requires more thinking, as the enemies are sometimes overwhelming and can easily kill you. If you have the luck to tame a sabertooth tiger, you may survive in this harsh world!

12. Resident Evil 7: Biohazard

There is something special about that claustrophobic feeling, especially when it comes to horror games that you can play without internet. That sense of dread and despair when you don’t have much space to move is priceless. Don’t think of me as a psycho, but I LOVE the horror genre! RE7: Biohazard is a game that caught my attention as soon as it was released. This bad boy will provide you with a horrific experience that will leave you scared to death! As the game plays from the first-person perspective, it’s much easier to get yourself immersed, but also scared.

13. Outlast 2

Outlast 2 is yet another offline horror experience, where the developers decided to leave your powerless. There aren’t weapons for you to use, and surely no means to defend yourself. So, what are you left with? Well, a camera and a journal should do the trick! The game does a damn fine job of melding the horror and the dread with stealth and great storytelling. In the end, you may feel a little let down by the ending, but I know you’ll enjoy it until the very end.

14. Dead Space 3

Cat et 2015a factory password generator. While the past games in the series focused more on that horror experience, Dead Space 3 is more of an action-horror game. Sure, there are Necromorphs and they are vicious and all, but the action part is more prominent. Needless to say that Dead Space 3 is an amazing game and I’m very sad that Visceral Games is closed by EA in October. This survival horror game is hugely underrated, but it’s awesome and I recommend you to play it. It’s just a couple of bucks for this experience, don’t be a niggard!

15. Portal 2

There’s something awesome when it comes to Source Engine. The games made with this engine looks amazing, yet they run smoothly. How did Valve manage to do that? Well, as I am not a game developer, don’t ask me! But ask me about Portal 2, which is Valve’s magnum opus, and a compelling puzzle game. The whole point of the game is to use a Portal gun in order to create portals and pass through them. However, the game isn’t that simple and requires some brain skill to finish it. Grab your Portal Gun, and let’s go on a venture!

16. Limbo

This 2D game is straight-up terrifying, dark, and misanthropic from the start to finish! In Limbo, you are a little boy that needs to survive this colorless world of the game as he overcomes various obstacles and escape scary monsters. I like the game’s artwork and the atmosphere is simply top-notch here if you like the dark ambient in the games. It’s a must-play for every offline Indie games lover!

17. S.T.A.L.K.E.R.: Call of Pripyat

Speaking of the atmosphere, very few great offline games can replicate the atmosphere as it is in S.T.A.L.K.E.R.: Call of Pripyat. That post-apocalyptic atmosphere of Pripyat looks great, and the game isn’t colorful, which is the whole point. Everything has that grey-ish tint, as this town suffered greatly when the Nuclear Powerplant in that area exploded. It’s based on a real-life event that occurred around 1989, which gives the game a certain weight and meaning.

18. Metal Gear Solid V: The Phantom Pain

With MGSV: The Phantom Pain, Hideo Kojima proved that he still has what it takes to create such immersive PC games without internet. This stealth game is challenging and full of stuff to do, due to its open-world nature. The characters are badass and the game feels somewhat dark, with a very serious tone. Oh, and not to forget that plot twist at the end that’s worth those thirty hours I’ve spent on this game!

19. SOMA

Horror fans will be pleased that I mentioned another horror title here. SOMA is an absolutely spooky and nerve-wracking experience! It creates that atmosphere that’s very unique, and with the story being told in the shape of various documents scattered through the game, it’s even more badass! You are all alone here and you’ll fight for your life, only to find out that you aren’t actually alive! A truly wonderful offline game for Windows.

20. Superhot

Superhot is a cartoonish-looking offline game that revolves around time. To make it simple, the time in the game moves when you move, so if you are standing still, nothing will happen. Vice Versa, if you are moving and shooting, then the enemies will do the same. It’s a lot of fun, but a lot of challenges too. I played it with some of my favorite death metal albums, just to ensure that I’m hardcore enough to beat it!

As we are approaching near the end of our journey through the offline PC games, I’m here to ask you a question. What is your favorite offline game for PC? I tried my best to count some of my favorite offline games, and although I’m maybe going to start a war for not including some of the games, I stand behind my words. Oh, and why don’t you tell me what game did I miss? Do you have any favorites besides these 20 games? Please, let me know, and don’t forget to do some gaming today!

[rujeangheilm]

Toy Story’s Story

Toy Story is the first computer animated film. It tells the story of two toys, Buzz Lightyear and Sheriff Woody. The film required four years of effort to make which came out in 1991, marked a major shift in the way animation was viewed and performed. It was the first full-length film to feature a fully computer-animated character. The film’s plot was about a battle between old and new. The traditional toy doll character, Woody, is forced to contend with the new toy Buzz Lightyear, who usurps his affections. With Toy Story, Walt Disney Studios surpassed expectations with a movie that was both technologically and emotionally compelling. It's the one that started it all.

For more than two decades, Pixar has been producing some of the most iconic animated films in the industry. From Toy Story to Finding Nemo, the studio has always excelled at creating great characters and settings. Since 1995, Pixar has continuously pushed the envelope in terms of technology and storytelling. With each new movie, the studio continues to push the envelope even further. Since its inception in 1993, they have been working hard to create the first computer-animated film in history. Today, the company is one of the most trusted names in Hollywood. For as great as Walt Disney and Pixar have been, it's the stories that make them so special that matter most.

Many changes have been made to the way computer graphic animation works since 1995. These changes have allowed us to experience new worlds and new characters. Before computers were able to create animated characters, the work of animators was typically done in seconds or minutes. For this project, the challenge was to create a complete world that was fully animated. The members of the Modeling and Layout groups help the animators get started by providing them with shots that are already ready for animation. They also help minimize gross level motion by blocking it out. The traditional hand-drawn method of animation begins with drawing key poses for each character. These are drawn from an exposure sheet and a dope sheet, which contain a breakdown of the action and the words and stress that fall in the dialogue. After drawing the key poses, a cleanup artist is tasked with ensuring that they conform to the established look. The conditions for making this movie were relatively limited. The pay was not much for the animators who would come on board, but they were promised a place in the future of animation. Around 27 animators worked on the project at a time, and 400 computer models were utilized to create the characters' movements. The animators then coded the various parts of the film, which allowed them to make the characters move in various ways. The animators then tried to make this transition more natural for viewers. The animators started working on the scenes once they were set, and then added additional details such as lighting and shading. Still, they stuck to the limitations of live-action animation while still keeping it realistic.

FUN FACT: The animator of Toy Story based all the characters to his own toy collection. 

It was also mentioned that lights and shadows are very critical to the making of the first Toy Story, since colors back then to transmit digitally is very limited. Schemes are just within the primary colors, so, they use shadowing and lighting adjustments in order to get their desired shades. From working frame by frame, into having layers of traditional references, it was then shown that as time goes by, technology has evolved and creativity and discovery became broader. 

To see how far the company has come in just under 30 years, take a look at Toy Story 4. The animation in the film is some of the best in its history. While it's clear that Toy Story is dated, it's still impressive to see how far the company has come. The film's stunning visual style is still very much in keeping with the toy-centric world of today. Many elements were necessary to make the film, such as character development, unique software tools, and the creativity of the artists and designers. Animation on a computer is refined through a series of adjustments, which include the use of a broad gesture to convey the intended text. Unlike traditional animation, which only has key poses for an entire character, computer-generated characters can have multiple key frames for various parts of their bodies. One other advantage of working on a computer is that animators can see and hear their shot in real time. This allows them to draw styles and proportions that are consistent across all platforms. The animators keep things simple while still making sure that the toys look as good as they always have. They also use more 3D technology to give the toys a more immersive look. One thing that will stand out to you right away is how the animators managed to keep both Buzz and Woody looking good while making some changes to the animation itself.

Now, seeing the film Toy Story, as an artist myself, I cannot help but to be in awe, seeing how articulate the creatives were in terms of details. All textures, colors, shadings, thickness and vibrance of every material seen in the movie especially within the images of the characters, everything was on point. It has shown that the quality of work has transformed into a better technique, whereas, it surely demonstrated a clearer and modern resolution of an animation’s features. From forky’s glitter glue, to woody’s cowboy suit’s linen, you can see how meticulous and how cartoon turns into something as realistic as it might be. All movements became as smoothly transitioned, flowy and without any stop motion evidently present even though there are still framing of each movement used. Softwares and editing has also made a huge impact as 3D drawings can be positioned to make a live action by just using digital commands.

Truly, the animation has gone far! And surely, it’s perfection, progression and development will continuously prosper and be appreciated, until limitless, without barriers and ends. Just as what Buzz said, for me, creativity is what has to touch the media industry ‘To infinity and Beyond!”

-RU JEAN GHEIL R. MEEHLEIB

Ashton, W. (2019, June 27). Toy Story Vs. Toy Story 4: How Pixar’s Animation Has Changed Over The Last 24 Years. CINEMABLEND. https://www.cinemablend.com/news/2475686/toy-story-vs-toy-story-4-how-pixars-animation-has-changed-over-the-last-24-years

Cook, M. (2020, November 18). Toy Story at 25: how Pixar’s debut evolved tradition rather than abandoning it. The Conversation. https://theconversation.com/toy-story-at-25-how-pixars-debut-evolved-tradition-rather-than-abandoning-it-149873

GCU. (2019, September 16). The Evolution of Toy Story’s Animation. https://www.gcu.edu/blog/performing-arts-digital-arts/evolution-toy-storys-animation

Henne, M., Hickel, H., Johnson, E., & Konishi, S. (1996). The Making of Toy Story. COMPCON Spring ’96. Published. http://people.uncw.edu/ricanekk/teaching/spring09/csc100/lectures/pattersone/TheMakingOfToyStory.pdf

Pixar Animation Studios. (2015). Art and Technology at Pixar, from Toy Story to today. SIGGRAPH ASIA. Published. https://graphics.pixar.com/library/SigAsia2015/paper.pdf

[murasaki-murasame]

After a billion years of waiting, the 2nd anniversary digest is out, and even though it didn’t talk about quite as much stuff as I expected, the stuff it DID show off was extremely good on just about every level, and oh boy do I have some thoughts about it, lol.

I’m not even sure where to begin with this one, lmao. There’s so much stuff they talked about, and so much stuff they DIDN’T even talk about. Like how they didn’t talk about the October events and banners even though they’re teased at on the 2nd anniversary website, which I guess means we’ll have to wait longer for info on that.

we also didn’t get any info on a collab, but I assume they’re going to announce that at the start of November and have the collab itself release a few weeks later.

I’m kinda sad that they accidentally leaked out the existence of guns, but I still got to experience all the shock and surprise about it, so that was fun. I’m really surprised that they’re adding a new weapon type so late into the game. Especially since they don’t seem to be planning to retcon any old adventurers into being gun units, which means that they’re going to make up a super tiny portion of the pool. But I still really like how they work, from what we’ve seen of them.

It’s great that Joe got a new gun alt who everyone gets for free, but it really feels like they screwed him over by making him a 3-star, lol. He’s probably gonna get immediately replaced by any light gun units they introduce after this point. But it’s still nice to see him get some love. He was the perfect unit to go for to showcase the new weapon type.

All the changes to weapon and wyrmprints are extremely overwhelming, so it’ll probably be a while until I have an actual opinion on them. But thus far I think it’s fine, but we REALLY need the ability to save wyrmprint set-ups so we don’t have to spend so much time shuffling them about again and again.

It’s kinda sad that it’s such an eldwater sink if you want to equip the same print to multiple units, but it’s much cheaper to do that with event prints, so you can still fill your team out with some good prints. And on the other hand, this is actually why I’m fine with the fact that so many prints are almost identical now, since it means you have way less of a need to actually spend eldwater to get extra copies. There’s like 4+ different prints that all give 30% skill damage, so you’d never actually have a reason to bother getting extra copies of any of them, if you at least already had all these prints before this update. It does make it harder to keep track of if you end up using like 15+ different prints across a whole team, but still, the eldwater cost is more or less avoidable if you just use different prints with the same effects.

I think the weapon bonus thing is going to be the most grindy, long-term part of this update, but I’m cool with it. It gives everyone something to slowly work towards, like when you’re at the stage of leveling your dojos. The issue is that people will want to max their weapon boosts as quickly as possible, but it’s clearly not designed to be rushed like that.

It’ll all take a lot of getting used to, but I’m happy that they’ve drastically cut down on the amount of weapons in the game, and made the progression system more linear. Once everyone gets used to it and more people start playing the game after this update, it’ll become more natural.

We also got a bit of an overhaul to the textures and lighting/rendering for all the 3D models, which still feels like a really strange decision to me. It gives them a really different sort of aesthetic, and I have mixed feelings about it. I think if they made it a bit less ‘harsh’ I’d really like it, but at the moment there’s a bit too much contrast between the lighting and the shading, and the black outlining just looks a bit odd.

We also got the big adventurer balance change, and even though it’ll be a while before we’ve got all the new numbers and stuff for everyone, I already get the feeling that Vice is gonna end up way worse than he was before this. Which is sad, since outright nerfing people always sucks, but I get why they did it. It messed with the balance too much to have a 3-star be in like the top 3 for DPS units across the entire game. At the very least they gave him poison on his S1 so he can afflict that more often now, instead of it just being on his S2.

Just going by what they’ve said, and what we can see in-game, one of the really big changes seems to be how basically all of the healers except Grace now have strength buffs on their S1s, which basically all seem to be 15% for 60 seconds. Which is a really interesting way to make healers more relevant, but I like it. I think it doesn’t stack, so you won’t get as much buff uprime as with dedicated buff units, but it at least means they contribute SOMETHING to the team’s DPS.

One other notable change is how T-Hope now has a 15% strength buff on his S1, which makes it pretty much exactly the same as Patia. So that should make auto eCiella a lot faster, with how often he gets that skill off, lol. This was something I expected him to eventually get via a spiral, but in general a lot of stuff in this balance patch feels like mana spiral upgrades in all but name, which is neat.

Lots of characters also got more status punisher stuff, which should hopefully at least make more units stronger. Most of it’s all pretty self-explanatory, but it’s kinda interesting that Norwin is now a poison punisher unit. I guess it’s one way to make him somewhat relevant to the shadow meta, lol.

They also buffed the older gala units, which is great. At least this way they can put off on establishing the precedent of gala mana spirals, by just directly buffing the old ones. We’ll see how it turns out when all the exact numbers have been datamined, but it seems like they’ve addressed the main isseus with G-Mym, G-Sarisse, G-Ranzal, and G-Euden. 

I also noticed that they added defense debuffs to a fair amount of units, and made a lot of existing defense debuff moves land more often, so that’s interesting.

I’m also pretty excited to try out Pipple with this balance patch, since he now gets a 30% strength buff for himself with his S2. It at least makes it so that it’s always worth using whenever you can.

They didn’t announce anything about new endgame bosses like we expected, but it does sound like we’re still getting some eventually, and it’ll just come up later. Which is a good idea, probably, since we need some time to keep focusing on Agito stuff.

And on the note of the Agito fights, and current endgame content in general, I really like the addition of solo versions of all of them. For one thing it means a new wave of first clear bonuses, but it also means that you can pretty much entirely avoid co-op if you want to. The solo fights seem to give less rewards, but hopefully still enough that you can just stick to doing them exclusively if you want to. I haven’t tried any of it out, but it sounds like they’re all balanced around solo play, which should make it way more easier to do them than it was to try and solo fights that were designed for co-op.

It’s also kinda funny to me that even though they said we’re getting another tier of difficulty for the Agito fights, the only thing we know that we’re getting from it is fancier skins for the Agito weapons. They’ll probably still get stat boosts, but I could see them pretty much just being cosmetic upgrades.

They also upgraded the amount of weekly chests for HDTs and Agitos to five, and it sounds like we’re gonna start getting double drop events for them soon, so that’s great. In general I think this whole update will make it way easier to actually do endgame grinding, especially with the solo fights.

And then there’s the elephant in the room, which is the new battle royale mode. I haven’t tried it yet, but honestly I actually like the sound of it, lol. I absolutely never expected that they’d add something like this, especially since it’s effectively PVP, but it actually sounds perfectly fine. It’ll probably get tweaked as time goes on, but it sounds like you barely even get any extra rewards from it by winning compared to just dying immediately, and the whole mode is designed to have you start from a blank slate where you and everyone else are at the same playing field, so it’s basically entirely skill-based, and you don’t even need to be good at it to get rewards.

I wasn’t even sure how they’d handle PVP in an action RPG like this, but I think this is a good way to go about it.

We’re also getting a return of the time attack mode, which is . . . worrying, but hopefully now that people are much more familiar with both HDTs and Agitos, it’ll go by a lot more smoothly.  I’m surprised they’re even touching this concept again after how badly it was received the first time, but I’m curious to see how it goes. I know a lot of people really liked it, so hopefully it’s balanced so that you can ignore it if you want to, without feeling like you’re missing out on too much.

They also finally got around to adding sparking, which is great. I honestly wasn’t really expecting it at this point, but after the patch notes got revealed yesterday I figured this was probably gonna happen. I know some people would wish it had been introduced earlier, but I’m glad it’s finally a thing. I still don’t think it’s as much of a make or break issue for me as it is for others, but it’s still pretty much an objective bonus over the old/current system. My main concern with sparking, though, has always been that it might lead them to notably tanking the amount of summons we can do each month as F2P players, which would cancel out the good parts of sparking, but I doubt they’d do that.

Either way, it seems to work in exactly the same way as GBF, in that each summon gets you a unique bit of currency, and when you get 300 of it, you can trade it for a featured unit of your choice. But also like with GBF, your sparks reset after each banner and turn into different items that you can exchange at a store for regular in-game items, so your 300 summons all have to be on the same banner, and you can’t just accumulate a spark by summoning across several banners. Though one thing that seems to be different to GBF is that summons done with diamantum give you twice the amount of sparks, which is really interesting, since it really cuts down on the amount of money you’d need to spend to get a spark that way. It’d still be super expensive to do an entire spark just through diamantum, but 150 summons with diamantum is still way cheaper than 300, lol.

If they keep our monthly summon income about the same as it’s been thus far even after they add sparking, I think that we’d be able to do a spark every 6-8 weeks just from event and log-in bonus rewards. At the moment we get around 150-200 summons per month just from all that, so it seems like it’ll be WAY faster to save for a spark than it is in GBF [where outside of specific holiday periods that have free summon events you’re probably looking at 4+ months of saving to be able to spark].

This at least means it’ll be way easier to plan out my hoarding, since I know that as long as I have 300+ summons saved, I can at least spark a new unit I want. And there’s always the possibility of just getting them early and being able to quit while I’m ahead.

And on the note of summons, we’re also getting 330 free summons total between the anniversary and the end of October, which is absolutely insane. Sadly you can’t save up sparks across banners, so you won’t be able to do a spark JUST from that, but it’d go a long way to helping supplement a spark on a specific banner.

It looks like we’re gonna get a short pre-gala of sorts soon that’ll contain all the previous gala units, but I’m probably gonna skip that, outside of the free pulls. The only one I don’t have from that set is Gala Alex, and at this point I’d rather just chase her when she’s in a future gala remix. If it’s anything like the same type of bonus gala we got for the first anniversary, all the featured units on this banner will probably have lower than normal rates to make up for how many of them will be on the banner, so it’d just be a really low-value banner for someone like me who already has all but one of them. I’m also not even sure if I’d be able to get all the way to 300 summons that quickly.

Either way I’m more interested in saving for stuff like Halloween, Christmas, new gala dragons, and New Years.

We’re also getting Gala Zena on the anniversary itself, and I think everyone saw her coming, lol. She’s not a gun unit, though, which is actually a bit lame, even though I figured it wouldn’t happen. Her being an attack-type light staff unit is really interesting, at least if she ends up working like Heinwald, but I’m still not sure if I’d be interested in actually spending resources to try and get her.

The gala banner is also going to have the new girl from the anniversary event, and a Midgardsormr alt. Though it sounds like he’s going to be non-limited, so he’s not our wind gala dragon.

The anniversary event also sounds extremely interesting. It sounds like we’re time-traveling back 1000 years to when Ilia created her religion, and she seems to basically be a punk biker girl, which is extremely cool on so many levels. It also kinda looks like Zethia is going to be the MC of this event, and it might not even feature Euden and co, which would be a nice change of pace.

I thought Ilia might be our new welfare unit, but going by the preview image for the event it looks like it’ll be Mordecai, who looks like he’s gonna end up possessed by Morsayati or something, since he looks a lot like Morsayati’s human form we’ve seen a few times. I hope he’s a gun unit, just so we can get more of them, but we’ll see how it goes.

I’m guessing that Ilia will eventually be playable, but maybe just for the 3rd anniversary event or something.

We also got a tease at the next three main story chapters, which all look really interesting. It seems like the Archangels event is going to pretty immediately become important to the story, and now we’re heading off to North Grastaea. We’re also going to be going to the fairy kingdom eventually, which is cool, especially since the teaser for it heavily implied that Notte will become a playable character then.

Which also reminds me that we’re probably eventually going to get a gun unit from the main story, since we have all the other weapon types already, but I doubt Notte will be a gun unit, lol.

Going by the teasers, I also get the feeling that Leonidas and Chelle will be our next two gala adventurers, and at least one of them, if not both, will probably be a gun unit. I think one of the shots of Leonidas had a gun visible in it, but Chelle’s also apparently the one who introduced guns to the world, so who knows how that’ll turn out. At the very least they did say that we’re gonna start getting new gun units soon, and we might get a lot of them really quickly to help fill out the pool. Which also means that some of the new holiday units might end up using guns, so that’s also worth saving for.

I also get the feeling that we might take a break from gala dragons for a while, since we’ve basically run out of good options for them. But who knows. We still need ones for water and wind.

Hopefully with the spark system in place I’ll be able to spark on at least the Halloween and New Years banners, since those are my top two priorities, but we’ll see how it goes. It’s always scary to enter limited holiday banner hell season, but at least they introduced sparking right before it all starts. At the moment I think I’ve got like 150 summons saved up, but I’ve still got most of my reset co-op rewards to go through, and I haven’t touched the Halloween event they added to the compendium, so that’ll add a lot. I think the anniversary log-in bonus will also give us like 2k wyrmite, and if the retweet event succeeds we’ll get an extra 1.2k wyrmite. So as long as they don’t tank our monthly summon currency, I should be able to spark on Halloween if I can commit to saving for it. Which is much easier said than done, lol.

All in all I think I really love this update, but it REALLY changes the entire game, so it’s gonna take a long time to get used to. And thankfully even with the introduction of stuff like sort-of-PVP, it doesn’t look like they’re going in any sort of P2W direction with the game.

Also, there’s still the 45-minute Game Live presentation set to come later tonight, but I’m not expecting that to tell us much, since it’ll probably be targeted at new players. I’m still holding out hope for a Switch port announcement, though.

#murasaki rambles #dragalia lost

[raespark]

That Allister cosplay is outstanding!! How did you make the mask and the gym symbol+endorsements? I'm planning on doing an Allister cosplay in the future myself

Thank you so much, and happy to answer! I took lots of pictures through the process so I’ll answer this in two parts.

“How did you make the gym symbol/ endorsements?”

So the first thing I did is take a TON of screenshots I have almost 300 screenshots of reference images of allister and the gym league trainers and the pokejobs logos and so on to get good references for all the logos I needed.Once I was done taking all the screenshots I spent hours tracing them to the best of my ability to create these images: (Not all of these were the final versions which were modified right before printing, apologies)Gym Logo - QUAY/ Gym Logo

XXA - Sponsor (This is the logo for MC Insurance, Allisters Sponsor)

291 - Number

ASTSA - Name (This is the new pokemon language for Onion, Allister’s japanese name)

The square with the diamond - This I nicknamed the “NIKE” cause its the logo for the spotswear company in game

Galar league logo - Galar League logo (this is the logo thats the red and blue pokeball with white marks, and “galar league written underneath it)

And then I put together this ref sheet to make sure the logos looked good together color wise, and some of the colors were still altered later but it all looked pretty good

And then once the logos were all set, I printed them onto heat transfer vinyl and let me explain why I did that specifically. The fabric I used was polyester, which is the kind of fabric that sports jerseys are made of. I did that because the gym’s uniforms are based on soccer jersey’s so it felt fitting!IT WAS A HUGE PAIN I DONT RECOMMEND ITbut now because of the fact that it was polyester paint wouldnt’ work on that fabric because of how stretchy it is and the fact it doesn’t absorb moisture easily. So we printed it onto heat transfer vinyl with my cheap ink printer and then I ironed them onto my clothes! I made sure they were placed correctly by first taping them to my clothes and making a note of the location before ironing it, and then once I was happy with a placement I’d carefully iron it on. This vinyl seems kinda cheap and like the ink might come off with too much water so watch out if you choose to use it. There are also printable iron on paper for other types of fabric as well and are cheaper iirc!

Same goes for the dots, thos were all cut using a CNC/ off brand cricut (just a bunch of circles all at once) and I placed them by hand using painters tape and trimmed as needed to make the designs:

Hopefully that was helpful!

“How did you make the mask?”

So this ones a little more complicated to answer because its not complicated but its not something everyone can do.

So we started on this one before the game came out, and before I’d gotten to Allisters battle in the game but we had enough reference material to figure out the general look of Allister’s mask, so we made a 3D model of it that we planned to 3D print (my bf has a 3D printer and a CNC and helped me a TON for this project) and did a test print of a tiny mask to start to make sure we were happy with the 3D model (here is the tiny mask in my tiny hand, we affectionally nicknamed it “mini mask”)

Now after we had the 3D model we had another issue of how big does it need to be? I have a round head on my own so I didn’t need to modify the shape of the mask thankfully (one time my fat head came in handy!) But we needed to figure out how big to make the mask to make sure it “fit” correctly.

So we tried cutting out a circle with paper in a few sizes until we thought we found a good size for my face (which for me was a little over 7 inches)

went and bought a styrofoam dome from the craft store in that size to make an EVA foam dome and then checked if that fit my face (later this worked fantastic as a way to transport the mask as a protective shell around it) I don’t have a picture of this EVA foam dome but all it was used for was putting it on my face and making sure it went over my chin and such. Once we had that we were ready to start printing the final mask. 

Once the 3D model was scaled for the final mask, it was too big for my bf’s printer to print all in one go so we split it into 4 pieces. Each piece took about 9 hours to print, and a few of the prints failed and had to be redone, so after a few days of printing it looked something like this:

for those who don’t know much about 3D printing all those beams are the supports that lets the printer print raised surfaces like that and have to all be removed. So after about 2 hours of pulling plastic with pliers it looked more like this:

so we left small gaps in the edges of the mask so that we could put metal pins between each piece to help hold it together so we cut our metal pins and assembled the mask and it was starting to come together!

So from here we melted some plasitc onto the seams (plastic welding!) with a wood burner and - wow that looks gross

but trust me its better than gaps in the mask. so after a bit of sanding here we entered the rounds of priming it with spraypaint primer and sanding it for like an hour and doing that again, occasionally using bondo putty to try and even out those seams and those rounds tended to look like allister just murdered a village:

but you can see compared to the previous image that the mask is a lot smoother! This was the final round of sanding and you can tell that most of the layer lines from the printer have been sanded down! You can almost not see the seams anymore! (though now they’re also very red but they’re very smooth in comparison to the beginning trust me…I sat there sanding for many hours for this)

But after this all that needed to be done with a final priming in grey, and then painted it gray!

While the paint was drying, we prepared some masking in the design of allisters mask which if you don’t know what the full mask looks like I wanna reference this from the collectors guidebook (which I just now got my hands on today but saw these on twitter)

So we cut out a sticker sheet in that design and placed it down with some painters tape to keep that part of the mask gray and then it was painted white, and that was the painting done!

For the black in the eyes, I got a scrap of black fabric for cheap at joann’s that I picked up and pulled and it was a very soft polyester/spandex material that you’d use for pantyhose so i’m sure you could also cut up some of those for a similar effect. But when stretched you can see out of them. 

So we made small rings the same shape as the inside of the mask behind the eyes, glued the fabric using super glue to that ring (and the mouth as well) and viola:

and then the final step was to get that mask on my face, and basically we had some rings on the left and right sides of the inside of the mask that I attatched some elastic too, and then needed to glue a third strap over the top of my head. and sewed it all in place and put some craft foam along the forehead and chin inside the mask for some cushioning and it was done! 

I really hope that was helpful and I tried to make sure I took lots of photos along the way so I hope they were helpful. If you have other questions feel free to ask! Sorry for the novel but just wanted to be as detailed as I could be!

Thank you for your nice words and best of luck!! Allister is a detailed boy but he’s very fun!

#my cosplay #allister cosplay #allister #gym leader allister #cosplay help #cosplay reference #allister reference #galar #swsh cosplay #cosplay description #ask #answered #long post #if theres other tags I should add let me know #anon

[0poole]

Some Retrospective Thoughts on Gen 7

Galar’s making me go nuts. You already know. Let’s look back on Alola because why not. I feel like I have stuff to say about it. Also, I just watched the last episode of the Alolan Anime, so there’s that.

Whenever I first think back to Gen 7, I think “Eh, it was alright. Nothing special, I guess.” The Pokemon were decent, apart from being almost universally slow, apart from like 3 speed demons, the starters weren’t much, the story was alright, the location was alright, etc. etc. 

Then, I ACTUALLY think back, and I realize… I have no idea why I was thinking that. This generation was actually amazing.

First of all, they finally put the motif of the Sun and Moon into game types. It’s definitely a breath of fresh air after they tried to use the fucking dimensions in 3D space for titles in Gen 6 (Loved that gen too, but seriously “Life” and “Death” would both be more fitting and not as strange. Maybe they don’t want “Death” as a title tho). Really fits in with how naturally themed everything is too, which is obviously for the best, since this is the most “natural” game to date. Even though we technically already had an America-based region in Unova, Hawai’i is so unique in its own right it definitely fits for a region. I’m usually the type who doesn’t like super overt themes in things, and kind of just wants a very generalized experience, but it’s probably for the good of everyone that they don’t actually follow through with that idea. 

Probably the biggest thing to come out of this generation is the new habit of them posting short little videos on Youtube revealing new Pokemon/features/etc. Obviously they were super trigger happy with them then, but now it seems they’ve taken a step back a little. I do love this idea, though, because it actually hypes me up more than anything else ever could. I remember before, even though I was kinda-sorta trying to follow the updates on Gens 4-6, I never really felt like I could, and even though I was going to get the games no matter what, now I realize I really want to know what I’m getting into. 

I remember exactly where I was for some of the major announcements. For the starters, I was in my high school geometry class, where I watched and re-watched that video dozens of times just so I could keep looking at them. I started off on Rowlet’s side of course, but once I realized he was getting all the attention and ol Popplio was getting basically none, I changed my allegiance and stayed there to this day. Ignoring the fact that I don’t really like any of the final evolutions enough to actually use them in game, I LOVE Popplio himself. It’s seriously a shame that he didn’t become some clown seal like everyone was speculating. Unlike how it seems, I really, really like “normal” clown characters (as in, not “horror” clowns), so he could’ve easily become one of my favorites in that case. Decidueye is definitely my favorite of the final forms, and Incineroar I think is still underrated. Sure, whatever, he’s bipedal, and it’s weirder than it otherwise would be, but for some reason I love how his mouth was an actual modeled mouth and not just an image slapped on there like most Pokemon. It really made him more expressive than the average Pokemon. Plus, the animation for Darkest Lariat is really cool, with his hands flashing against a flat back background for a second before actually doing the move. Even better, it’s great meme potential when hacked onto other Pokemon, like Wailord.

I don’t remember if Solgaleo and Lunala were introduced in that first trailer too, but either way I love both of them. I was a bit more drawn to Solgaleo at first, but Lunala has since grown to be one of my favorite legendaries of all. The starry wings, golden rims, and white skeleton-y body are such a great combo. And yeah, sure, Solgaleo would’ve been more fitting as a fire type or whatever, but since stars form the heavy metals that make it onto planets it’s fine. I won’t accept that Lunala should’ve been a dark type, though. The Moon is a major embodiment of light in the night sky, so if anything it shouldn’t be related to darkness. As for Necrozma, I love his base form a lot. It’s such a strange look, especially how the back of his head is transparent. It’s the perfect “evil prism” pokemon. I really just wish Ultra Necrozma had more detail to him, though. He looks so flat for such a major figure in the games… At least he had a good battle and an even BETTER theme song, hot damn

Guess that’s a good transition to talk about the music, and I guess tangentially about Team Skull, since they were probably the best possible departure from the usual “Evil Team” formula. Them just being random hooligans causing trouble instead of a formal organization trying for world domination is a good change of pace, as pretty much everyone agrees… It wouldn’t have been so great if they didn’t at least try to incorporate rap/trap music into their themes. They’re probably the most music-oriented Team canonically speaking, so they’d have to have a great theme. Also, the idea that they feel left behind by the traditions of the Trials really makes sense, since something so important in their culture would definitely make someone feel left out if they couldn’t get through it. 

Other themes for the more calm situations, like Hau’oli City’s night theme, are also extremely good. I didn’t even realize how much I loved that track until I heard Insaneintherain’s cover of it. It almost sounds like something out of Steven Universe, for how pleasant it is (apart from the piano). Lillie’s theme still gives me the warm fuzzies every time I hear it, too. I don’t think a single game before this has ever done the credits so well, too. Apart from the fun artwork, the last shot of Lillie and the game’s legendary actually just kills me every time. She’s such an adorable, pure soul, it’s crazy to think that when she was first revealed, we thought she was the secret supervillain of the game, just because she looked kinda peeved in her official art. We weren’t far off, though, with the Aether Foundation and all. I love both the calm theme of the Paradise itself AND their evil battle theme. Even though one is obviously an evil theme, it does feel like it came from the same source. Same goes for Lusamine’s theme. I really love the Aether Foundation as a whole too, where we can now have “Good” Foundation archetypes to counter the Evil Team archetype. Plus, their designs all involve white with gold accents, which is basically my brand. I tried to design my own Aether outfit the instant I saw them, since I love their look so much. 

As for battle themes, I love how jazzy Galdion’s battle theme ended up. It made him so much more interesting than just a generic edgelord. The Elite Four’s battle theme might actually be the scariest theme to date for some reason, and yet all I can picture when listening to it is Acerola bobbing joyfully back and forth… Basically the same way, the Tapu battle theme is also pretty crazy, with tribal chants in the back of it. The Tapus are probably the coolest group of legendaries in the game, considering how unique they are, with their oddly wooden shells that represent animals. It really makes them feel like spirits brought about by the people of Alola themselves, instead of just some being that came out of nowhere. Probably the one theme that is the most nostalgic (yes, I know it was only 3 years ago, you can still feel nostalgia damnit) for me is the Kahuna battle theme. It was probably just some random comment on Youtube, but somewhere someone said that it was the perfect theme because it starts off intimidating, but quickly switches into a super fun melody, because ultimately, the Island Challenge is for fun. I just love that. I’m always looking for “Fun” stuff in pretty much everything, so I like a theme that represents that. Also, it’s just super catchy, and even expanded upon in Pokemon Masters. Let it be known that Hapu is the best Kahuna by the way. She cute. Also, watching her become the Kahuna is the best world building you could possibly muster up for this kind of setting. 

Of course, I’m intentionally leaving out a certain group…

You know what I think of when I think of Hawai’i? Pearly white sand beaches… Palm trees… Fruity drinks… oh, and let’s not forget fucking interdimensional aliens. 

The Ultra Beasts are the exact type of thing I’d want to insert into the Pokemon world, and that’s why I love them. They’re so weird in the best ways possible. When they were introduced in a trailer, I had the same reaction as I did with Type: Null. They put him up on the screen for a bit and was like “Haha here’s ‘Type: Null,’ okay next” like EXCUSE ME? YOU CAN’T JUST SHOW ME A POKEMON CALLED “Type: Null” AND NOT EXPLAIN WHAT’S GOING ON. Of course, that’s kind of what the games were for, but it was seriously a shock to the system to see Pokemon with code names instead of actual names. You also can’t convince me that Pheromosa wasn’t designed after Lusamine, and to a lesser extent that Xurkitree wasn’t designed after Guzma. I think it’s canon that Lusamine styled Lillie after Nihilego in her crazed state, but the uncanny likeness between those other two is pretty darn notable. I think from the first batch, Celesteela was my favorite of them all, being like a rusted copper rocket ship or something, who can even smack you with her two giant rockets. Also, Pokemon directly based on folktales are always welcome, no matter what. Meanwhile, with the Ultra games being the first sequels to introduce brand-new Pokemon, Blacephalon easily took top spot. I did say I liked clowns, didn’t I? Plus, the biggest evidence that he’s best boi is that in the anime when he appeared, he didn’t even try to attack anything. He just wanted to show off (specifically, believe it or not, by moonwalking… Whoever’s idea that was needs a raise). I also love detachable heads, which is a great idea to mix with clowns, and I guess also fireworks in this case… I just love him. I really hope that there will be future instances of Ultra Beasts, since it’s apparently super easy to just make them however the hell you want them, and since you’re not limited to a region’s natural environment. Lord knows whoever designed Buzzwole didn’t have any limitations. Exploring his, and really all of their worlds in USUM was extremely fun. It’s a damn shame Blacephalon and Stakataka (again, what a name) didn’t get the same privilege. 

As for the Pokemon as a whole, like I mentioned, off the top of my head I don’t feel super crazy about many of them, even though that’s a total lie. Shiinotic appealed to my inner mushroom-character-lover so much that I basically designed a character that looked identical to him. He’s easily the best mushroom Pokemon to date, where he looks pretty cute while also being just slightly creepy enough, with those souless eyes. The concept for Araquanid is amazing, where he’s a reverse Diving Bell spider. I might’ve designed him a bit differently, but he still looks super cool. The ideas behind Oranguru and Passimian are also cool, since we haven’t delved much into intelligent ape Pokemon enough. Wishiwashi is another great concept, and probably the best fish Pokemon in my opinion because of it. Lurantis and Minior are total cuties, the latter being one of those Pokemon that isn’t always in the forefront of my mind, but the instant it is it reclaims its place as one of my all-time favorites. Golisopod and Kommo-o are two of the coolest Pokemon designs to me, the latter being my all-time favorite Pseudo-Legendary. Vikavolt looks awesome, despite being deceptively slow. Dhelmise looks weird until you realize it’s actually insanely large (like, Wailord large). Mudsdale is just an all-around good-looking horse. Oricorio also looks really cool, especially in her fiery form. Tsareena is, well… Tsareena… That’s not even including the adorable Magearna and Marshadow, who are in generational limbo… Also, I think Mimikyu might be the overall best addition to the franchise ever. No Pika-clone could ever compare. 

I mean, specifically as far as a single Pokemon goes, Mimikyu is definitely the best addition to the franchise. Meanwhile, as far as concepts go, the absolutely HUGE idea of Regional Variants is the best addition. Again, I remember where I was when I heard the announcement: it was some sort of weird fantasy house, with a ton of cool details in it to make it look like a setting in some movie or something. It was awesome there, even if we were staying for only a night or so I think. Either way, the concept of different Pokemon adapting to different conditions in the region is the most perfect way to bring attention back to older Pokemon, and I’m so glad they seem to want to keep the idea for all future generations too. It’s especially fitting for Alola, since it’s a super remote island. I love how goofy Alolan Exeggutor is, especially because everyone else seems to love his goofiness too. Same sort of goes for Dugtrio, since his hair is actually based on a real thing… Marowak becoming a spiritual fire dancer is definitely the best possible iteration for him. My favorite might be the colorful Alolan Muk, though, even if Alolan Vulpix is infinitely cuter and better than fiery Vulpix in every way. I cannot be convinced otherwise.

Also, she’s a perfect fit for Lillie, so I guess I’ll use that as my transition into talking about the characters/anime. I’m just gonna be real with you. I’m not going to hold back. Alola has some of the cutest girls in the entire franchise. But first of all, let’s divert that train and instead lust after a man who is easily the hottest professor in the games yet, Kukui. What self-respecting researcher wouldn’t wear his professor-mandated lab coat without any undershirt? He needs his bulging abs as target practice for his Pokemon’s moves, people. He needs to let them breathe. Also, I was kind of enamoured with Sycamore before him, but you can’t deny the tinted skin gets to you a little. Burnet’s a lucky gal, let’s just say.

Okay, now that we’ve established that my pants don’t discriminate, we have to talk about Wicke. So now that that’s covered, can I just say I love Mina? I’d say she deserves more attention, but she was the only Alolan to make it into Lets Go for some reason, so I guess she’s well off? First of all, I love hippie-esque girls (idealized hippies, at least), so that’s a major plus… I mean, I should probably stop using the word “cute” altogether because it applies to every girl in the game, but yeah. Lana’s highly deserved spotlight in the anime made me love her too, where she was a perfect combination of extroverted while still more soft-spoken. I don’t know if that kind of characters’ an anime trope, but lord knows it’s not in western media, so I love how unique her personality is. Her interacting with Mallow and Lillie in cute, girly ways felt so wholesome. If the anime’s anything, it’s wholesome. 

One sec, though. I have to mention that I really like Hau. He’s obviously the one pinned as “Boo, he’s not a giga-asshole! That means he’s bad!” because I guess the fandom’s hive mind has collectively agreed that the only good rivals are assholes now. Like I said before, this stuff’s more about fun now. Hau’s a fun friend to fight, to the point where you beat him as the Champion you kinda feel bad for knocking him down so much. You feel bad because you like him, you know. Also, I forgot to mention this earlier but even though he isn’t entirely difficult himself, the trials in these games are actually both a difficult and interesting challenge. A 2v1 where you’re at the disadvantage is a great boss battle idea, especially with the strategies set out by a Pokemon’s different abilities and moves. Probably the best was Totem Lurantis, who of course summoned a Sunny Day-based Castform to activate her Chlorophyll and buff her Solar Blade, while adding a diverse fire type into play. It was really difficult, to be honest. Those who say it wasn’t either got lucky or have insane standards that cannot be met because they’re Pokemon Veterans who know every little thing about everything. I’m pretty much in that camp, and I still had to actually plan during the fight. Same goes for Totem Araquanid in USUM. I literally had to poison (not toxic, base poison) stall that guy because I couldn’t do anything to him otherwise. He was pretty much one-shotting everything I sent out, anyway, so I had to stall however I could. You can’t argue that that means it was “easy” because I knew how to beat him. It’s only “easy” if you can just send out pretty much whatever and do whatever and still win. Then there’s the Rainbow Rocket episode in USUM, which is just crazy… There’s not much to say that isn’t obvious there. It was fun seeing the villains that were victorious in a different dimension.

Anyways, for the anime, I also have a similar stance. It really seemed like the only people who started off hating it were anime nerds who had no concept of an in-between frame. I will say that it was a step down from XY/XYZ though, but those seasons’ quality was unusually high. Compared to the animation quality of every other season, it was so much better. First of all, I really don’t even like “anime style” that much, so a slightly more western style was very welcome. Like pretty much every show ever, the animation quality is seriously high where it counts, so there’s not much to be said about that, but I’d say the overall animation quality is a step up in general. The more simplified style only really looked weird in Ash because we’re so used to his more pointy style. Every other character looked totally fine, in my opinion. 

As for the story, I will say I would’ve wanted the scope of the plot to be much larger, like how with the other seasons Ash was going on an adventure, whereas here it was very contained, and centered around the Pokemon School. But, still, like I mentioned, I did enjoy the casual wholesomeness of it all. Not only do I just like mindless fun, but it made the crazy shit feel even crazier. The episode where Faba was trying to catch Nebby is a perfect example. It begins with a nice fun game of all the Pokemon and people jumping rope and having a good time, with some slapstick humor with Faba failing to capture Nebby. Then he does, and shit goes down. First of all, he’s torturing the little thing. Then, ASH (not his Pokemon, Ash himself) tackles Faba. Tell me, what other season had humans fighting other humans? I honestly can’t think of a single time when fighting was done with fists and not Pokemon (although surely I’m forgetting something, there’s gotta be at least one other example, right?) Then, Lillie re-experiences her past trauma of almost being abducted by Nihilego, except now her mom gets abducted in her place… Like, what happened? It was so cute a second ago. That’s always the selling point for any cartoon, for me. Stay casual for a decent amount, then break it with some uncharacteristically high tension. The same goes for the segment where Ash goes into Guzzlord’s post apocalyptic dimension. As for mega-feels, It’s great that they made Litten/Torracat an actual character instead of just some random Pokemon, with Stoutland and whatnot. The episode where they go into Tapu Fini’s mist and Mallow meets her mother, and Torracat meets Stoutland just destroyed me. It was strategically remedied by Lillie and Gladion not seeing their father, suggesting he’s still alive. There were some really great episodes in the season, for sure.

So, yeah… Alola was a good time. Don’t deny it. Galar’s gonna be great too. No game’s ever going to be perfect, but that doesn’t mean it won’t be fun.

#pokemon #rant #rambling #gen 7 #alola #thoughts #opinions #ultra beasts #aether foundation #team skull #poole

[championfrita]

Pokémon Sword and Shield Review

So...I've taken some time to fully play Pokémon Shield. Now, I know this is pretty delayed, and I got the double pack so I wanted to play Sword first to see if how I felt was really accurate or if I was being too harsh. That said, let's talk about my experience with the Galar Region.

Initial Impressions

Overall, I was excited to play Shield at first. Everything was bright and exciting and the characters were easy to recognize and not overly generic.

The first few hours of this game, well it's a slow burn. And I do mean SLOW. Even with the text set to Fast and me taking things at my own pace it took me at least a good couple hours to reach the Wild Area. Furthermore, this game has an infernal amount of handholding, even when given the option to say "I know all this already" it still gives a brief explaination for almost anything and STILL makes you sit ALL THE WAY THROUGH the catch tutorial.

It's 2019 and older players still don't get the option to skip this. Come on GameFreak.

That said, the longer I played the more I began to notice...how should I put this? Blatant laziness?

The Wild Area

Now, the CONCEPT of the Wild Area in theory is amazing. It's still not too bad as is, but there are definitely flaws. For starters, the same tree has been copy pasted all over the place to make up 90% of the foliage.

More than that, though, despite the Wild Area having a good selection of Pokémon and a fairly varietied environment (desert, lakes, forest) it feels oddly...empty. There are no real secrets to speak of, no hidden areas, no easily missed items. Everything is all right out there to see and spread pretty far apart. I don't know if it's a lack of Trainers or the fact that I don't have an Online membership so I played alone, but the Wild Area feels like it just needs something MORE.

Dynamax Raid Battles, even when done alone, are fairly fun and sometimes challenging with the turn limit. Radiant AI Trainers spawn in to assist you if you're playing alone so there's no worries about having to take one on with just one Pokémon.

Camping, which can be done anywhere but is introduced to the player here, is an absolute treat. Have YOU played fetch with a unicorn? I have, and I love it. The wide variety of curries you can make with different ingredients is nice, and your Pokémon even get EXP boosts if you play with and feed them while camping.

The Pokémon

Honestly, I'm really not impressed. The Galar Dex of new Pokémon feels painfully small, so much so that playing Pokémon GO and catching a few Unova Pokémon made me yearn for the days when we used to get regions completely FULL of new Pokémon. Remember when you had to wait until AFTER the main game to start catching Pokémon from past gens? I...well, this might be an unpopular opinion, but I LIKED that.

That said, using a sparse selection of Galar Pokémon and Galar Regional Variants on my team definitely made the Gym Challenge more difficult. I picked Scorbunny, because Fire Types, and honestly didn't really care for it or its evolutions at first. Cinderace has really grown on me though and I like Pyro Ball as a move. It's flashy and powerful and that suits me just fine. Most of the new Pokémon's DESIGNS were good and I liked them, there just really weren't ENOUGH of them.

I'm fairly pleased with the regional variants as well. It was difficult to adjust to Ponyta and Rapidash being Psychic Type, but I really liked having them on my team. At the same time...Meowth not evolving into a Persian doesn't really sit right with me.

I'm all for branch evolutions, but Perrserker honestly just looks more like a giant Galar Meowth than anything. I played this with only the info given in the few scattered trailers I'd seen, so I was genuinely excited to see what a Galarian Persian would look like only to end up with Perrserker. The Typing is phenominal, and I think it's great to see a Steel Type Meowth for a change, but I just don't like where they went with it. Eh. Ces't la vie, moving on.

The Story

It's weak. Straight up, the story in this game is poor. There were so many directions they could have gone. I really liked the idea of Rose being this charismatic chairman hype man for the League and being the bad guy. I saw it coming, but it was a nice change to see just based on his personality. Still, it feels rushed. His motivations are really one dimensional and glossed over. Like, "Oh, here's the bad guy. Go get him." It worked in Gen 1 because Giovanni was a MOBSTER. He was MEANT to be a bad guy straight to the core in general, but Rose just doesn't have that vibe.

Not only that, but the "Bad League Members" are kinda meh. That feels REALLY lazy. They didn't even really get a decent uniform change when they started taking on the name Macro Cosmos in Rose Tower. They got black glasses. That's it. Just that. The fight with Eternatus feels painfully rushed and shoehorned in too, almost like they thought "Oh no, we need to give them a big nasty boss to fight! Let's just throw a random monster at them and say Rose summoned it. Seems like a solid plan."

I DID like the after story with Piers though. It really solidifies that older brother sort of nature with him, even if he tries to hide it most of the time.

The Characters

I liked Hop. As a character he's really fun and I like how they gave him this over excited very grand gestured sort of personality. He's really just happy to be ANYWHERE as long as it's with his Pokémon and you. His admiration for his big bro might come off strong and make him seem a little flat at first, but he's overall portrayed as a good kid and I like him.

Leon on the other hand...well I hated him for most of the game. His design is great and he looks fabulous, but he just has the most cocky, obnoxious, pandering personality 90% of the time. Still, I have to give credit where credit is due and recognize that he IS actually a multifaceted character. He showboats not just because he's too confident but also to give the crowd a show and put people at ease in times of danger. Not only that, but his recognition of his little brother's accomplishments and his graceful acceptance of defeat when you beat him reveals a really well written character.

I don't DISlike Sonia, and I have no problem with Prof. Magnolia sitting on the sidelines, but she can be a little...irritating at times with the way she speaks about and to people. The Gym Leaders, aside from Piers, feel a little...light.

I mean, most Gym Leaders don't have detailed backstories, but these ones feel paper thin personality wise as well. I had to look at the official GUIDE just to be sure what the relationship between Melony and Gordie even WAS because you only seem him in her Special League Card in Shield and that tells you nothing about him. The only real leaders that stood out to me were Piers and Raihan, and while I was iffy about his design at first I LOVE Raihan. He has so much more personality and ferocity than any of the other leaders. And the social commentary about him needing to constantly take and post a selfie, even after losing, is a nice touch.

The Galar Region

Is very linear. Like, VERY linear. Even when you take a branching path it either loops back around or gives you a free ride to wherever you have to backtrack to. I hope you like Hammerlocke, cuz you're gonna be visiting there several times.

I know that the region is based off the UK, and maybe my Americanized idea of cities is different (idk, I've never been to the UK), but a lot of the towns in this game feel really small. Like, almost smaller than some of the towns in Hoenn small. Maybe it's a lack of significant interactable buildings, but despite many of them having multiple floors you typically can only access one and that's kind of a disappointment. The hotel in Wyndon won't even let you get in the elevator, and while I get that Alola also did that, it's kind of jarring when the hotel in Motostoke WILL let you see other floors.

That said, I kind of expected more than ONE Wild Area. The one we DID get is fine, and I appreciate what it is and lets us do, but I honestly thought there would be multiple places to really explore outside the standard straight lines. Pokémon has never been a franchise to shy away from puzzles before so I expected this to not be any different. Unfortunately, I was wrong.

Moreover, many of the environment pieces are just UGLY. A lot of the ground textures are reused 3DS assets, and those copy pasted trees I mentioned earlier? Also 3DS assets. How do I know? They're pentagonal instead of round. In other words, they have five sides. Why? Because the 3DS hardware couldn't handle complex environmental shapes that well so they could get away with it, but now that we have nice round berry trees the contrast becomes painful. The Wild Area is so ugly the first time you see it is at NIGHT. They were so aware of what they did they hoped making it darker would hide the lazy flop instead of showing off how bad it was.

It isn't like they COULDN'T fix it either. Look at Ballonlea and Glimwood Tangle. They're absolutely beautiful and very well done. The modeling with them is fantastic and I love the glowing effects. They absolutely could've made the poorly done areas look amazing, but for some reason they didn't and the game suffers some as a result.

Other Thoughts

The Gym Challenges...they were not fun. Like, honestly some were ok. Herding Wooloo was easy, but they really didn't feel like anything I would expect from a Gym. The water puzzle in Nessa's Gym was fine, and I personally liked the spinning cup ride, but the rest just felt like agonizingly long padding because they couldn't come up with anything. Look at Circhester's challenge. It's a dowsing rod gauntlet where you have to avoid falling in pits in an artificial blizzard. It. is. SO. SLOW. That said, Spikemuth having just a Trainer gauntlet instead was kind of awkward. I reached the end and asked myself "Was that it? Is this it? Is this all there is to Spikemuth? Just one giant alleyway and a Pokémon Center?"

Raihan's three trials of worthiness challenge? It was more difficult than the battle AGAINST RAIHAN. Speaking of, I beat Hop, Marnie, Bede, all the Gym Leaders, Rose, Oleana, and Leon on my first try every time. While it was more difficult with my specific Pokémon choices, it really wasn't much. And can I just say that the Gym Badges are kinda lame? I get what they were going for, but the designs of each piece could've been really unique and intricate and instead we got glorified stamps.

I liked a lot of the general features of the game. Camping, clothing shops, League Cards. I love designing League Cards, even if I'm the only one who's ever gonna see em. That said, the clothing choices were really narrow based on what we got in Sun and Moon. The variety of different items was pretty small, though I loved all the punk leather stuff but WOW IS IT EXPENSIVE. Like Lumiose Boutique expensive. AND WHY IS THERE NEVER A REDHEAD HAIR COLOR THAT ISN'T JUST AUBURN RED? There are actually A LOT of redheads with LIGHT RED hair (that's more a personal gripe than anything, I know).

A lot of the music felt almost like rehashes of older BGMs. Like, Postwick, Route 1, and Wedgehurst all sound like they have remixed Hoenn music. A lot of the other music tracks just don't feel fitting for the areas or for Pokémon games in general. I like parts of the Slumbering Weald music and I like the Gym Music, but the opening of Slumbering Weald feels awkward and like it doesn't fit a mysterious forest we're not allowed to be in.

I know I've complained a lot, but there were some things I genuinely liked. A lot of the Pokémon designs, place names, and other radiant decor and parts of the region are actually subtle and not so subtle references to cultural points of the UK. Skwovet and its evolution for example are a gray and red squirrel respectively and are a nod to invasive species, which is neat.

In Conclusion

Is Pokémon Sword and Shield amazing? No. Is it bad? No. Sword and Shield fall into that mediocre middle ground of being ok but nothing to write home about. Could I have done without them? Sure, they aren't some world ending imperitive must play. They're ok, and they make for a fine jumping on point and a fine little adventure if you have spare time. Have other mainline games done it better? Heck yeah, but that doesn't mean Sword and Shield haven't done a few good things too.

Overall, it sort of feels like GameFreak bit off more than they could chew, or were afraid to make changes because of unfamiliarity with the Switch's hardware and software limitations. Pokémon Let's Go had a lot more effort, but it also was much safer and had a much easier to work with art style to everything. Chibi proportions are a lot easier to fake than a more realistic counterpart. Things can be not perfect and it's less noticable than with more realistic proportions, and I think they were afraid to push back the deadline any further for the inevitable backlash despite that being what they likely needed. The DLC may change my mind, but as it stands, just the fact that they feel they can JUSTIFY their laziness with DLC packs really upsets me.

I give Pokémon Sword and Shield a 5/10.

It's just, OK.

[taww]

First Take Review: Valvet Soulshine Preamplifier & A4 Mk.II Amplifier

I stumbled upon the Valvet brand fairly randomly. Looking back at my original email to Alfred Kainz of highend-electronics, Valvet’s US distributor, it appears I caught wind of the niche German marque via a review of their E2 amplifier ($2,990) on 10audio.com. In it, Jerry Siegel compared it with some very well-respected solid state and tube competition - Pass, First Watt, Cary - and came away smitten with the musicality of the little 20-watter. I perused the rest of the Valvet line and was immediately drawn to how it blended sleek, unassuming styling with a focus on tried and true design approaches. Tube preamps with solid state amps (no Class D in sight), super quality passive parts, minimalist Class A and single-ended topologies, all in urban-lifestyle friendly packaging... Valvet was speaking my language. The relative obscurity of the brand (at least here in the States) and lack of online reviews only added to the intrigue. A review was clearly in order, and Alfred was kind enough to oblige us with the Soulshine tube preamp ($5,890 in the configuration we received) and A4 Mk.II monoblock amplifier ($7,890). 

Alfred provided this description of the company:

Valvet is located in Bargteheide, in the north of Germany, near Hamburg. What we have here is a very consistent vision by designer Knut Cornils in design and execution. Knut founded the company in 1991 and has been building Class-A amps since 1982. Knut has evolved a distinctive architecture of Class-A modules using high-quality components in minimal designs, featuring valve pre-amplifiers with separate power supply and solid-state mono-block power amplifiers.

Valvet Soulshine Tube Preamp ($5,890)

The Soulshine is Valvet’s top preamplifier line and comes in a number of configurations. The model we received is a line stage and includes a compact external power supply and stepped attenuator with remote control. Recently, two further upgrades became available: the Soulshine IIz ($8,890) featuring a dual-mono external supply, and the Soulshine Trio ($10,990) with built-in phono stage and quad supplies. @mgd-taww​ has the full review of our base configuration coming out imminently, but I'll share some observations from my time with the unit.

I really dug the sleek look of the Soulshine - super slender, with a minimalist front panel sporting two polished chrome knobs, a 2-digit volume display and the Valvet "V" softly glowing in blue. There's zero panel markings, which makes input selection a bit of a guessing game, and slightly odd is the fact that the free-spinning volume knob (it's a rotary encoder for the electronically-controlled attenuator) has a dimple to indicate position, despite it being completely uncorrelated with the actual volume setting. The attenuator itself works extremely well - volume control is a bit on the coarser side, definitely not 1dB across the range, but adjustments are quick, smooth and noiseless other than the gentle clicking of the internal relays. Best of all, the outputs are quickly muted to eliminate any possibility of transients on power-up or turn-off which can be a real hazard with tube designs. The back-panel features 4 inputs - 2 balanced XLR, 2 unbalanced RCA - and both RCA and XLR outputs. The power supply is external, connected with a light, flexible and detachable umbilical cord. Under the hood, the circuit is simple and the parts are high quality, with relatively neat hand-soldered point-to-point wiring (Teflon-sleeved silver in our model). Like any tube component, it'll need some room to breath, but it generates a fairly moderate amount of heat and will fit in shelves with less clearance than typical tube pre's with tall chassis and upright tubes.

Tonally I found the Valvet to be fairly nondescript, and I mean that in the best possible way. There is just a hint of extra juice in the mid-bass, and the low end isn't as extended and tightly-controlled as the solid-state Bryston BP-17 Cubed ($4,500), but otherwise things felt quite neutral and in order - another example of the convergence of tube and solid state tonality over time. The top end had clarity and extension and there was neither the upper-midrange forwardness nor the rolled-off treble that one sometimes gets with tubes.

What it did have was a uniquely singing tone in the midrange that made it particularly expressive with soft melodic passages. E.g. on a performance of the Rachmaninoff Romance by cellist Alicia Weilerstein [Tidal], a passionate rendition of the theme is followed by a pianissimo echo. Through the Soulshine, the delicate passage sounded wonderfully quiet and intimate, yet still expressive; on the Bryston it came across a bit threadbare and pale. Every once in a while this could also come across as a bit of thickening, like just a dash too much cornstarch in the sauce - e.g. with Magdalena Kozena's Mozart arias, the ethereal floatiness of her voice came across slightly more opaque than I heard with the Pass Labs XP10. Tradeoffs, tradeoffs...

Bryston BP-17 Cubed, Valvet Soulshine and Pass Labs XP10 locked in battle

I (or more accurately, my wife and I) heard a bit more editorializing going on with harmonics and timbre. One late evening I was playing some tunes on the Soulshine, Beethoven Symphony No. 2 to be precise, and my wife commented that the orchestra sounded rather sharp (pitch-wise) and nasal. Normally this is how American woodwind players describe European ensembles (who do indeed tune their A's higher and use totally different technique, reeds and often instruments). But in this case, it was a Montreal Symphony performance which she never previously commented on sounding particularly European. Switching back to one of the solid state pre's (the Bryston or Pass XP10) restored the expected timbre - her ears are particularly sensitive, and I can only surmise she was picking up on harmonic distortion being introduced by the tubed Soulshine. I could hear it as well, but to me it was pretty mild, and probably 99% of people won't notice it to the same degree.

The other area where THD may be coming into play is soundstaging. The Valvet has a healthy dose of that holographic tube feel, suspending instruments across a deep, airy and three-dimensional space... so much so that my wife actually felt the sound to be “too 3D,” something I doubt you’ll ever hear an audiophile say. Nelson Pass under his First Watt enterprise shared a design for a very simple 2nd-order harmonic distortion generator, called the H2, as a fun way to add some color to sound. He made this interesting observation about the phase of such distortion:

So why is the phase important? Well, it's a subtle thing. I don't suppose everyone can hear it, and fewer particularly care, but from listening tests we learn that there is a tendency to interpret negative phase 2nd as giving a deeper soundstage and improved localization than otherwise. Positive phase seems to put the instruments and vocals closer and a little more in-your-face with enhanced detail.

My sense was that the Soulshine adds more of the “negative phase” second harmonic - it has that deep holographic stage, without sounding up front and “technicolor” as some tube designs are wont to. Again, to my wife’s ears this effect sounded a little phasey and unrealistic, but I’m guessing many audiophiles will eat it up.

Some other notable and positive aspects of the Soulshine... it's extremely quiet, with nice black backgrounds. In fact, I found it to be nearly dead silent even when cranked to max volume, and considerably quieter than the Bryston which always had some level of audible hiss. Dynamics were strong, the Bryston capturing big hits in the bottom end with more slam and edge, the Valvet otherwise having more verve and nuance - piano in particular had great weight and presence on crescendi. There was a sense of ease, with plenty of headroom even on the loudest, most cacophonous orchestral passages, though I did find dynamics varied a bit with the volume setting, a likely consequence of placing the attenuator after the tube gain stages thus creating variable output impedance. Separation of instruments was excellent - whether listening to a small chamber ensemble or symphony orchestra, tonally-adjacent voices like viola vs. second violin came through with clarity and color. And while lesser preamps can blur the region below middle C (262Hz) into a bit of a soupy blend, the Soulshine clearly distinguished the lower registers of the cello from the left hand of piano accompaniment on sonatas.

All in all, the Soulshine struck me as a lovely and enjoyable preamp. Musically expressive and pure, it was significantly more engaging than the Bryston BP-17 Cubed, and made for an interesting counterpoint to the Pass Labs XP10 ($5,250 before being replaced by the XP12). I didn’t mention the Pass so far as @mgd-taww also uses the XP10 as his reference preamp, so I’ll let him do the honors of an in-depth comparison in his coming review.

Valvet A4 Mk.II Class A Monoblock amplifier ($7,890)

The A4 represents the 2nd generation of Valvet’s original Class A monoblock design, the A3.5. This latest “Mk.II” iteration includes 33% larger power transformers (400W), more filtering (132,000µF each!) and upgraded parts throughout including audiophile-brand resistors and cotton-insulated silver wiring. Allegedly this brings the performance of the Mk.II closer to Valvet's flagship A4e ($9,890), a souped-up 4-chassis model with larger external power supplies and a bit more power. Despite the Class A design, the A4 is downright petite, each monoblock measuring just 230 x 110 x 310 mm (9 x 4.4 x 12.2 inches) but feeling hefty and solid - I don’t have the weight on me, but you’ll definitely want to firmly grasp each one with two hands. Power is rated at 55 watts/8Ω, 90 watts/4Ω in full Class A operation. In what seems to be a new craze (Pass Labs XA25 and models from GamuT come to mind), the output stage uses a single pair of high-power transistors per channel, and the signal path is direct-coupled with no global negative feedback.

My first night with the A4 ended in disaster. I still don't know what happened - my best guess is a wire got crossed in the hookup to my REL T-9 subwoofer - but upon powering up one of the monoblocks, sparks, a small flame and smoke ensued. Clearly something shorted out somewhere, and the A4 being a true minimalist design with zero protection circuitry means any mishap can end in catastrophe. Fortunately no human, animal or other device was harmed, but after weeks of anticipation to hear the amps, I was heartbroken. In my desperation, I listened a bit to one speaker through the other functioning amp, just to get a taste... and even from that crippled mono reproduction, I could already tell there was something very sweet and special about the A4, which made my misfortune even more agonizing.

Alfred Kainz was extremely understanding and had the amps shipped back to Knut @ Valvet for repair. A while later I got them back, and this time I completely steered clear of the REL hookup, instead feeding the subwoofer from my preamp just to be safe. The amps have worked absolutely flawlessly since so the only lesson here is to be extremely careful setting them up, which the manual also states very clearly...

With that out of the way... I think these are some very special amps. While I've heard Class A amps plenty of times in other systems, it's my first time having one in my own, and it was easy to hear from the first notes what all the fuss is about. There's a purity and density of tone, a freedom from electronic haze and grain, a fluidity of expression that's subtle in absolute terms but significant in visceral ones. Great Class A amps have given me the feeling of emancipating music from the chains of typical solid-state limitations, making Class AB (and certainly Class D) designs sound synthetic and mechanical by comparison. The Valvet is delightfully expressive, sweet and pure, with an honest and unforced way of capturing the warmth and beauty of a performance. The Bryston 4B Cubed, a 300W Class AB powerhouse, impressed me with how it carried some of these lovely qualities to a surprising degree, but the Valvet communicates with a higher level of musical connection and tactile presence.

At times, I've heard Class A amps come off a bit dark and slow vs. a very transparent Class AB design. I hear no such issues with the Valvet - in fact, it has all the speed of the Bryston 4B3, with even more dynamic alacrity and nuance. Twists and turns of a phrase are conveyed with uninhibited momentum. Its highs are as sweet and refined as I’ve heard in my system, but with no sacrifice of brilliance. Vocals have richness and complexity, and the variegated harmonics of the violin and oboe have startling trueness. And while it doesn't have the big Bryston's bass slam and depth, it still packs plenty enough wallop to be satisfying with rock and electronic fare. The Mk.II upgrades included a significant stiffening of the power supply, seemingly to good effect - close your eyes, and you would never guess you were listening to an amp rated at just 55 watts. It's by no means a current monster so I would stick with at least moderately-efficient speakers that don’t dip too low in impedance, but I’ve heard 150-watt amps that don’t have this level of control and explosiveness. Certainly compared to a 60-watt integrated like the Ayre AX7e or Bryston B60, the Valvet sounds like a powerhouse.

I'll have much more to say about this wonderful amplifier in the coming months. One of the things I'll need to work on is getting some good comparisons on hand (the Pass XA25 and XA30.8 come to mind). And I have a much larger, 3.5-way reference speaker on order which will stress the Valvet's drive and current capability far more than my current 2-way monitors. In the meantime, if you value beautiful, engaging yet truthful reproduction, I strongly recommend an audition of the Valvet A4 Mk.II - it's captivated me enough to earn a long-term home in my system.

#review #audiophile #valvet #hifi #tubes #preamp #amplifier #class a #monoblock

[tanadrin]

Map Editors I Have Known And Loved

Much as my favorite part of any RPG is the character creation screen, my favorite part of any RTS (and many other genres of video game) is the map editor, where it’s included. This is a brief review of different map editing experiences for different games based on the time I’ve spent with them.

Warcraft 2

One of the first, wayyy back in the dark days of the mid-90s. Good for little besides making melee maps, really, due to the absence of a trigger system (as I recall).I was too young to really be able to experiment with its mechanics, and mostly used it as a glorified version of a Paint program, because I liked Wc2′s distinctive art style.

Age of Empires 2

AoE2 is/was a freaking terrific game, but (and probably because the campaigns the game shipped with didn’t need more than it provided) the trigger system of its in-game editor is not super sophisticated. Third-party editors and utilities supplement the default modding tools, and modding AoE2 is easier than ever with the HD edition, but if you want to do something super elaborate you’re going to need to do a lot of quirky tricks and editing of database values. I still love the AoE2 map editor, because I love building huge elaborate isometric recreations of medieval European cities, and then wrecking them with a giant army of Elite Mangudai and trebuchets.

Deus Ex: GOTY Edition

An FPS, but it came with a variation on the Unreal engine level editor that was, despite requiring a fair bit of knowledge about the engine to make it really useful, was still great for a kind of conceptual Lego, building beautiful austere environments with careful lighting you could walk around in (and shoot up with a GEP gun). Again, I was a little too young and a little too impatient to master the subtler aspects of DX level design, like triggers and scripting and whatnot, and the tools provided, though powerful, didn’t hold your hand at all. Still, full marks for making the inner workings of the game robustly exposed to modders.

Starcraft

The original Starcraft and the BW expansion have a lot to recommend them: a great kind of redneck-punk scifi aesthetic, some seriously fun campaigns, and some seriously fun multiplayer (the panic instilled by “nuclear launch detected,” etc.); the map editor was great because it had pretty decent unit editing capabilities, and an extremely good trigger system--plus you could make your own voiced mission briefings, string missions together as campaigns, etc., etc. A lot of what you couldn’t do was supplemented by third-party editors, and playing around with SC’s trigger system trying to get all kinds of weird things to work laid a lot of the cognitive groundwork for learning how to think and clarify ideas when I started learning actual programming languages like Python. Rates very highly on both the “purity of form” and “purity of spirit” scales, but it’s nothing compared to

Warcraft 3

Hoooooooo boy

I have a sentimental attachment to wc3 map editing like nothing else. There were whole summers I spent playing custom games on battle.net, and probably thousands of ideas I played around with in the editor itself, but never quite finished, because let me tell you, this bad boy is as far as I’m concerned the gold standard for map editors. It was released in a somewhat limited form with RoC, but around the time TFT came out, they updated the editor to a much more full-featured version, and they eventually also released all the plugins necessary to make Wc3 models with third-party programs. Combined with the idiosyncratic-but-actually-kinda-useful form of custom game searching, the result was, as anyone with a passing familiarity with the wc3 modding scene probably knows, one of the greatest flowerings of modding creativity in video game history. Out of this crucible of innovation came among other things a deep vein of tower defense maps, elaborations on the Aeon of Strife custom games from SC, and out of those, eventually, the DotA maps--leading to DotA Allstars and thence DotA 2.

The Wc3 editor lets you fuck with literally every conceivable value in the game, comes with an exceedingly powerful trigger system, lets you make custom units and abilities and buildings, and where it can’t do what you want it to, also just lets you script shit directly. I love it so much. It is my happy place; the little “doot doo do do doot DOO” that sounds when you start it up gives me a jolt of delight every time, years later.

Homeworld 2/Homeworld Remastered

Honorable mention to the most fun I have ever had in a melee RTS with my pants on. The maps here are exceedingly simple: you edit them with a text editor. But true 3d space battles--true 3d gorgeous space battles with a 70s sci fi aesthetic--are impossible to underrate in my book, and it helps that the Homeworld series has genuinely delightful gameplay mechanics. It also has a pretty good modding scene, with the inevitable Star Trek and Star Wars and BSG mods, because while the game isn’t super easy to mod, and has nothing in the way of built-in modding tools, it isn’t actively hostile to modding the guts of it like some games I could mention (cough cough Paradox cough). Confession: I’ve never tried to mod HW2. I have played a shit ton of it, though, and I live in the vain hope that one day someone will be like, “You know what? Not only is it time to bring RTSes back, 3d space battles are actually the fuckin’ best,” and make another game like it.

Starcraft 2

I haven’t played around as much with the Sc2 editor, because while I played a lot of Sc2 melee during WoL and HotS days, the actual experience of finding custom games with SC2 blows. Rather than Wc3′s “here’s all the custom games currently going, knock yourself out bub” thing, with Sc2 they tried to start a curated game list thing and added rating games and all this other wacky stuff that means it’s actually kinda impossible to find things 1) that you like and 2) that people are actually playing. I haven’t touched Sc2 in years, though; maybe it’s gotten better? I doubt it. The editor itself is, based on my limited experience, just the natural iteration of the Wc3 editor: a little more robust, possibly a little more confusing at first as a result, but it’s got that same classic Blizzard polish that makes their modding tools such a joy to use. But between the fact that the scifi aesthetic doesn’t appeal to me as much when it comes to making custom games, and the sucky game finding interface, I think I’m mostly holding out for WC3: Reforged to scratch that RTS modding itch.

DotA 2

Valve did the community a huge solid and released its developer tools to let people mod its hat collecting/racial and homophobic slurs archiving engine, DotA 2, but the custom game search features suffer from the same problem that plagues SC2, only even worse. Just give me a fucking server browser!!!! FPSes had this solved in like 1994!!!

It doesn’t help that DotA is built in what is fundamentally, like, an FPS engine (ok, probably that’s not an accurate characterization, but it is the engine they devised for like Half-Life 2 and TF2), which means that the developer tools feel clunky and counterintuitive and wayyy too complicated if you’re thinking of them as RTS modding tools. Plus, since not everybody has the time and the professional pride Blizzard used to have to create powerful, polished, standalone modding tools, they’re not gonna hold your hand at all. And the fact that MOBAs/ARTSes have mostly colonized the space classic RTSes used to fill means that what you really have is, like, 5% of the assets you’d need to actually make an RTS mod for the DotA engine. It would probably be easier to make an FPS in the DotA engine than a true, Warcraft-style RTS. (Someone did once make an FPS in the Warcraft 3 engine. It was... actually kind of fun? But seriously goofy.)

If I were a smarter and more hardworking person, I could probably build an RTS-like thing in DotA’s modding tools, but I am not. Plus, there are elements of DotA level design that suffer from the same problems as

Later iterations of the Unreal engine

One thing I loved about the classic UT engine, which the original Deus Ex used, is that (though it was prone to frustrating geometry bugs) it let you tinker around with architecture directly in the space it provided. I played with the level editors of some later UT games (principally UT3, I think?), and with the push toward fancier graphics of later generations, there was also a push toward use of a lot more doodads and 3d assets in levels to provide what I would think of as basic architectural details. I’m sure there are solid graphical and programmatic reasons for this. I’m a dilettante at best at this sort of thing, and I can’t speak to those. But the downside of that was that unless you have some 3d modeling chops, and a measure of planning and patience, the sandboxy/creative appeal of dicking around in the level editor was much reduced. That’s not a criticism of the tools provided so much as it is a neutral observation and, perhaps, me mourning a little bit the fact that older, simpler games, by virtue of their simplicity, are often more amenable to modding. One thing we lose in an era of ever-more-elaborate triple-A titles is a fundamental transparency in how games are constructed; they become super complex, teetering programmatical edifices, and while that often allows for interesting new developments in gameplay (and shiny graphics!), for the person who wants to learn How Games Work by taking them apart and poking around, well, it’s harder. That’s one reason why I’ve never gotten into Skyrim modding, even though it looks awesome and super powerful.

(the U4 engine “map editor” equivalent is a suite of game dev tools, and sold as such, but I’m not really talking about standalone game dev tools that are meant to allow you to build a game from the ground up in this post, so that’s beyond the scope of what I’m interested in. Obviously the more general and powerful a modding tool is, the more it shades directly into that; and there’s something of an artificial distinction between a “total conversion mod” and “a new videogame,” like that between a musical and an opera, that mostly has to do with spirit and intent and marketing.)

EU4, CK2

I am including these because I love modding these games, even though the “modding tools” for them are Notepad++ and GIMP. It’s nothing but images and weirdly formatted text files (and little documentation), and it’s terrible and frustrating! But I love it! My big complaint is actually the lack of ability to alter fundamental game mechanics: everything you can change about the game easily is the accidence of it: its appearance, the map, what countries and characters you can control. The underlying mechanics--the spirit of the game--is frustratingly immutable, except via very clunky workarounds, and while I understand why you might not go out of your way to make these things easily manipulable (it’s a lot of extra work to uncertain benefit), and why Paradox games rely on an event-driven system that is both like and much unlike RTS trigger systems, it is a little disappointing. But EU4 and CK2 drive very different parts of my imagination (geography and politics and economics) than, say, Wc3 (strategy and fighting and tactical finesse), in the same way that Deus Ex drove yet another part (the architectural, the spatial, the atmospheric). One day, maybe, someone will invent a game that somehow captures everything I love about each, a kind of  transcendental game of everything, with modding tools to match, but I doubt it, and I’m OK with it even if that never happens.

Honorable mention: the Civ series

4x games are moooostly outside my scope of interest here, but I do remember Civ2 having a terrific editor with lots of opportunities for modding buildings and techs, and the great thing was that units and cities and terrain were all just very simple images that you could edit with an in-game tool. SMAC/AX was also pretty moddable, had a built in scenario editor/cheat menu, and Civ 3/4/5 have fun map editing and scenario building tools. Turn based games appeal to me a little less inherently, because they lack the thing I love about RTSes, the “oh shit PANIC” moments where you reflexes and quick thinking become super important, but the Civ series does have great strategic and econ management elements.

Other games

There are whole genres of games--Sim City, Dwarf Fortress, Minecraft, the building aspect of 4X games--that capture in small or large part what I love about map editors, with the same build-create-tweak-adjust cycle, though obviously on a distinct footing since they’re making them an actual game rather than a tool with which to create games. It scratches a similar itch, though: it’s all about combining aesthetic design with design of systems. I have a radical thesis which is that every game is improved with the inclusion of a map editor. The existence of a representational, navigable space is intrinsic to almost every genre of game (every game I can think of, though I don’t exclude the possibility that there are ones I haven’t thought of that don’t have that), and being able to use the same underlying rules--or to iterate on those rules--and apply them to a new space, especially a new space you can design for optimum fun rather than just relying on procedurally generated (inevitably samey) space, extends the life of games considerably.

My earliest and biggest interest is in RTSes with map editors, though, because I have a fervent, unquenchable love for the genre. Alas, as noted, it’s a genre that has never been super popular and is currently pretty marginal. THe challenges of making a good RTS engine--nevermind a fun-to-play RTS--are considerable, especially if you care about things like multiplayer (which is my favorite part of RTSes). A lot of entries in that genre now are in some sense hybrid. MOBAs, of course; but games like EU4 have RTSlike elements (and, being pausable, are in some ways the best of both worlds with regard to RTSes and turn-based games). I live in hope that the RTS genre will experience a minor renaissance one of these days, and we’ll get something worthy of being the successor to WC3 or AoE2. If you’re working on that--please, please, I’m begging you, release it with a map editor.

#video games #rtses #modding

[bigweldindustries]

i just read your tags on that nintendo post and yes,,, pls post your rant about stylisation in modern games i'd really like to hear... well no,, see your thoughts on it :D

SFGFGHGF thank you Angie!! 

(popping this under a cut as I got out of hand kjghjfgkjhfg)

(alsO keep in mind this is primarily about home consoles. i don’t mention hand helds nor do i really touch on arcade games, those are topics for another day)

I’d like to open this by saying that I’m pretty childish in a whole bunch of ways, but one of my biggest is that I am very much attracted to bright colours. It shows in my art - everything I draw is very, very colourful. I love stylisation, I love colour. 

Colour, as it so happens, was vital to video games up until the late 90s - the advent of the 32-bit era. Even the fourth generation (think SNES and Genesis/Mega Drive) could typically only produce 64-256 colours on screen at a time, depending on resolution. 

(The bastard child which we do not talk about is the Neo Geo, which could display 4096 colours on screen at one time, but the Neo Geo was a super expensive ‘luxury console’ and literally a bunch of arcade level components, hence why it was so far ahead graphically.)

For this reason, palettes were bright and expressive. Add in the fact that all home consoles at the time were raster image based (except for the sole, bizarre exception of the doomed Vectrex) and stylisation is the obvious outcome - once we got the graphical output for it, of course. Third generation games began to show stylisation - Phantasy Star and Final Fantasy III may be visually similar, but the nuances in the spritework are still plain to see - and then the 16 bit era really drove it home. 

The late 90s brought home gaming into a whole new dimension - 3D! Glorious, blocky, polygon-y, 3D. And stylisation well and truly went bonkers, maybe even more so than it did back during the sprite-based 16 bit era. 

Something important to keep in mind when considering 90s to early 00s gaming however is that everyone, for whatever reason, had Sonic fever, and so was trying to whip up their own fucking furry mascot. Platforming had always been a prominent genre, ever since the early 80s when Donkey Kong debuted and was immensely successful. Suddenly, we’re platforming in 3D, and there are furry mascots everywhere. Seriously, think of as many platforming game with animal mascots as you can, and I assure you you’re not even scratching the surface. 

Even putting aside the bright and friendly animal-based platformers, there’s still a tonne of fascinating examples of styles. Tomb Raider, Metal Gear, and Silent Hill all went for closer to realism than cartoon styles, and yet were all stark and distinctly stylised in their own different ways. Graphical output still had distinct boundaries, and stylisation was the way it was overcome. 

I feel like stylisation hit it’s peak immediately before it’s decline, with the sixth generation heralding in some of what are, in my opinion, the most wonderfully stylised games out there. the original Ratchet and Clank games, Metroid Prime, Okami, Space Channel 5, the Legend Of Spyro games.....Hell, Jet Set Radio and Jet Set Radio Future come from this time period, and are some of the most famously styled games of all time. Just enough polygons to render some absolutely wonderful models, not enough to warrant photorealism. 

That was, at least, until the seventh generation. Bright and atmospheric stylisation was out, and photorealism was in. 

(Unless you happened to be Nintendo, of course. Nintendo just shrugged, gave us Miis, Super Mario Galaxy, a whole bunch of The Legend of Zelda, and some third party kids games, and carried on like that until today, where they show no sign of slowing. Thanks, Nintendo. Owe you one.)

But with everyone else, stylisation very quickly died. The rise of the FPS definitely didn’t help here, with every studio clamouring to have their slice of the pie, but very quickly studios turned to photorealism. Far Cry, Call Of Duty, Assassin’s Creed, Uncharted.....Very quickly, stylisation was abandoned. There was also that god-awful period where everyone and their nan was cranking out games with gritty washed out palettes, though we seem to have finally pulled through that one. Thank god. Thanks for that one, Call Of Duty. 

My point is that graphical advancements seem to have killed a lot of the visual creativity that always went into games, and instead everyone seems to be intensely focused on how realistic a game looks. I’m personally sick of it - I don’t give a shit that you can animate every hair in generic white protagonist #897′s beard, when it looks incredibly visually similar to every other fucking game in it’s genre. 

If I were to take a screenshot of a whole bunch of the most popular games from the last 10 years and show them to someone who wasn’t into games at all, they probably wouldn’t be able to tell 90% of them apart, whereas games of literally any other generation can be told apart visually with ease. There is so little visual differentiation in modern gaming, and it frustrates the everliving fuck out of me. We have so much graphical power, and yet all anyone wants to fucking do is replicate real life visuals - why? 

Hell, the 10% of actually visually diverse games make it feel even more sparse. Take for example We Happy Few, Bioshock, and Borderlands (I haven’t actually gotten around to playing any of the Borderlands games but they’re on my to-do list) - wonderfully atmospheric and full of some absolutely fantastic visuals. They’ve found themselves art styles, all gloriously unique and notable in their own ways. Even Overwatch is notable, with it’s stylised characters and bright colours. Hell, I give Fortnite props for it’s fucking style, for crying out loud. 

Aside from that, the only people consistently pumping out games with stylised graphics? Nintendo - and small, independent studios. Small, independent studios who are constrained, much like the sixth generation - not by lack of graphical power, but instead by lack of budget. They don’t have the money to buy fancy software and pay some cunt to animate four billion hair’s on some white dude’s face, so instead they find a niche in the gameplay market and stylise to save time and money.

(Slight deviation here but Nintendo on the other hand are absolutely fascinating to me, in that a lot of their strength is in their franchising.  They’ve got gaming franchises which have been around longer than some other studios have even existed. They’re the sole survivor from the third generation, outliving Sega and Atari. Even their newer franchises, such as Bayonetta, Splatoon, and Xenoblade, still stick to a bright and stylised appearance. Each and every Nintendo property has it’s own style, but they’re still congruent enough that Smash Bros. doesn’t look particularly odd - unlike when Sony tried to do the same with their Playstation AllStars Battle Royale, which was one of the most bizarre things I think I’ve ever seen, to this day. Nintendo well and truly are the family gaming company - there’s something there for everyone, no matter how young nor old.) 

Don’t get me wrong, there’s a time and a place for stylisation. One of the very few genres I still take interest in is racing games - a niche in which realism is fantastic and very often awe-inspiring. Realism can be gorgeous, and I don’t hate the style! I just hate the complete and utter bottlenecking of the industry and the fixation on making things look as realistic as possible when there’s so much potential in stylisation. There’s so, so little visual diversity in modern gaming and it’s honestly sad as hell. Also I really miss fun cartoony platformers as a genre and not just an occasional nostalgia-grab but that’s more an Axel thing than an industry thing. 

Jesus fuck I rambled on for sO FUCKIGN LONG BUT. yeah there’s my thoughts on that i guess!!!! O: 

#ask #axel grinds on #nightvisionxpixels #iM SORRY KGFHFK #i have a lot of emotions about this so. have an. essay #i juST WORDCOUNTED IT AND THERE'S NEARLY 1.3K WORDS IM SOBBING IM SO SORRY KJGHJFG

[avoutput]

Gaming And Film: The Tomb Raider Example

A golden opportunity has arisen. I get to make another example of the star crossed genres, Film and Video Games. Two narrative forces bound by their visual narratives, but separated by a single major mechanic: Control. But a new challenger has arrived, or rather a returning challenger, another gaming legend. Tomb Raider. The gods have deigned Square Enix another chance at the big screen after their massive flop at the box office over 20 years ago with their own classic title, Final Fantasy. Gaming has made its way back to the big screen with Tomb Raider “parenthesis 2018 film” starring the legend herself, Lara Croft. Well, it stars a real actress, Alicia Vikander, but you know what I mean. Gaming has its own stars. Previously, this role had been played twice before by Angelina Jolie in Lara Croft: Tomb Raider (2001) and Lara Croft Tomb Raider: The Cradle of Life (2003). This gave me a very unique opportunity to take a jump back in time to gaming’s initial foray into the world of the Third Dimension (3D), its replication of cinematic narrative structure, and all of the freedom that comes with giving the player the ability walk around in that space, instead of just watching. It was during this 3D polygon era that cinema took a fundamentally flawed stance to the translation from game to film; they tried to duplicate as much of the minor details as possible in effort to reanimate and profit from a movie going audience. In doing so, they sacrificed the heart of good cinema trying to capture the flavor of the game, hoping that the only thing fans would need is a the skeletal carcass of their favorite game.

By the time that first installment of  Lara Croft: Tomb Raider (2001) had hit the screens, there had been 4 full games released, none of which would ultimately become the story of the film. They surmised that simply making a film that imitated its main attraction, a (British) woman who raids tombs for treasure, would suffice. And in a way, this might be the most correct course of action. There had already been series of similar action films to take from, including Indiana Jones, James Bond, Mission Impossible, and Jackie Chan’s Armor of the Gods. With the games already pulling inspiration from these existing films, intentionally or not, it doesn’t seem that unreasonable to think that a film version of Tomb Raider would succeed at the box office.  All they needed was to eject the male as the lead and pop some abnormally large breasts on an otherwise perfectly attractive female figure. But then the real question becomes, why make this film based on a video game character at all? Obviously brand recognition and the all mighty dollar, both domestic and international, but wouldn’t they need more to really entice both the fans and the uninitiated alike? And this exposes an issue with the Hollywood mindset that, while I have come to understand, I can’t abide or come to terms with. Forsaking the heart of intelligible film making in favor of a return on investment. When art and capitalism mix in which the art comes second, the audience usually loses, and the house of Hollywood usually wins or breaks even. Because for the audience, what’s on the line is a chance to make a good video game into a great movie, and if that movie flops, then investors look at not just the game franchise, but all gaming films as a risky or unworthy investment. Stranger still however, is what ended up happening with Tomb Raider. It returned big on its initial run, almost certainly powered by Jolie’s star power. But when you make a cheap, flimsy version of  a game into film, and it works, it becomes the model that all video game films run on. We end up being served a deformed representation of something that, in my opinion, never stood a chance of becoming anything more than a cash grab. (See: Resident Evil (2002) starring Milla Jovovich)

At no point does Lara Croft: Tomb Raider (2001) or its sequel try to become more than a cheap representation of its source material sewn together using existing action-adventure movie tropes. The original games themselves offer little more than an exploratory cave diving, gun slinging shell for people to play in. Games (at the time) were not as harshly criticized for taking huge leaps in story, tone, or realism, but the films never really took that risk. In the game, Lara shoots at bats, bears, and wolves while cave diving. Yet, both Lara Croft: Tomb Raider (2001) and The Cradle of Life (2003) look indistinguishably bland compared to other films of their era like LOTR: Fellowship of the Ring, Swordfish, Training Day, Jurassic Park III, Pirates of the Caribbean, Kill Bill, The Matrix Reloaded, and many more. Granted these budgets are a bit more inflated, even their smaller moments are better than Jolie’s biggest. In fact, some of the stunts seem to come right out of the Mission: Impossible series. Taking a game thats little more than an empty, fun action platformer and trying to build an entire film franchise around it without adding some spark of originality or building any sense of a larger world for its characters will ultimately lead to a lackluster, forgotten film. Anybody watching these movies today are only returning because they might be a fan of the franchise, which might be the only win under the belt these films, but it’s another loss for gaming, gamers, and film.

Moving into the next generation of consoles and computers, as games become more modern, they began to more deftly integrate cinematic techniques. Game creators can control the world, the camera, and the characters with complete freedom, unlike film which has to worry about pesky things like props, actors, and reality. In 2013, Tomb Raider was re-imagined by Crystal Dynamics and published by Square Enix. They created a more sleek and vibrant world that embraced a mixture of realism and paranormal. Lara was modernized, made a bit more youthful, and her skillset was more refined and deadly. She went from a caricature to a character and her adventure matured into something a bit more robust. Coupled with expert pacing, the new Lara Croft moves through her deadly environment and faces foes head-on in the same vein as Indiana Jones. Only she is a bit more willing to pull the trigger or sling an arrow. I don’t want to continuously gush about this game, so to summarize, I will just say this game was by far one of my favorite action games in this last generation. This reinvisioned version would become the basis for the recently released Tomb Raider (2018), and I was excited to see what kind of adaptation would spring forth. After the many, many Hollywood failures, had gaming finally caught up so completely to cinema, possibly even overtaken it, that it could allow for an easy transition from game to film?

As much as I don’t want to spend the entirety of this review discussing the differences between the film and the exact game it was based on, that is technically the point of this article. Still, I’ll spare you a lengthy diatribe and stick to the key differences between Jolie and Vikander’s Lara Croft. In this version, the realistically re-imagined Lara Croft is crafty with a bow instead of guns, inexperienced instead of an expert, and hasn’t attended any higher learning in pursuit of abandoning her heritage to find her own way. These also happen to be departures from the Crystal Dynamics’ Lara Croft as well. However, I found that these character changes spoke the language of cinema better, making for a more relatable character, especially for late millennials and gen Z at which this version is aimed.

Tomb Raider (2018) stars the new Lara Croft (Alicia Vikander) as she takes on the challenge of living life as a broke young woman in the big city. But, a twist, the young lady is broke by choice, turning down the opportunity to take up her family name and with it , the family business. Angry that her father, Lord Richard Croft (Dominic West), never returned from a business trip and is considered dead, she mounts a personal battle against her heritage. Through a series of turns, she finds a final message from her father in a secret bunker outside her family estate, warning her to burn all of his research just in case some bad guys come looking for it. Instead, of course, she sets out to find the last place he was said to have visited, enlisting the son of the man, Lu Ren (Daniel Wu), whose boat was to have taken her father to his final resting place. At this point the film finally takes a similar shape to the game, introducing Mathis Vogal (Walton Goggins) as the leader of digging team sent to find the treasure of Lady Himeko’s tomb. Vogal has been employing as slaves shipwrecks and treasure hunters who have come to the island in search of such a treasure.

At this point, I would like to praise this film for actually making a decent adaptation of the game. The actors are great, the story is pretty tight, and they do a pretty good job keying you into just how far Lara will have push herself to get what she wants. Unlike Jolie, who was characterized as a fearless expert, Vikander is an inexperienced young girl who struggles at almost every turn. Throughout the film, she misses, she loses, and she takes hits, which is similar to the game, except when you lose the game, it had some pretty incredible death scenes. But in a way, I personally liked her Crystal Dynamics video game persona better. She was both experienced and still struggled. She used her wit and cunning to elude her captors. In the 2018 film, Lara spends most of the runtime falling into situations and just kind of winging it, but not with tools or weapons found in the game, mostly just through luck. My only other criticism is a bit of a spoiler if you have played the game and not seen the movie or have seen the movie but not played the game. But here it is. The film rejects the concept of the supernatural, which is one of the biggest reasons I wanted to see the film after having played the game. The game continuously hints at the supernatural, but only towards the end do we actually see it in action, which totally caught me off guard. I half expected some ancient local tribe would be behind some form of sabotage from the shadows, like in an episode of Scooby Doo. But how does this stack up as a video game film? Can we build a new legacy from here?

Well, unlike the Jolie era, video games and film are not so different anymore. In fact, film often doesn’t have the runtime to contain an entire video game plot into a single movie. The golden age of television would be a better place for your favorite game stories. Japanese anime has been doing this for years with shows like Star Ocean EX and Persona 4 The Animation. In a very short time, film has been surpassed as an entertainment medium in size, scope, and runtime/playtime. But the one thing that you can feel has really changed in Hollywood is that they no longer underestimate the need for authenticity in the transition. Gaming films are getting better because gaming has become better. The stories they tell are taken more seriously, and triple-A titles have bigger budgets than some triple-A films. Gaming companies could be looking to invest in adaptations to film, seeing them as an extended product to their own. With that dollar power and some guaranteed butts in seats, we should be able to expect better films. I would like to imagine if both Godzilla and King Kong can be re-imagined into great films that also get to share the same universe as a plethora of tokusatsu monsters that gaming can get of its ass and produce some better films. Still, it was only 2 years ago that Resident Evil: The Final Chapter (2016) was released, ending a series of terrible video game films that did nothing to elevate games as critically good films. Assassin's Creed (2016) also didn’t help.

The thing is, we don’t need video games adapted into film. Gaming has its own thing going on, and when it’s done right, it does it all bigger and better. But, if we are going to continue to see them pushed into film, let’s at least get a few things straight. First, there is a balance between authentic and creative. Take care to have a vision for the film beyond simply taking a bird’s eye view of the game and applying that visual to the film. The old Tomb Raider was built on the back of action genre films we had already seen and for the most part lacked any sense of creativity. It was authentic to its source from afar, but up close it offered nothing for fans beyond a push-up bra and two guns. Second, be aware of the scope of the game’s world. More and more games are open world, meaning that the world is going to be as much a character in its own right, so don’t forget that it exists. Even older games can have a vibrant world. A good example is Castlevania, which saw an amazing mini-series produced by Netflix. The story was small, but it never betrays the world in which it takes place. Now more than ever, the lines between gaming and cinema have all but been erased, so narratively, you can take a much more direct approach to the translation. Feel free to rewrite the story as long as it doesn’t forsake the game’s characteristics. Games are no longer manufactured for control alone, they have well thought out characters, themes, and motifs, all with a joined motive. If Lara Croft has taught us anything, take calculated leaps, not blind jumps into the abyss.

#Film #Review #Articles #Tomb Raider #Gaming #Alicia Vikander #Lara Croft #Angelina Jolie #Playstation #Playstation 4 #PC Gaming #Steam #Streaming #Xbox #XBONE #XBOX 360 #PC

[painted-soldier]

Sword and Shield thoughts

Having not played X/Y and S/M, I’ve been very resistant to the idea of 3D Pokemon games in general, as well as some of the gimmicks they’ve introduced. I decided to play Pokemon Shield, though, out of curiosity, and I don’t regret it.

I’ll get the negatives out of the way first. To begin with, the story is weird and doesn’t make much sense. A good Pokemon game doesn’t need to have a great story—Johto is my favorite region partly because of its non-linearity—but Sword/Shield tries to have one and falls short. B/W pretty much set the bar for stories in the series, but Sword/Shield only makes slightly more sense than the Hoenn games, and is flimsier than perhaps any of the previous games. There’s really no consistent antagonist, and in many ways the story is built around the Dynamax mechanic. That choice does make some sense for Game Freak to have done, because the world-building makes it clear that the effect is unique to Galar, and its use as part of the plot does make it feel like more than a gimmick. Ultimately, though, it seems like Game Freak wanted to make a good story but simply missed the mark. The climax of the main game consists of a prominent figure trying to abuse Dynamax power, and the post-game is a short and silly mission to stop some dumb assess from taking over Galar. The main characters (the rivals and gym leaders) are strong, and a much better choice would have been to focus on them rather than trying to force an external antagonist. Part of what made the Johto games work is that Team Rocket are a looming presence rather than a force who just get injected randomly into a game based largely around world-building. Sword/Shield seems to indicate Game Freak forgot this.

The other main negative for me is actually pretty mild. It’s no spoiler to say this: the mechanics of the Galar League differ from most other games’ leagues. In Sword/Shield, you need to be sponsored or recommended to partake in the gym challenge, and the gyms are stadiums rather than normal(ish) buildings. You also get a uniform you have to wear. (Much of the game’s aesthetic details are inspired by soccer/football, which makes sense given the UK-based setting.) While it works for the Galar region, I don’t think this would feel natural in others, so I’m hoping this isn’t a restructuring for the whole franchise.

The lack of the National Dex is, for sure, a disappointment. It’s understandable that it takes time to come up with complete models for all 800-odd Pokemon, but I would think this could be fixed if Game Freak just provide an update to add a complete National Dex. That said, the omissions weren’t so great that I felt like it was lacking, mostly because I never bothered to transfer between games, so I’m used to not being able to catch ‘em all.

The only other issue, for me, is that the game is quite short. This is ameliorated by the DLC, but given that the main game costs the same as previous titles that didn’t have DLC, it feels a bit like they’re cheating you.

Now for the positives. On the whole, it’s just a fun game. As ridiculous as the story is, the world itself is also pretty immersive, and many of the characters have affable and/or amusing personalities. Dynamaxing adds an interesting component to battling that, for me at least, doesn’t feel forced.

However, the most enjoyable aspect for me is the emphasis on bonding with your Pokemon. Past games have featured some friendship-building features, but Pokemon Camp feels very realized. You get the ability to play and interact with your ‘mons in the open, as well as feed them curry. You also can just observe them interacting with each other, which is fun in itself. It also serves a function: when you cook good curry, they get healed, as well as some other benefits. The mechanic does have some areas where it could be improved, specifically the fact that you can’t move and have to make the Pokemon come to you. The side features could also be expanded beyond just curry cooking. Ultimately, though, it’s good enough that I get quite a bit of enjoyment out of it.

Poke Jobs are also a good addition. You can send your Pokemon off to work, and they gain experience from it. It takes the place of the Day Care (which has become the Nursery, and exclusively does breeding), and makes things feel a bit more real.

As far as the DLC: I haven’t finished the Crown Tundra, but I did complete the main story of the Isle of Armour, and it was enjoyable. Like the main game, it could’ve been longer, but it is, after all, one of two expansion packs.

Sword/Shield is flawed, but I think the people who hate on it probably haven’t played it, or haven’t gotten very far into it. It’s front-loaded with cutscenes and tutorials, which was annoying, but once you get past that it’s one of the most fun games in the franchise, even if it is kinda stupid. Given the DLC’s increased use of open-world navigation, it gives me hope that the next games will be just as enjoyable and far better.

#pokemon #blog post because I felt this was too informal to put on my main site #ramblings #gen 8 #galar

[shirlleycoyle]

What Alternate Reality Games Teach Us About the Dangerous Appeal of QAnon

This story was originally published on mssv.net by Adrian Hon (@adrianhon)

The far-right QAnon conspiracy theory is so sprawling, it’s hard to know where people join. Last week, it was 5G cell towers, this week it’s Wayfair; who knows what next week will bring? But QAnon’s followers always seem to begin their journey with the same refrain: “I’ve done my research.”

I’d heard that line before. In early 2001, the marketing for Steven Spielberg’s latest movie, A.I., had just begun. YouTube wouldn’t launch for another four years, so you had to be eagle-eyed to spot the unusual credit next to Haley Joel Osment, Jude Law, and Frances O’Connor: Jeanine Salla, the movie’s “Sentient Machine Therapist.”

Close-up of the A.I. movie poster

Soon after, Ain’t It Cool News (AICN) posted a tip from a reader:

“Type her name in the Google.com search engine, and see what sites pop up…pretty cool stuff! Keep up the good work, Harry!! –ClaviusBase”

(Yes, in 2001 Google was so new you had to spell out its web address.)

The Google results began with Jeanine Salla’s homepage but led to a whole network of fictional sites. Some were futuristic versions of police websites or lifestyle magazines; others were inscrutable online stores and hacked blogs. A couple were in German and Japanese. In all, over twenty sites and phone numbers were listed.

By the end of the day, the websites racked up 25 million hits, all from a single AICN article suggesting readers ‘do their research’. It later emerged they were part of one of the first-ever alternate reality games (ARG), The Beast, developed by Microsoft to promote Spielberg’s movie.

The way I’ve described it here, The Beast sounds like enormous fun. Who wouldn’t be intrigued by a doorway into 2142 filled with websites and phone numbers and puzzles, with runaway robots who need your help and even live events around the world? But consider how much work it required to understand the story and it begins to sound less like “watching TV” fun and more like “painstaking research” fun. Along with tracking dozens of websites that updated in real time, you had to solve lute tablature puzzles, decode base 64 messages, reconstruct 3D models of island chains that spelt out messages, and gather clues from newspaper and TV adverts across the US.

This purposeful yet bewildering complexity is the complete opposite of what many associate with conventional popular entertainment, where every bump in your road to enjoyment has been smoothed away in the pursuit of instant engagement and maximal profit. But there’s always been another kind of entertainment that appeals to different people at different times, one that rewards active discovery, the drawing of connections between clues, the delicious sensation of a hunch that pays off after hours or days of work. Puzzle books, murder mysteries, adventure games, escape rooms, even scientific research—they all aim for the same spot.

What was new in The Beast and the ARGs that followed it was less the specific puzzles and stories they incorporated, but the sheer scale of the worlds they realised—so vast and fast-moving that no individual could hope to comprehend them. Instead, players were forced to cooperate, sharing discoveries and solutions, exchanging ideas, and creating resources for others to follow. I’d know: I wrote a novel-length walkthrough of The Beast when I was meant to be studying for my degree at Cambridge.

QAnon is not an ARG. It’s a dangerous conspiracy theory, and there are lots of ways of understanding conspiracy theories without ARGs. But QAnon pushes the same buttons that ARGs do, whether by intention or by coincidence. In both cases, “do your research” leads curious onlookers to a cornucopia of brain-tingling information.

In other words, maybe QAnon is… fun?

ARGs never made it big. They came too early and It’s hard to charge for a game that you stumble into through a Google search. But maybe their purposely-fragmented, internet-native, community-based form of storytelling and puzzle-solving was just biding its time…

This blog post expands on the ideas in my Twitter thread about QAnon and ARGs, and incorporates many of the valuable replies. Please note, however, that I’m not a QAnon expert and I’m not a scholar of conspiracy theories. I’m not even the first to compare QAnon to LARPs and ARGs.

But my experience as lead designer of Perplex City, one of the world’s most popular and longest-running ARGs, gives me a special perspective on QAnon’s game-like nature. My background as a neuroscientist and experimental psychologist also gives me insight into what motivates people.

Today, I run Six to Start, best known for Zombies, Run!, an audio-based augmented reality game with half a million active players, and I’m writing a book about the perils and promise of gamification.

It’s Like We Did It On Purpose

Perplex City “Ascendancy Point” Story Arc

When I was designing Perplex City, I loved sketching out new story arcs. I’d create intricate chains of information and clues for players to uncover, colour-coding for different websites and characters. There was a knack to having enough parallel strands of investigation going on so that players didn’t feel railroaded, but not so many that they were overwhelmed. It was a particular pleasure to have seemingly unconnected arcs intersect after weeks or months.

Merely half of the “Q-web“

No-one would mistake the clean lines of my flowcharts for the snarl of links that makes up a QAnon theory, but the principles are similar: one discovery leading to the next. Of course, these two flowcharts are very different beasts. The QAnon one is an imaginary, retrospective description of supposedly-connected data, while mine is a prescriptive network of events I would design.

Except that’s not quite true. In reality, Perplex City players didn’t always solve our puzzles as quickly as we intended them to, or they became convinced their incorrect solution was correct, or embarrassingly, our puzzles were broken and had no solution at all. In those cases we had to rewrite the story on the fly.

When this happens in most media, you just hold up your hands and say you made a mistake. In video games, you can issue an online update and hope no-one’s the wiser. But in ARGs, a public correction would shatter the uniquely-prolonged collective suspension of disbelief in the story. This was thought to be so integral to the appeal of ARGs, it was termed TINAG, or “This is Not a Game.”

So when we messed up in Perplex City, we tried mightily to avoid editing websites, a sure sign this was, in fact, a game. Instead, we’d fix it by adding new storylines and writing through the problem (it helped to have a crack team of writers and designers, including Naomi Alderman, Andrea Phillips, David Varela, Dan Hon, Jey Biddulph, Fi Silk, Eric Harshbarger, and many many others).

We had a saying when these diversions worked out especially well: “It’s like we did it on purpose.”

Every ARG designer can tell a similar war story. Here’s Josh Fialkov, writer for the Lonelygirl15 ARG/show:

“Our fans/viewers would build elaborate (and pretty neat) theories and stories around the stories we’d already put together and then we’d merge them into our narrative, which would then engage them more. The one I think about the most is we were shooting something on location and we’re run and gunning. We fucked up and our local set PA ended up in the background of a long selfie shot. We had no idea. It was 100% a screw up. The fans became convinced the character was in danger. And then later when that character revealed herself as part of the evil conspiracy — that footage was part of the audiences proof that she was working with the bad guys all along — “THATS why he was in the background!” They literally found a mistake – made it a story point. And used it as evidence of their own foresight into the ending — despite it being, again, us totally being exhausted and sloppy. And at the time hundreds of thousands of people were participating and contributing to a fictional universe and creating strands upon strands.”

Conspiracy theories and cults evince the same insouciance when confronted with inconsistencies or falsified predictions; they can always explain away errors with new stories and theories. What’s special about QAnon and ARGs is that these errors can be fixed almost instantly, before doubt or ridicule can set in. And what’s really special about QAnon is how it’s absorbed all other conspiracy theories to become a kind of ur-conspiracy theory such that seems pointless to call out inconsistencies. In any case, who would you even be calling out when so many QAnon theories come from followers rather than “Q”?

Yet the line between creator and player in ARGs has also long been blurry. That tip from “ClaviusBase” to AICN that catapulted The Beast to massive mainstream coverage? The designers more or less admitted it came from them. Indeed, there’s a grand tradition of ARG “puppetmasters” (an actual term used by devotees) sneaking out from “behind the curtain” (ditto) to create “sockpuppet accounts” in community forums to seed clues, provide solutions, and generally chivvy players along the paths they so carefully designed.

As an ARG designer, I used to take a hard line against this kind of cheating but in the years since, I’ve mellowed somewhat, mostly because it can make the game more fun, and ultimately, because everyone expects it these days. That’s not the case with QAnon.

Yes, anyone who uses 4chan and 8chan understands that anonymity is baked into the system such that posters frequently create entire threads where they argue against themselves in the guise of anonymous users who are impossible to distinguish or trace back to a single individual – but do the more casual QAnon followers know that?

Local Fame

A Beautiful Mind

Pop culture’s conspiracy theorist sits in a dark basement stringing together photos and newspaper clippings on their "crazy wall." On the few occasions this leads to useful results, it’s an unenviable pursuit. Anyone choosing such an existence tends to be shunned by society.

But this ignores one gaping fact: piecing together theories is really satisfying. Writing my walkthrough for The Beast was rewarding and meaningful, appreciated by an enthusiastic community in a way that my molecular biology essays most certainly were not. Online communities have long been dismissed as inferior in every way to “real” friendships, an attenuated version that’s better than nothing, but not something that anyone should choose. Yet ARGs and QAnon (and games and fandom and so many other things) demonstrate there’s an immediacy and scale and relevance to online communities that can be more potent and rewarding than a neighbourhood bake sale. This won’t be news to most of you, but I think it’s still news to decision-makers in traditional media and politics.

Good ARGs are deliberately designed with puzzles and challenges that require unusual talents—I designed one puzzle that required a good understanding of ancient Egyptian hieroglyphs—with problems so large that they require crowdsourcing to solve, such that all players feel like welcome and valued contributors.

Needless to say, that feeling is missing from many people’s lives:

“ARGs are generally a showcase for special talent that often goes unrecognized elsewhere. I have met so many wildly talented people with weird knowledge through them.”

If you’re first to solve a puzzle or make a connection, you can attain local fame in ARG communities, as Dan Hon, COO at Mind Candy (makers of the Perplex City ARG), notes. The vast online communities for TV shows like Lost and Westworld, with their purposefully convoluted mystery box plots, also reward those who guess twists early, or produce helpful explainer videos. Yes, the reward is “just” internet points in the form of Reddit upvotes, but the feeling of being appreciated is very real. It’s no coincidence that Lost and Westworld both used ARGs to promote their shows.

Wherever you have depth in storytelling or content or mechanics, you’ll find the same kind of online communities. Games like Bloodborne, Minecraft, Stardew Valley, Dwarf Fortress, Animal Crossing, Eve Online, and Elite Dangerous, they all share the same race for discovery. These discoveries eventually become processed into explainer videos and Reddit posts that are more accessible for wider audiences.

The same has happened with modern ARGs, where explainer videos have become so compelling they rack up more views than the ARGs have players (not unlike Twitch). Michael Andersen, owner of the Alternate Reality Gaming Network news site, is a fan of this trend, but wonders about its downside—with reference to conspiracy theorists:

“[W]hen you’re reading (or watching) a summary of an ARG? All of the assumptions and logical leaps have been wrapped up and packaged for you, tied up with a nice little bow. Everything makes sense, and you can see how it all flows together. Living it, though? Sheer chaos. Wild conjectures and theories flying left and right, with circumstantial evidence and speculation ruling the day. Things exist in a fugue state of being simultaneously true-and-not-true, and it’s only the accumulation of evidence that resolves it. And acquiring a “knack” for sifting through theories to surface what’s believable is an extremely valuable skill—both for actively playing ARGs, and for life in general.And sometimes, I worry that when people consume these neatly packaged theories that show all the pieces coming together, they miss out on all those false starts and coincidences that help develop critical thinking skills. …because yes, conspiracy theories try and offer up those same neat packages that attempt to explain the seemingly unexplained. And it’s pretty damn important to learn how groups can be led astray in search of those neatly wrapped packages.”

“SPEC”

I’m a big fan of the SCP Foundation, a creative writing website set within a shared universe not unlike The X-Files. Its top-rated stories rank among the best science fiction and horror I’ve read. A few years ago, I wrote my own (very silly) story, SCP-3993, where New York’s ubiquitous LinkNYC internet kiosks are cover for a mysterious reality-altering invasion.

CITYBRIDGE/NYC

Like the rest of SCP, this was all in good fun, but I recently discovered LinkNYC is tangled up in QAnon conspiracy theories. To be fair, you can say the same thing about pretty much every modern technology, but it’s not surprising their monolith-like presence caught conspiracy theorists’ attention as it did mine.

It’s not unreasonable to be creeped out by LinkNYC. In 2016, the New York Civil Liberties Union wrote to the mayor about “the vast amount of private information retained by the LinkNYC system and the lack of robust language in the privacy policy protecting users against unwarranted government surveillance.” Two years later, kiosks along Third Avenue in Midtown mysteriously blasted out a slowed-down version of the Mister Softee theme song. So there’s at least some cause for speculation. The problem is when speculation hardens into reality.

Not long after the AICN post, The Beast’s players set up a Yahoo Group mailing list called Cloudmakers, named after a boat in the story. As the number of posts rose to dozens and then hundreds per day, it became obvious to list moderators (including me) that some form of organisation was in order. One rule we established was that posts should include a prefix in their subject so members could easily distinguish website updates from puzzle solutions.

My favourite prefix was “SPEC,” a catch-all for any kind of unfounded speculation, most of which was fun nonsense but some of which ended up being true. There were no limits on what or how much you could post, but you always had to use the prefix so people could ignore it. Other moderated communities have similar guidelines, with rationalists using their typically long-winded “epistemic status” metadata.

Absent this kind of moderation, speculation ends up overwhelming communities since it’s far easier and more fun to bullshit than do actual research. And if speculation is repeated enough times, if it’s finessed enough, it can harden into accepted fact, leading to devastating and even fatal consequences.

I’ve personally been the subject of this process thanks to my work in ARGs—not just once, but twice.

The first occasion was fairly innocent. One of our more famous Perplex City puzzles, Billion to One, was a photo of a man. That’s it. The challenge was to find him. Obviously, we were riffing on the whole “six degrees of separation” concept. Some thought it’d be easy, but I was less convinced. Sure enough, fourteen years on, the puzzle is still unsolved, but not for lack of trying. Every so often, the internet rediscovers the puzzle amid a flurry of YouTube videos and podcasts; I can tell whenever this happens because people start DMing me on Twitter and Instagram.

This literally came a few days ago

A clue in the puzzle is the man’s name, Satoshi. It is not a rare name, and it happens to be same as the presumed pseudonymous person or persons who developed bitcoin, Satoshi Nakamoto. So of course people think Perplex City’s Satoshi created bitcoin. Not a lot of people, to be fair, but enough that I get DMs about it every week. But it’s all pretty innocent, like I said.

More concerning is my presumed connection to Cicada 3301, a mysterious group that recruited codebreakers through very difficult online puzzles. Back in 2011, my company developed a pseudo-ARG for the BBC Two factual series, The Code, all about mathematics. This involved planting clues into the show itself, along with online educational games and a treasure hunt.

To illustrate the concept of prime numbers, The Code explored the gestation period of cicadas. We had no hand in the writing of the show; we got the script and developed our ARG around it. But this was enough to create a brand new conspiracy theory, featuring yours truly:

My bit starts around 20 minutes in:

Interviewer: Why [did you make a puzzle about] cicadas?

Me: Cicadas are known for having a gestation period which is linked to prime numbers. Prime numbers are at the heart of nature and the heart of mathematics.

Interviewer: That puzzle comes out in June 2011.

Me: Yeah.

Interviewer: Six months later, Cicada 3301 makes its international debut.

Me: It's a big coincidence.

Interviewer: There are some people who have brought up the fact that whoever's behind Cicada 3301 would have to be a very accomplished game maker.

Me: Sure.

Interviewer: You would be a candidate to be that person.

Me: That's true, I mean, Cicada 3301 has a lot in common with the games we've made. I think that one big difference (chuckles) is that normally when we make alternate reality games, we do it for money. And it's not so clear to understand where the funding for Cicada 3301 is coming from.

Clearly this was all just in fun – I knew it and the interviewer knew it. That’s why I agreed to take part. But does everyone watching this understand that? There’s no “SPEC” tag on the video. At least a few commenters are taking it seriously:

I am the “ARG guy” in question

I’m not worried, but I’d be lying if I wasn’t a touch concerned that Cicada 3301 now lies squarely in the QAnon vortex and in the “Q-web“:

Here’s a good interview with the creator of the “Q-web”

My defence that the cicada puzzle in The Code was “a big coincidence” (albeit delivered with an unfortunate shit-eating grin) didn’t hold water. In the conspiracy theorest mindset, no such thing exists:

“According to Michael Barkun, emeritus professor of political science at Syracuse University, three core principles characterize most conspiracy theories. Firstly, the belief that nothing happens by accident or coincidence. Secondly, that nothing is as it seems: The “appearance of innocence” is to be suspected. Finally, the belief that everything is connected through a hidden pattern.”

These are helpful beliefs when playing an ARG or watching a TV show designed with twists and turns. It’s fun to speculate and to join seemingly disparate ideas, especially when the creators encourage and reward this behaviour. It’s less helpful when conspiracy theorists “yes, and…” each other into shooting up a pizza parlour or burning down 5G cell towers.

Because there is no coherent QAnon community in the same sense as the Cloudmakers, there’s no convention of “SPEC” tags. In their absence, YouTube has added annotated QAnon videos with links to its Wikipedia article, and Twitter has banned 7,000 accounts and restricted 150,000 more, among other actions. Supposedly, Facebook is planning to do the same.

These are useful steps but will not stop QAnon from spreading in social media comments or private chat groups or unmoderated forums. It’s not something we can reasonably hope for, and I don’t think there’s any technological solution (e.g. browser extensions) either. The only way to stop people from mistaking speculation from fact is for them to want to stop.

Cryptic

It’s always nice to have a few mysteries for players to speculate on in an ARG, if only because it helps them pass the time while the poor puppetmasters scramble to sate their insatiable demand for more website updates and puzzles. A good mystery can keep a community guessing for, as Lost did with its numbers or Game of Thrones with Jon Snow’s parentage. But these mysteries always have to be balanced against specifics, lest the whole story dissolve into a puddle of mush; for as much we derided Lost for the underwhelming conclusion to its mysteries, no-one would’ve watched in the first place if the episode-to-episode storytelling wasn’t so strong.

The downside of being too mysterious in Perplex City is that cryptic messages often led players on wild goose chases such that they completely ignored entire story arcs in favour of pursuing their own theories. This was bad for us because we had a pretty strict timetable that we needed our story to play out on, pinned against the release of our physical puzzle cards that funded the entire enterprise. If players took too long to find the $200,000 treasure at the conclusion of the story, we might run out of money.

QAnon can favour cryptic messages because, as far as I know, they don’t have a specific timeline or goal in mind, let alone a production budget or paid staff. Not only is there no harm in followers misinterpreting messages, but it’s a strength: followers can occupy themselves with their own spin-off theories far better than “Q” can. Dan Hon notes:

“For every ARG I’ve been involved in and ones my friends have been involved in, communities always consume/complete/burn through content faster than you can make it, when you’re doing a narrative-based game. This content generation/consumption/playing asymmetry is, I think, just a fact. But QAnon “solved” it by being able to co-opt all content that already exists and … encourages and allows you to create new content that counts and is fair play in-the-game.”

But even QAnon needs some specificity, hence their frequent references to actual people, places, events, and so on.

A brief aside on designing very hard puzzles

It was useful to be cryptic when I needed to control the speed at which players solved especially consequential puzzles, like the one revealing where our $200,000 treasure was buried. For story and marketing purposes, we wanted players to be able to find it as soon as they had access to all 256 puzzle cards, which we released in three waves. We also wanted players to feel like they were making progress before they had all the cards and we didn’t want them to find the location the minute they had the last card.

My answer was to represent the location as the solution to multiple cryptic puzzles. One puzzle referred to the Jurassic strata in the UK, which I split across the background of 14 cards. Another began with a microdot revealing which order to arrange triple letters I’d hidden on a bunch of cards. By performing mod arithmetic on the letter/number values, you would arrive at 1, 2, 3 or 4, corresponding to the four DNA nucleotides. If you understood the triplets as codons for amino acids, they became letters. These letters led you to the phrase “Duke of Burgundy”, the name of a butterfly whose location, when combined with the Jurassic strata, would help you narrow down the location of the treasure.

The nice thing about this convoluted sequence is that we could provide additional online clues to help the players community when they got stuck. The point being, you can’t make an easy puzzle harder, but you can make a hard puzzle easier.

Beyond ARGs

It can feel crass to compare ARGs to a conspiracy theory that’s caused so much harm. But this reveals the crucial difference between them: in QAnon, the stakes so high, any action is justified. If you truly believe an online store or a pizza parlour is engaging in child trafficking and the authorities are complicit, extreme behaviour is justified.

Gabriel Roth, editorial director for audio at Slate, extends this idea:

“What QAnon has that ARGs didn’t have is the claim of factual truth; in that sense it reminds me of the Bullshit Anecdotal Memoir wave of the 90s and early 00s. If you have a story based on real life, but you want to make it more interesting, the correct thing to do is change the names of the people and make it as interesting as you like and call it fiction. The insight of the Bullshit Anecdotal Memoirists (I’m thinking of James Frey and Augusten Burroughs and David Sedaris) was that you could call it nonfiction and readers would like it much better because it would have the claim of actual factual truth, wowee!! And it worked! How much more engaging and addictive is an immersive, participatory ARG when it adds that unique frisson you can only get with the claim of factual truth? And bear in mind that ARG-scale stories aren’t about mere personal experiences—they operate on a world-historical scale.”

ARGs’ playfulness with the truth and their sometimes-imperceptible winking of This Is Not A Game (accusations Lonelygirl15 was a hoax) is only the most modern incarnation of epistolary storytelling. In that context, immersive and realistic stories have long elicited extreme reactions, like the panic incited by Orson Welles’ The War of the Worlds (often exaggerated, to be fair).

We don’t have to wonder what happens when an ARG community meets a matter of life and death. Not long after The Beast concluded, the 9/11 attacks happened. A small number of posters in the Cloudmakers mailing list suggested the community use its skills to “solve” the question of who was behind the attack.

The brief but intense discussion that ensued has become a cautionary tale of ARG communities getting carried away and being unable to distinguish fiction from reality. In reality, the community and the moderators quickly shut down the idea as being impractical, insensitive, and very dangerous. “Cloudmakers tried to solve 9/11” is a great story, but it’s completely false.

Unfortunately, the same isn’t true for the poster child for online sleuthing gone wrong, the r/findbostonbombers subreddit. There’s a parallel between the essentially unmoderated, anonymous theorists of r/findbostonbombers and those in QAnon: neither feel any responsibility for spreading unsupported speculation as fact. What they do feel is that anything should be solvable, as Laura Hall, immersive environment and narrative designer, describes:

“There’s a general sense of, ‘This should be solveable/findable/etc’ that you see in lots of reddit communities for unsolved mysteries and so on. The feeling that all information is available online, that reality and truth must be captured/in evidence somewhere”

There’s truth in that feeling. There is a vast amount of information online, and sometimes it is possible to solve “mysteries”, which makes it hard to criticise people for trying, especially when it comes to stopping perceived injustices. But it’s the sheer volume of information online that makes it so easy and so tempting and so fun to draw spurious connections.

That joy of solving and connecting and sharing and communication can do great things, and it can do awful things. As Josh Fialkov, writer for Lonelygirl15, says:

That brain power negatively focused on what [conspiracy theorists] perceive as life and death (but is actually crassly manipulated paranoia) scares the living shit out of me.

What ARGs Can Teach Us

Can we make “good ARGs”? Could ARGs inoculate people against conspiracy theories like QAnon?

The short answer is: No. When it comes to games that are educational and fun, you usually have to pick one, not both—and I say that as someone who thinks he’s done a decent job at making “serious games” over the years. That doesn’t mean it’s impossible, but it’s really hard, and I doubt any such ARG would get played by the right audience anyway.

The long answer: I’m writing a book about the perils and promise of gamification. Come back in a year or two.

For now, here’s a medium-sized answer. No ARG can heal the deep mistrust and fear and economic and spiritual malaise that underlies QAnon and other dangerous conspiracy theories, any more than a book or a movie can solve racism. There are hints at ARG-like things that could work, though—not in directly combatting QAnon’s appeal, but in channeling people’s energy and zeal of community-based problem-solving toward better causes.

Take The COVID Tracking Project, an attempt to compile the most complete data available about COVID-19 in the U.S. Every day, volunteers collect the latest numbers on tests, cases, hospitalizations, and patient outcomes from every state and territory. In the absence of reliable governmental figures, it’s become one of the best sources not just in the U.S., but in the world.

It’s also incredibly transparent. You can drill down into the raw data volunteers have collected on Google Sheets, view every line of code written on Github, and ask them questions on Slack. Errors and ambiguities in the data are quickly disclosed and explained rather than hidden or ignored. There’s something game-like in the daily quest to collect the best-quality data and to continually expand and improve the metrics being tracked. And like in the best ARGs, volunteers of all backgrounds and skills are welcomed. It’s one of the most impressive and well-organising reporting projects I’ve ever seen; “crowdsourcing” doesn’t even come close to describing its scale.

If you applied ARG skills to investigative journalism, you’d get something like Bellingcat, an an open-source intelligence group that discovered how Malaysia Airlines Flight 17 (MH17) was shot down over Ukraine in 2014. Bellingcat’s volunteers painstakingly pieced together publicly-available information to determine MH17 was downed by a Buk missile launcher originating from the 53rd Anti-Aircraft Rocket Brigade in Kursk, Russia. The Dutch-led international joint investigation team later came to the same conclusion.

Conspiracy theories thrive in the absence of trust. Today, people don’t trust authorities because authorities have repeatedly shown themselves to be unworthy of trust – misreporting or manipulating COVID-19 testing figures, delaying the publication of government investigations, burning records of past atrocities, and deploying unmarked federal forces. Perhaps authorities were just as untrustworthy twenty or fifty or a hundred years ago, but today we rightly expect more.

Mattathias Schwartz, contributing writer for The New York Times Magazine, believes it’s that lack of trust that leads people to QAnon:

“Q’s [followers] … are starving for information. Their willingness to chase bread crumbs is a symptom of ignorance and powerlessness. There may be something to their belief that the machinery of the state is inaccessible to the people. It’s hard to blame them for resorting to fantasy and esotericism, after all, when accurate information about the government’s current activities is so easily concealed and so woefully incomplete.”

So the goal cannot be to simply restore trust in existing authorities. Rather, I think it’s to restore faith in truth and knowledge itself. The COVID Tracking Project and Bellingcat help reveal truth by crowdsourcing information. They show their work via hypertext and open data, creating a structure upon which higher-level analysis and journalism can be built. And if they can’t find the truth, they’re willing to say so.

QAnon seems just as open. Everything is online. Every discussion, every idea, every theory is all joined together in a warped edifice where speculation becomes fact and fact leads to action. It’s thrilling to discover, and as you find new terms to Google and new threads to pull upon, you can feel just like a real researcher. And you can never get bored. There’s always new information to make sense of, always a new puzzle to solve, always a new enemy to take down.

QAnon fills the void of information that states have created—not with facts, but with fantasy. If we don’t want QAnon to fill that void, someone else has to. Government institutions can’t be relied upon to do this sustainably, given how underfunded and politicised they’ve become in recent years. Traditional journalism has also struggled against its own challenges of opacity and lack of resources. So maybe that someone is… us.

ARGs teach us that the search for knowledge and truth can be immensely rewarding, not in spite of their deliberately-fractured stories and near-impossible puzzles, but because of them. They teach us that communities can self-organise and self-moderate to take on immense challenges in a responsible way. And they teach us that people are ready and willing to volunteer to work if they’re welcomed, no matter their talent.

It’s hard to create these communities. They rely on software and tools that aren’t always free or easy to use. They need volunteers who have spare time to give and moderators who can be supported, financially and emotionally, through the struggles that always come. These communities already exist. They just need more help.

Despite the growing shadow of QAnon, I’m hopeful for the future. The beauty of ARGs and ARG-like communities isn’t their power to discover truth. It’s how they make the process of discovery so deeply rewarding.

What Alternate Reality Games Teach Us About the Dangerous Appeal of QAnon syndicated from https://triviaqaweb.wordpress.com/feed/