#one - it also adds to the narrative of genre switching within the story and how it affects OFMD | Explore Tumblr Posts and Blogs

toastsnaffler · 11 days

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Would love to hear ur thoughts on Hades game sometime because I too loved but had beef with the game and I think we are the same ….

yessss, disclaimer I haven't played it for like 3 years and I only played 10 hours/got to the end once before I dropped it so i might be misremembering some things but I stick by my opinions! under the cut cuz this is long as fuck 🫣 my haterism has no limits

ok so basically my grievances w hades can be split into 2 main areas: gameplay + narrative, I'll break them down in that order.

firstly gameplay - roguelikes/lites are my fave genre so I was predominantly approaching hades from this angle + its failure here is the clincher for me.

I found the gameplay repetitive and stale. this isnt a criticism of its permadeath like ive seen some ppl make - I usually relish repetition/grind especially in permadeath-based games bc I find tactical challenge fun + love the learning curve, its soooo rewarding. but hades is ultimately just a glorified button masher. mob/boss movesets are boring + unoriginal, and can generally all be fought the same way. trying to do otherwise drags out fights; it actively discourages emergent gameplay so theres little variance WITHIN runs. the pool of rooms for procedural generation is far too small so theres little variance BETWEEN runs. there's no real challenge to combat, difficulty is mainly increased by heightened mob tankiness as you get further in a run. movement/combat doesn't flow well, its mechanically very weak, relying heavily on its permanent upgrade system instead of developing skill in the way you approach the game. all the weapons feel clunky and don't really offer any unique challenge/benefit so theres virtually no point switching between them and the grind to unlock them all is so pointless… god there are just SOOO many hack n slash crawlers that keep it fresh even for hundreds of hours and hades fails miserably at keeping it fresh for even 5 measly hours :^/

I didnt like the boon system either - its far too simplistic + shallow. its fine to rely on chance, this is part of the random generation, and I think it had a lot of potential in that it was a good way of combining aesthetic w gameplay itself. but this is pretty much the only form of resource management - and theres barely any management to it! theres no reward for exploring different builds, they dont really synergise BETWEEN gods in interesting or useful ways, so the game encourages you to just stick with one god throughout, and biases random generation towards boons youve already collected. part of the fun for me is learning HOW to design a build, and working with the randomiser to play flexibly, but hades just isnt interested in that at all...

also - I don't like the permanent upgrade system, I think this detracts from it as a rogue. every time you should be starting on square 1 - maybe you pick up health upgrades etc throughout each run, and maybe you unlock new weapons etc for the random generation pool, or purely cosmetic upgrades, but the point of permadeath is that it RESETS! zags base health + dmg should be the same 50 hours into the game as when u first open it. make a different genre of game if u dont wanna do that lol. I also think IF youre going to say fuck it and add a permanent upgrade system, you should also add unlockable permanent biome shortcuts bc ur just making it boring as fuck to have to waste time grinding thru earlier biomes with unskippable combat once youre op for them.

I GET that they did this to make the game more accessible* to players who dont typically enjoy rogues, but it just makes it really disappointing for those of us who DO love rogues, and it always feels cheap to me when games are like "well of you want challenge then set the difficulty yourself with these modifiers 🙄" like just make the base difficulty TOUGH up front and then add an easy/story mode and accessibility features* for players who don't want the challenge.. if you're gonna call yourself a rogue the gameplay should be the PRIORITY not a throwaway option

one of my biggest peeves with hades is how people now laud it as one of the best rogues - whenever I mention I like the genre I almost always get asked "oh, like hades?" and it pisses me off so much… its a rogueLITE not roguelike, ie. it has rogue ELEMENTS but its not a true one and imo, it does a pretty shit job implementing them! I would have a lot less resentment towards it if it wasnt marketed as the forefront of the rogue genre - frankly its a very basic rogue with very mid gameplay, its characters/design are by FAR its strong point and it should be sold as such. its misleading and makes me sad that this is what most people think of when they hear rogue :-(

*(side note - accessibility in this game is another major flaw. theres really no excuse for a game as popular as this to be so lacking in accessibility options. allow people to bind keys together or use coloured outlines or have colourblindness settings or alter font/text size etc - its not that hard! dead cells did a great job of this lol)

anyway... moving onto my second criticism - narratively, its also unsatisfying.

the hades plot is, loosely, about a cycle of abuse, so the 2 natural directions to go in with this are either: #1: escaping the cycle, or #2: continuing it forever.

#2 is the easiest to do with a rogue format - bc of permadeath the game is already cyclical, so all you have to do is create an ending which loops perfectly back to the start (smth like 'its impossible to truly defeat/reconcile with his father so even after zag beats him, hades drags him back to the start again). obviously this is a miserable story to tell, but tbh I think it wouldve been interesting + fitting - so much of greek mythos is about cycles and the unchanging nature of the gods, and they LOVED eternal cyclical punishments. plus theres smth rly tragic about zag gradually helping everyone else while no one else can save him from his family LOL

#1 is a bit harder to do - this is the story they WANTED to tell but I just don't think it worked… the driving force plot-wise is his desperation to escape. realistically for this to happen the game needs to be finite, which it can't be due to its rogue nature - somehow you have to end up at the very start again. the main solutions I can think of for this are:

a) after the final boss, insert some time travel shenanigans (easy to fit into the worldbuilding using a character like kronos) and all of zags progress with hades is unspooled. this can be completely out of his control, or it could be a choice the player makes (to end the game here or choose to go back and relive zags past in order to progress npc questlines). eg. what happens in dead cells. again, tragic but it makes more sense to me

-or b) bite the bullet and give the game a completely finite ending after beating hades. if players want to go back and play more to complete other npc questlines, they pick up play from before they beat hades. this isnt explained "narratively" bc the plot is already concluded and now theyre just playing for fun (eg. what going under does)

I also think for a character-focused story-rich game, roguelite was a really terrible choice of genre as it locks every interaction behind pure chance and hours of grinding - just really baffling why they decided to do this, especially when theyve had such success previously making games within different genres (transistor, bastion, pyre). the core of the issue for me is that the devs wanted to create a game that was both story rich AND a rogue - and these things arent mutually exclusive, but the best features of each contradict each other when you try to balance them in a way to appease their respective fans (ie. the challenge/complexity of the gameplay is heavily restricted by keeping it easy for ppl unfamiliar with rogues to pick up, but the strength of the narrative arc is simultaneously weakened by the fact that as a rogue it has to be perpetual bc of permadeath + you're working with procedural generation…)

I'm not going to beef with the artstyle or music bc I rly loved them both (even if I wish the body diversity was better!), or with the interpretations of greek gods bc literally every piece of media abt greek mythos has to decide how to interpret them and I think its silly to be like "this isnt CANON" - since we actually dont HAVE a strict "canon" for many of these stories bc theyve been retold/translated in so many conflicting ways lol. I've just heard ppl complaining abt that and I dont think its worth complaining about 🤷‍♀️

ANYWAY tl;dr: hades should've been an action-heavy isometric metroidvania… it wouldve made it far easier to focus on character questlines (ie. with respawn points + a fixed map), unified the story they wanted to tell with the gameplay SO much more effectively, and allowed them to reach the full potential of both, whilst also playing up to supergiant's previous game-making strengths. but thats my 2 cents!

#SORRY THIS ENDED UP BEING SO LONG I JUST HAVE A LOT TO SAYYYY #also sorry for the weird formatting i typed this out in my phone notes and copy pasted into tumblr sjkdjf. hope it makes sense #just really frustrating to me that it ended up how it did bc it couldve been soooo good if it was good. but it wasn't 💔#whats even more frustrating is that hades 2 doesnt look like its gonna improve on any of this lmao. sad well theres other games!#hades #.asks #.diaries

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lokiondisneyplus · 3 years

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Natalie Holt's timeline was turned upside down last fall when she landed the highly-coveted composer gig for Marvel Studios' Loki series on Disney+.

"My agent got a general call-out looking for a composer on a Marvel project," she tells SYFY WIRE during a conversation over Zoom. "So, I didn’t know what it was. It was [described as] spacey and quite epic ... I sent in my show reel and then got an interview and got sent the script and then I realized what it was for. I was like, ‘Oh my god!’ It was amazing ... Loki was already one of my favorite characters, so I was really stoked to get to give him a theme and flesh him out in this way."

***WARNING! The following contains certain plot spoilers for the first four episodes of Loki!***

Imbued with glorious purpose, Holt knew the score had to match the show's gonzo premise about the Time Variance Authority, an organization that secretly watches over and manages every single timeline across the Marvel multiverse. The proposition of such an out-there sci-fi concept inspired the composer to bring in uniquely strange sounds, courtesy of synthesizers and a theremin.

"I got my friend, Charlie Draper, to play the theremin on my pitch that I had to do," she recalls. "They gave me a scene to score, which I’m sure they gave to loads of other composers. It was the Time Theater sequence in Episode 1. The bit from where he goes up the elevator and then into the Time Theater ... I just went to town on it and I wanted to impress them and win the job and put as many unusual sounds in there and make it as unique as possible."

The end result was a weird, borderline unnatural sound that wouldn't have felt out of place in a 1950s sci-fi B-movie about big-headed alien invaders. Rather than being turned off by Holt's avant garde ideas, Marvel Studios head honcho Kevin Feige embraced them, only giving the composer a single piece of feedback: "Push it further."

Holt admits that she was slightly influenced by Thor: Ragnarok ("I loved the score for it and everything"), which wasn't afraid to lean into the wild, Jack Kirby-created ideas floating around Marvel's cosmic locales. Director Taika Waititi's colorful and bombastic set pieces were perfectly complimented by an '80s-inspired score concocted by Devo co-founder, Mark Mothersbaugh.

"To be honest, I tried not to listen to it on its own," Holt says of the Ragnarok soundtrack. "I didn’t want to be too influenced by it. I watched the film a couple of times a few years ago, so yeah, I don’t think I was heavily referencing it. But I definitely had a memory of it in my mind."

After boarding Loki last September, Holt spent the next six months (mostly in lockdown) crafting a soundtrack that would perfectly reflect the titular god of mischief played by Tom Hiddleston. One of the first things she came up with was the project's main theme — a slightly foreboding cue that pays homage to the temporal nature of the TVA, as well as the main character's flair for the dramatic. "He always does things with a lot of panache and flair, and he’s very classical in his delivery."

She describes it as an "over-the-top grand theme with these ornate flourishes" that plays nicely with Loki's Shakespearean aura. "I wanted those ornaments and grand gestures in what I was doing. Then I also wanted to reflect that slightly analog world of the TVA where everything has lots of knobs and buttons ... [I wanted to] give it that slightly grainy, faded [and] vintage-y sci-fi sound as well."

"I just wanted it to feel like it had this might and weight — like there was something almost like a requiem about it," Holt continues. "These chords that are really powerful and strident and then they’ve got this blinking [sound] over the top. I just came up with that when I was walking down the street and I hummed it into my phone. There’s a video where you can just see up my nose and I’m humming [the theme]. I came home and I played it."

As a classically-trained musician, Holt drew on her love of Mahler, Dvořák, Beethoven, Mozart, and most importantly, Wagner. A rather fitting decision, given that an actual Valkyrie (played by Tessa Thompson) exists within the confines of the MCU.

"I would say those flourishes over the top of the Loki theme are very much Wagner," Holt says. "They’re like 'Ride of the Valkyries.’ I wanted people to kind of recall those big, classical, bombastic pieces and I wanted to give that weight to Loki’s character. That was very much a conscious decision to root it in classical harmony and classical writing ... There’s a touch of the divine to the TVA. It’s in charge of everything, so that’s why those big powerful chords [are there]. I wanted people almost to be knocked off their socks when they heard it."

With the main theme in place, Holt could then play around with it in different styles, depending on the show's different narrative needs. Two prime examples are on display in the very first episode during Miss Minutes' introductory video and the flashback that reveals Loki to be the elusive D.B. Cooper.

"What was really fun was [with] each episode, I got to pull it away and do a samba version of the theme or do a kind of ‘50s sci-fi version of the theme," she explains. "I can’t say other versions of the theme because they’re in Episode 5 and 6…or like when Mobius is pruned, I did this really heartfelt and very emotional [take on the theme] when you see Loki tearing up as he’s going down in slow motion down that corridor. It was cool to have the opportunity to try out so many different styles and genres. And it was big enough to take it all. It was a big enough story."

The other side of the story speaks to the old world grandeur of Loki's royal upbringing on Asgard, a city amongst the stars that eventually found its way into Norse mythology.

"I went to a concert in London three years ago and I heard these Norwegian musicians playing in this group called the Lodestar Trio," Holt recalls. "They do a take on Bach, where they’re kind of giving it a folk-y twist … [They use] a nyckelharpa and a Hardanger fiddle — they’re two historic Norwegian folk instruments. I just remembered that sound and I was like, ‘Oh, I have to use those guys in our score.’ It seemed like the perfect thing. I was like, ‘Yes, the North/Norwegian folk instruments.’ It just felt like it was the perfect thing for his mother and Asgard and his origins."

That folk-inspired sound also helped shape the music for Sylvie (played by Sophia Di Martino), a female variant of Loki with a rather tragic past. "Obviously, we’ve seen in Episode 4 what happened to her as a child," Holt says. "I just feel like she’s so dark. She’s basically grown up living in apocalypses, so she has that Norwegian folk violin sound, but her theme is incredibly dark and menacing and also, you don’t see her. She’s just this dark figure who’s murdering people for a while."

And then there were all the core members of the TVA to contend with. As Holt mentioned above, fans recently lost Agent Mobius (Owen Wilson), may he rest in prune. We mean peace. What? Too soon? During a recent interview with SYFY WIRE, Loki head writer Michael Waldron said that he based Mobius off of Tom Hanks's dogged FBI agent Carl Hanratty in 2002's Catch Me If You Can.

"There’s this thing that he loves jet ski magazines," Holt says. "I had this character in my head and then when I saw Owen Wilson’s performance, I was like, ‘Oh, he’s actually a lot lighter and he plays it in a different way from how I’d imagined.’ But I was listening to Bon Jovi and those slightly rock-y anthemic things. ‘90s rock music for some reason was my Mobius sound palette."

Mobius is pruned on the orders of his longtime friend, Ravonna Renslayer (Gugu Mbatha-Raw), after learning that everyone who works for the TVA is a variant who was unceremoniously plucked out of their original timelines. A high-ranking member of the quantum-based agency, Renslayer has a theme that "is quite tied in with Mobius and it’s like a high organ," Holt adds. "It doesn’t quite know where it’s going yet. But yeah, we’ll have to see what happens with that one."

Wilson's character isn't the only person fed up with the TVA's lies. Hunter B-15 (Wunmi Mosaku) also became disillusioned with the place and allowed Sylvie to escape in the most recent episode

"Hunter B-15 has this moment in Episode 4 where Sylvie shows her her past, her memories. I thought that was a really powerful moment for her," Holt says. I feel like she’s such a fighter and when she comes into the Time-Keepers and she makes that decision, like, ‘I’m switching sides,’ so her theme is more like a drum rhythm. I actually kind of sampled my voice and you can hear that with the drums. I did loads of layers of it, just like this horrible sliding sound with this driving rhythm underneath it. So, that was B-15 and then her softer side when she has her memory given back to her."

Speaking of the Time-Keepers, we finally got to meet the creators of the Sacred Timeline...or at least we thought we did. Loki and Sylvie are shocked to learn that the red-eyed guardians of reality are nothing but a trio of high-end animatronics (ones that could probably be taken out by a raging Nicolas Cage). Even before Sylvie manages to behead one of them, something definitely feels off with the Time-Keepers, which meant Holt could underscore the uncanny valley feeling in the score.

"When they walked in for their audience with the Time-Keepers, it was like this huge gravitas," she says. "But you look up and there’s something a bit wrong about them. I don’t know if you felt that or if you just totally believed. You were like, ‘Oh, this is so strange.’ I just felt like there was something a little bit off and musically, it was fun to play around with that."

Holt is only the second solo female composer to work on an MCU project, following in the footsteps of Captain Marvel's Pinar Toprak. Her involvement with Loki represents the studio's growing commitment to diversity, both in front of and behind the camera. This Friday will see the wide release of Black Widow, the first Marvel film to be helmed solely by a woman (Cate Shortland). Four months after that, Chloé Zhao's Eternals will introduce the MCU's first openly gay character into the MCU.

"I just feel like it’s an honor and a privilege to have had that chance to be the second woman to score a thing in the MCU and to be in the same league as those incredible composers like Mothersbaugh and Alan Silvestri. They're just legends," Holt says. "Another distinctive thing about [the show] is that all the heads of department are pretty much women. Marvel are showing themselves to be really progressive and supportive and encouraging. I applaud [them]. Whatever they’re doing seems to be working and people seem to be liking it as well, so that’s awesome."

Holt's score for Vol. 1 of Loki (aka Episodes 1-3) are now streaming on every music-based platform you could think of. Episodes 1-4 are available to watch on Disney+ for subscribers. Episode 5 (the show's penultimate installment) debuts on the platform this coming Wednesday, July 7.

Natalie isn't able to give up any plot spoilers for the next two episodes (no surprise there), but does tease "the use of a big choir" in one of them. "Episode 6, I’m excited for people to hear it," she concludes. "That’s all I can say."

#Natalie Holt #composer #Loki #OST

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ladyartemesia · 4 years

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Fic recs for taehyung? I love your stuff btw I’ve read them all uwu

As a beacon of extra-ness in an already extra world, I am entirely incapable of just recommending fics like a normal blog. No. I’ve got to wax on like a bloomin connoisseur. I have compiled some (but not all) of my favorite works in several different categories and sorted them accordingly. This crazy list is so long I had to add a “keep reading”... but I simply couldn’t bear to leave any of these off the list. They are all so good!

Fics have been divided into 8 categories. Some are under the cut.

▨ FRIENDS WITH BENEFITS and FRIENDS TO LOVERS ▨ ▨ ARRANGED MARRIAGE ▨ ▨ FANTASY ▨ ▨ ANGST WITH A HAPPY ENDING ▨ ▨ HYBRID and ABO (alpha/omega) ▨ ▨ MULTIPLE PARTNERS ▨ ▨ NEIGHBORS AND ROOMMATES ▨ ▨ TABOO THEMES and DARK FIC (Sex Work/Power Imbalance/Very Unsafe Sex) ▨ ▨

▨ FRIENDS WITH BENEFITS and FRIENDS TO LOVERS ▨

Insomnia by @hobiwonder

This is one of those fics I read and literally could not stop thinking about. It is wildly hot and honestly hilarious. Poor reader cannot sleep and the beautiful bro she’s tutoring offers a rather unconventional solution.

(Ego) Hoe Chronicles: KTH by @suga-kookiemonster

Listen. If you find a niche fan blog devoted entirely to Ego Tae... I’m not gonna say it’s mine. But it’s probably mine. I once told suga-kookiemonster that I would literally read a story about Ego Tae going grocery shopping on a Wednesday night and I stand by that. In this lurid romp, the reader falls into the clutches of everyone’s favorite bohemian sex lord and he rails her into another dimension.

Falling, Falling, Gone by @johobi

Pining (mutual or otherwise) is not really my thing, but I would straight up read Jo’s laundry list if she posted it. As usual I was blown away by how everything she does seems somehow better than any other version of it. This reader is really unique as well, and her relationship with the wildly popular soccer star Tae comes to a sexy and hilarious head at a sort of bachelor auction. With sharp dialogue, delightful subtext, and fantastic side characters, you really shouldn’t miss it. It’s pretty much perfect.

A Friendly Favor by @baeseoul

This is the classic “teach me some sex for another woman” trope and it is done so well. Sweet best friend Tae is looking to benefit from your experience, but his is not the only world about to be thouroughly rocked.

Officer Kim and the Criminal Crush by @ddaengyoonmin

This is one of the best twists on childhood friends to lovers I have ever seen. Tae grows up to become a cop and reader grows up to be a societal menace. I won’t spoil it, but it’s the perfect blend of nostalgia, tenderness, and smut. This fic technically doesn’t have a name so I had to give it one to link it. It’s part of an AMAZING series Zoe did that I also highly recommend.

Out of the Blue by @jimlingss

This is one of those stories that blooms throughout the narrative until you are left with this gorgeous flower at the end. I loved the journey of these two characters. It was real and it perfectly captures the experience of finding your soulmate in the person you least expect.

Sin Pijama by @brilliantlybasicb

This fic is a switch culture fic. It is wild wicked hot and this Tae is unreal. I love the way he lets the reader think she is in control just long enough. It is a wild romp with an adorable sequel and honestly you should read it.

Girls Like You by @jjiminah

I was in jjiminah’s asks IMMEDIATELY about this fic because I had FEELINGS. The reader begins wordlessly teasing and tempting Tae on their morning bus ride every day until he is literally losing his mind. Everything that follows is fire. Jjiminah has hinted she will wrote more for these two and I NEED IT.

Sighs and Sonnets by @btsaudge

This fic is beautiful. Like it’s basically art. This is a bad boy who is bad for you. But he has the soul of a poet and the stroke game of a renaissance master. Bittersweet and seductive, this fic is a full experience.

The Text by @taetaesbaebaepsae

Tae is your friend with benefits but it looks like feeling may have been caught by one or more parties. When you attempt to soothe your aching heart with another pretty boy, Tae decides to stake his claim. This was very sexy. The whole fic was sexy.

▨ ARRANGED MARRIAGE ▨

Monster by @neonlights92

Monster and all of its companion series about each of the boys is one of those fics that I reread constantly and also just think about constantly. This is one of the best mafia AUs out there and it’s characters are vivid and unforgettable. Tae’s stubborn resistance to his lovely new wife in contrast with her quiet, clever strength really brings this story to life. A word of warning. The masterlist links are a bit messed up. To read part two you must click on part three. And to read part three must click on part four. The link to part four is at the bottom of part three (or you can just search it on her site. It is definitely all there though).

Dichotomy by @kpopfanfictrash

There is a reason the incomparable Shanna is on this list three times. She is truly incomparable. This is childhood friends-to enemies-to spouses and it is wonderful. I adore this Tae. He is sharp and vulnerable and occasionally heavy handed, but truly a gem. This fic also features one of the best angry sex scenes I’ve ever run my eyeballs across.

▨ FANTASY ▨

Chism by @kpopfanfictrash

The world-building in this story is genuinely awe inspiring. You could write series upon series within this vivid universe. The god of Winter is missing and Summer’s heat burns unchecked for many years. The reader is a warrior with a unique ability tasked with guarding a very interesting prisoner. This story is so good. I mean it is really bloomin incredible. It’s hard to say what I liked best about it, because it was stellar across the board.

Obsidian by @kpopfanfictrash

In the pantheon of delicious Tae incarnations, Obsidian Taehyung is essentially unrivaled as a grey witch who moonlights as a sexy rock star. His extremely erotic clash with a white witch detective plays out as the two of them track down a sinister killer (with the help of some truly memorable side characters).

Out of this World by @ddaengyoonmin

This one is really unique. Tae is a merman scientist on the water planet of Neptune and when the reader and her misguided crew crash into his sea, he takes it upon himself to improve inter-species relations. This fic features excellent world building alongside several twists and surprises. Clever scientist Tae is downright irresistible.

▨ ANGST WITH A HAPPY ENDING ▨

Picking Flowers by @jamaisjoons

So this story is a journey - truly a beautiful one and it’s a gorgeous addition to the hanahaki genre. There is real pain and I cried real tears, but gosh it was so sexy and so worth it. I was surprised by how truly immersed I ended up in this piece. I lost track of everything else. The end is insanely satisfying, but the journey is really what makes this fic unmissable.

Until Yesterday by @jimlingss

This fic destroyed me slowly then slowly put me together again piece by piece. When I say I went through it - I WENT THROUGH IT. The story is loosely based on the movie “The Vow” and it is just fantastic. Beautiful and tender till the last word.

The Foolish Muse by @bibbykins

This is the story of someone who is deeply in love, but knows they deserve better. It is a sexy and evocative work with allusions to mythology that fit seamlessly into the narrative. I think my favorite part is Tae discovering how much the reader meant to him and what choices ultimately lead them to a really delicious conclusion.

Back to You by @ladyartemesia

The last time I did a fic rec list, it got like 700 notes. Ya girl is not makin the same mistake again. I spent hours on this list. My work is comin along for the ride. Kim Taehyung is the love of your life, until one day he disappears without a trace.

Vacancy by @ppersonna

This one is the only idol AU on the list and I normally don’t read those, but Lindy’s work is too good to miss in any setting. I am thrilled I took a look because what I found was a glimpse into a beautiful relationship that weathers and eventually overcomes the challenges of loving in the limelight. There is a LOT of emotional depth and symbolism which really elevates everything about this lovely story. The reader’s internal struggles in the face of her lover’s fame are extremely well done.

▨ HYBRID and ABO ▨ (alpha/omega)

Eye of the Tiger by @opaljm

I am beyond hype about this story which is (very) loosely inspired by Zootopia and features a cocky tiger Taehyung and a fiesty prey hybrid he needs to fake date in order to keep panther Jimin from murdering him. (Tiger Tae got a tad too frisky around Jimin’s mate and now things are dangerously awkward.) This story is already so freakin good. I cannot wait for the rest.

Silver and Blue by @taetaewonderland

What happens when you get on the wrong side of the right werewolf? Very sexy - very crazy times. Chronologically this is the first of the Silver and Blue series which follows barely civilized were-Tae through his courtship and eventually his relationship with the spunky reader. Holla to all my impreg kink homies. This is the fic for you.

Heat Run by @ladyartemesia

As I said before, the last time I did a fic rec list, it got like 700 notes. Ya girl is not makin the same mistake twice. I spent hours on this list. My work is comin along for the ride. Alpha lawyer V is a man of many secrets, but his well ordered reality spirals wildly out of control when he crosses paths with a fiery omega set on saving the world from his wicked ways.

Beautiful Stranger by @interludemoonchild

This was a wild ride from start to finish. Taehyung is a tiger hybrid shifter who escapes from the circus to be close to a veterinary student he bonded with. There is a lot of interesting twists and surprises in this one. I was definitely screaming at the end.

Don’t Ask, Don’t Tell by @jingabitch

A very young wolf hybrid Taehyung adopts you as his pet human when you are just a kid. After Tae leaves to serve in the military he returns to an adult version of his sweet little princess and chaos ensues. Mind the tags for this one folks. It’s excellent, but there are very triggering themes throughout.

▨ MULTIPLE PARTNERS ▨

Level of Restraint by @lemonjoonah

This is not strictly a Tae fic in that he is only one of three major players in this twisted masterpiece. Lemon is the undisputed queen of the surprise twist and this one is truly brilliant. People dropped this fic in the discord calling it the best fan fiction they had ever read and I am not here to argue with them at all. Fair warning, every word - every inch of this fic is sexy and it’s delicious brand of titillation is wrapped around your psyche good and tight by the end.

Four by @luxekook

The quadruplets next door are fueling your very lurid fantasies. It turns out they have some fantasies of their own... You will need water if you read this fic. This is the original patented Kim Taehyung Horny Hive Mind 4D Experience™

▨ NEIGHBORS AND ROOMMATES ▨

The Heat Wave Series by @curly-bangtan

The original story (chapter 1) in this series is definitely famous, but I don’t know how many people have read all 9 chapters and if you haven’t, you are really missing the incredible journey of two very horny idiots stumbling recklessly towards real and amazing love. Everything is set off when the air conditioner breaks and a pair of wild roommates shed their inhibitions along with their clothes.

Flicker by @chimoona

So this fic started out with adorable neighbor dynamics and ended with erotic rope tying. Baby I was ABOUT IT. This was so bloomin hot and also like sweet and tender. Really a sexy and sentimental treasure.

Not Your Typical Flower Shop Story by @jungtaeyoongles

This story goes from “aww” to “WHAT THE-” real quick. Fast paced plot and twist after twist turn the whole flower shop au upside down and then inside out. I can’t say more because spoilers but like - WOW.

▨ TABOO THEMES and DARK FIC ▨ (Sex Work/Power Imbalance/Very Unsafe Sex)

Extracurricular by @ppersonna

One of my favorite professor-student AUs. The reader writes her gorgeous professor a borderline erotic analysis of several major works of art and he feels compelled to discuss it with her privately. Lindy really outdid herself on this one. It is scorchin. Professor Tae is actually really sweet and somehow that just makes the whole thing hotter.

Akrasia by @nitaescence

This is insanely hot. Emphasis on the insane because it’s basically a super erotic romp where you have sex with a man you don’t know (Taehyung) on a crowded public bus. I literally felt my blood pressure going up the longer I read. Whew.

The Client by @jungkookiebus

This one hit me right in the feels. Taehyung is a sweet and lonely man who has a standing Wednesday appointment with an upscale sex worker. As the story progresses, feelings become involved on both sides. When I say I am checking her page thrice daily for part three... This is so engrossing. And this Tae. I just want to hold him.

Daffodil Dreams by @sombreboy

Tread carefully ladies and gents. This story is excellent, but it is easily the darkest fic on the list and, if you choose to read it, please read the trigger warnings carefully. The reader is a psychologist called in to analyze a very dangerous criminal. As their sessions progress, however, several boundaries are crossed.

Obey by @jjkfire

Taehyung is the most feared and ruthless member of the local mafia and you are the world’s most inept escort. You needed a job, but had no real interest in sex work and you’ve managed to fly under the radar as a glorified waitress until Kim Taehyung himself walks into your agency and decides that you’re the only girl he wants. Oh my gosh I loved this story so much. It was downright amazing and there is a surprise at the end that makes everything even sweeter.

#kim taehyung #bts #kim taehyung smut #kim taehyung x reader #kim taehung fanfiction #viola recommends #fic recs #I CANNOT BELIEVE TUMBLR FORMATTED MY POST SO MY BANNER IS HIDDEN I WANT TO LITERALLY CRY #TUMBLR we are FIGHTING oh my gosh

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scripttorture · 3 years

Text

Torture and World Building: Avoiding Unfortunate Implications

This started out as one masterpost and then I realised it was a monster even by my standards so I’ve split it into three.

First I’m going to talk about details in stories that can suggest (or state) that torture is happening when that isn’t the author’s intent. In the next post I’m going to try and talk about the ways genres commonly use tropes that are (or are close to) torture apologia.

After that I’m going to talk about how the details in fictional torture and abuse scenarios can add to the world you’re creating.

Carefully considered details can really add to the story and the world that’s being created, while poorly thought through details can end up implying things the writer didn’t intend.

So what are some common details that might be implying torture when you didn’t intend to?

Settings and Groups

Stop me if you've heard this one before.

There's an off shoot or splinter group of a major faction holed up in a remote region, usually an inhospitable one. They have almost no oversight and seem more or less self sufficient. They have little respect for outsiders and pride themselves on their toughness, independence and ability to ‘get the hard jobs done’. They may have a maverick commander who 'bends the rules'.

They have a rigid hierarchy, usually one the hero doesn't fit into forcing them to prove themselves worthy. They’re unwelcoming and mostly respect displays of strength, which almost always means violence. They regard their enemies with contempt and disdain.

They seem both physically and culturally separate to the mainstream which they regard with disdain. They don’t have much time for rules or regulations or ‘going by the book’. They see it as a waste of time and a sign of soft bureaucrats who don’t know how to do the work.

They’re prone to sudden mood swings or outbursts of aggression.

I can think of dozens of examples of this sort of setting and these sorts of characters/sub-cultures in fiction. I don't think writers realise just how much it looks like a group of torturers.

Especially when it’s within a larger military or policing organisation.

Oversight is important. Accountability is important. And any armed violent group that rejects and belittles the idea of either probably has a reason for doing so.

Combining this with a remote region sends the message that there isn’t any oversight or accountability for this group. An inhospitable region, such as desert or a remote island, doesn’t just isolate the group. It also isolates any one they’re responsible for.

In reality setting up barracks or prisons in remote regions, tundra, deserts, tiny islands, has been used to quietly get rid of people. It prevents communication with the outside world. It cuts off access to support.

It makes it more likely that anyone attempting to escape will die. And their story will die with them.

The sub-cultures torturers tend to form are insular. They demand that the people they bring in ‘prove themselves’, generally by participating in abusive or otherwise violent acts.

They pride themselves on their toughness and independence. They tell themselves that they know better then the rules and their ‘gut instincts’ are worth more then evidence. They have a tendency to belittle anyone who isn’t a torturer.

They definitely don’t regard their enemies or prisoners as people worthy of respect.

And none of these features in a setting or group are necessarily ‘bad’ things to have in a story. But mixed together they can imply torture.

Which paints these ‘mavericks’ in a rather different light.

Characters

One of the most important things when you’re writing torture or abuse is to appreciate what you’re writing and treat it accordingly.

And a lot of authors don’t seem to realise when they’re writing torturers.

As an example let’s briefly consider one of the most hated torturers in modern children’s fiction. A government official, who uses her position of authority in a school to inflict painful punishments on children. Despite the obvious, scarring nature of some of these punishments she avoids being held accountable because of her government position.

I’m talking about Dolores Umbridge from the Harry Potter series.

I brought her up because discussions of the series often treat her as a ‘bully’, on par with Harry’s abusive peers.

Torture is defined as an intentional, painful act inflicted by a government official for one of the following reasons:

Punishment

An attempt to obtain information

An attempt to force a confession

Intimidation

Think about what you’re writing and what the characters you write do.

An abusive character in a position of power is not equivalent to an abusive peer. A person in a position of authority can do much more harm to a larger number of people then a private individual could.

Police brutality is torture. Corporal punishment in a military or prison context is torture. Painful intimidation tactics in a government hospital or mental institution are torture. And so is corporal punishment in a school.

Consider how bad you want your villainous characters to be. Be honest about what they’re doing and the severity of their crimes.

Fantasy Violence

There’s nothing wrong with cartoonish violence or making the decision to show violence as less harmful then it actually is in your story. Fairy tales where people fall from towers and are unharmed by the fall but blinded by the thorns or shows where characters are crushed by anvils and spring up again dazed but unhurt are not sending the message that assault is harmless. Because these sorts of stories create a consistent setting where the audience accepts that injury and pain don't work the way they do in the real world.

And the key thing there really is consistency. There's nothing wrong with having your story follow rules that don't match with the real world. The problem comes when creators switch back and forth, treating some acts of violence seriously and others as harmless or a joke.

Usually this is an honest mistake. A lot of creators really don't know how damaging the thing they're writing is. They think they're telling a realistic story. It's important to question what you write and double check things when you're not sure. And by sure I mean 'found this injury/symptom pattern confirmed by several reliable sources'.

It’s especially important when we're talking 'clean' (ie non-scarring) attacks because the damage these do is regularly downplayed and underestimated both in fiction and (more importantly) in reality.

These kinds of problems can also come up because of a lack of consistency in the narrative generally. Sometimes you're not quite sure where you want the story to go when you start so the tone and nature of the thing changes as you write. This is a natural part of the process for some writers.

If that’s how you write take the time to go back and check that you have a consistent story. Edit earlier chapters so that things line up.

Think your descriptions, plot and the world you’ve created. Think about what kind of atmosphere you want to create and what kind of world/rules you're trying to establish. And don't be afraid to experiment or edit in order to get something closer to the story you want.

A lot of this boils down to thinking about what you’re writing and what it can imply. It’s a learning process and it gets easier with practice.

If your unsure what torture is like in reality or how to recognise torture apologia I have a post for getting started over here. You can find research tips over here and sources over here.

And if you have any questions I’m here to help :)

Available on Wordpress.

Disclaimer

#writing advice #tw torture #writing torture #masterpost #unfortunate implications #torture apologia #writing torturers #behaviour of torturers #worldbuilding

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marauders-venting · 3 years

Text

I Know Him

pairing: wolfstar (remus x sirius)

genre: murder mystery fluff

warnings: several mentions of murder, child abuse, blood (stabbing and bullet wounds), hints at homophobia, hints at sex

words: 4447

a/n: this is a switching fandoms fic with harry potter characters in the sherlock holmes universe. In this fic remus is holmes and sirius is watson. I have kept certain aspects that i thought were important about remus and sirius’ personalities but i had to give them some of holmes and watson’s personality traits for the fic to make sense.

also just so you know I based this fic off the original sherlock holmes books only. I have never seen the tv shows or film adaptations but i’ve heard they are very different from the books.

It was a chilly Saturday afternoon and Remus and I were sitting together in an armchair by the window. He was reading a book but I simply stared absent-mindedly. At Remus, at the street outside, at the dust in our apartment catching the light. But mostly at Remus. Suddenly, I caught sight of a flurry of movement outside. A woman bundled up in scarves was running down the street looking flustered.

“Remus,” said I, as I watched the woman scan the numbers on the building and near our apartment, “if I am not very much mistaken, the very thing you have been craving for the past week is approaching right now.”

“A client, you say?” said Remus, laying down the paper. “About time!” His eyes lit up with excitement and I scrambled out of his lap just as a knock sounded on the door.

“Mr Lupin?” said Mrs Hudson, the landlady. “I have a Miss Anne Robinson here to see you.”

“Yes, yes let her in,” replied Remus impatiently. Within a few seconds, Mrs Hudson had returned, leading a friendly-looking, middle-aged woman into the living room. Miss Robinson had a cheerful face with wrinkles next to her eyes that come from smiling and yet she looked sullen and tired, as do many of the people who visit our rooms at 221B Baker Street to seek professional help from Remus.

“Pray take a seat, Miss Robinson and tell me your story,” said Remus eagerly. “I have had no other cases to occupy me for the past week and would be glad for a problem of any kind. You are a cook, I presume?” The woman looked startled.

“Why, yes, Mr Lupin,” she said. “I work as a cook for the Wright family. But how could you have known that?”

“It is of no importance, I assure you. I simply noticed the soup stain on your dress,” said Remus. I could hear the slight note of impatience in his voice. However, I doubt anyone but I could have noticed it.

“How very clever of you,” said Miss Robinson, smiling at him. Remus brushed the compliment aside with a gesture of his hand.

“Now what is the case that you have brought for me today?” he asked.

“Well, Mr Lupin,” began the woman, “just three days ago, tragedy struck the Wright family. I spoke to Dr Wright and he agreed that it would be best to bring the case to you. I should probably begin by explaining to you the history of the household. Mr and Mrs Wright were very fitting for one another; they loved each other very much. When they decided to have children, Dr Wright hoped against hope that the child would be a boy. He desperately wanted someone to carry on the family name and honour. Poor Mrs Wright died in childbirth and Dr Wright heavily mourned her loss. To add to the trouble, little Mary Wright was not the boy her father had hoped for. Regardless, he learned to love his daughter and cared for her always; I would even venture to say he spoiled her a bit too much, although she turned out to be a lovely, modest young lady. And the spitting image of her dear mother she was too! Never saw a girl resemble her mother more than Mary resembled Mrs Wright.”

Miss Robinson smiled serenely at the thought of the mother and daughter together but then, her mouth turned down at the corners and her eyes became watery. She blinked several times and shivered slightly before continuing with her narrative.

“Anyway,” she continued, her voice shaky and unstable, “this is where I come to the crime. Just three days ago, at 9:30 on Wednesday night, Mary and her fiance, Charles, were found dead in Mary’s bedroom. He was stabbed right in the heart and she was shot in the head. The police have their suspect and I must say that the evidence against him is quite startling, that is to say, it seems like a finished case. But I thought I had better come to you sir, for I have the strangest feeling that the police have got it all wrong and I always trust my instincts, Mr Lupin.”

“Who is this suspect and what evidence do the police have against him?” asked Remus.

“His name is Joseph Williams, sir. He is a servant of the Wrights. He was found bending over the body of Charles after a gunshot was heard. When the other servants arrived, myself included, and called out his name, a triumphant smile rested on his face, his eyes ablaze, alive.” Miss Robinson shuddered. “The mere thought of his face chills me to my very core. I don’t know why I believe him to be innocent, sir, he seems perfectly capable of committing so horrible a crime. He has confessed to the police to have loved Mary ever since he first laid eyes on her. This would, of course, explain why he would have killed her fiance. The police think that he killed Mary because he was angry with her for not requiting his love but he denies all claims. He says he would never have touched a hair on her head. And as for Charles, he says he would have very much liked to kill him but that he did not do anything of the kind.”

“Were the weapons for the crime found?” asked Remus.

“The gun was in plain sight, thrown on the floor right beside the two. But the knife has not been located.”

“And I suppose the crime scene has not been preserved if the crime happened three days ago?”

“No sir. They moved the bodies on Friday morning.”

“Very well,” said Remus, straightening up. “Then I shall like to interview the other servants and Dr Wright if possible.”

“I shall speak to him, Mr Lupin. Perhaps you could come around to the house tomorrow morning?”

“Yes, I think I shall,” replied Remus. “Alright then, I just have one question before you leave, Miss Robinson. What hotel was Dr Wright staying at that night and why was he out of town?”

“How the deuce did you know he was out of town?” asked Miss Robinson, her brows raised and her eyes wide.

“It was quite simple, really. You never mentioned anything about how he ran into the room and cried out at the sight of the couple’s dead body or anything about how he slept so heavily that he didn’t hear the shot. I have heard many recounts of murder and this detail is included every time without fail. And yet you left it out of your narrative. Therefore, he must have been out of town at the time.”

“Oh,” Miss Robinson chuckled, “you gave a fright there for a moment Mr Lupin. Dr Wright was staying at L'Hôtel D'Affaires as he had an early conference meeting the next day.”

“Very well,” said Remus, “We shall see you tomorrow morning, Miss Robinson. Good day.” And with that, she bustled off back into the now significantly more crowded street.

The following day Remus and I ventured out to the Wright house to investigate. Remus questioned the two other servants but the interviews were brief and nothing new was discovered.

“Now we shall question Dr Wright and then I might head to the station to hear Mr Williams’ account,” said Remus.

One might think that it ails me to watch Remus question so many people and not understand what he understands. However, I must admit that it is one of my greatest pleasures to watch Remus work through a case. He is the master of deduction but there are a few telling signs that allow for me to draw my own conclusions. I know that he is excited despite his efforts to conceal it. Perhaps he fools the rest of the world but not me. I have the expressions of his face memorised. The furrow of his brows when he collects his evidence, the twinkle in his eyes when the pieces fall into place in his brilliant mind, the bite of his lip when he’s concentrating (sometimes I wish I were the one biting his lip in his place), the curl of his lip when, once again, he manages to outwit everybody else in the room. I believe Remus is the only man I have ever met who can be both modest and proud at once. And I love him for it.

“I was devastated when I got the news Mr Lupin,” said Dr Wright, once we were all sat down in the living room. “Naturally, of course. My beloved wife has passed and now my daughter and son-in-law too. This was the order of events as I had it. I left that evening at 6:15 and checked into L'Hôtel D'Affaires at 7:30. I had an important conference meeting early the next morning, you see, and I abhor rising early. The next day, I was summoned by the police and told that Williams had been arrested for the murder of Mary and Charles. I never knew Williams had feelings for my daughter but I think that his actions were certainly a poor expression of love.” Dr Wright’s face tensed with anger and despair. He looked truly broken and empty, as though he were lost and unsure about what he could do now that everything he had loved so dearly was gone.

“With your permission, sir, I will ask you a few questions now,” said Remus. “Were the couple happy together?”

“Oh yes. My Mary loved Charles truly; I believe she would have done anything for him.”

“And how did you feel about the match?”

“I too was satisfied. I thought that the boy was a wonderful young man and that he would take good care of my girl. I looked forward to their marriage.”

“What was the boy’s family like?”

“Oh, they lived quite comfortably and were very kind people. I thought Mary would be happy to be welcomed to such a family.”

“Well sir, I am truly sorry for your loss; I think we shall quit your company for I think I know everything that can be of use to me.”

---------

“Now to the police station then?” I asked once Remus and I left the house.

“No,” said Remus, still deep in thought, “no, I think our time would be better spent at the town gossip house.”

“Two beers, please,” said Remus as we walked into the nearest pub and placed three two-pence coins on the bar. When the bartender handed us our drinks, Remus turned to me and said, “Did you hear about what happened up at the Wright house?” I was familiar with Remus’ tactics by now and knew that he was, in fact, not speaking to me at all but merely hoping to be overheard by one of the locals at the bar.

“Know ‘bout that now do you?” the bartender interrupted before I would have had a chance to reply. He turned to face us once more.

“Yes, I read about it in the paper,” said Remus casually. I have said it before but he is an incredible actor. He fools them all. All but me. I grow warm at the thought and a smile begins to spread across my face but I suppress it. Smiling now would seem odd at the very least, suspicious as most. “They arrested the man, didn’t they? The servant they suspected?”

“Sure did,” replied the bartender. “And I reckon ‘e’s the one ‘oo dun it, too. D’you think ‘e’s the one ‘oo caused all them yellin’s up in the Haunted Shack?”

“Excuse me?” said Remus in evident surprise.

“You ain’t from around ‘ere, mister, are you?”

“No, I can’t say that I am.”

“Well, there’s a shack up there next to the Wright ‘ouse, a right nasty shack I’ll give you that. Now them Wrights is livin’ in a nice house, ain’t nothin’ too grand but it’s more than modest. Right by the Wright ‘ouse there’s an ol’ shack, abandoned I reckon. Dr Wright had fenced it off but ‘e never ‘ad it torn down. Now sometimes, in the dead of night, we villagers would ‘ear someone sobbin’ up in that place. Once we even ‘eard a scream. Ghosts, that’s what everyone’ll tell you, that the place is haunted. Rumor ‘as it that the reason that Dr Wright never tore down the bloody thing is because ‘e fears them ghosts. But I think different. I say whoever been makin’ those noises up in there, that’s your man, that’s the murderer. It ain’t makin’ much sense but it’s the bloody truth I’d be prepared to swear to it.”

Suddenly, Remus drained his drink in a gulp and said, “That’s an interesting idea, but we really must get going, Sirius, if we’re going to make the next train.”

Next, we visited L'Hôtel D'Affaires where Remus made some small inquiries while I admired the hotel’s lounge and thought over our discussion with the bartender. Why on earth would Williams, the servant, sob and scream in an old, mangled shack? I had no answer but I was sure that Remus did.

Finally, we returned to Baker Street for a spot of supper and bed. We ate without exchanging a word until Remus suddenly broke the silence.

“This case is wrong, all wrong!” he exclaimed in frustration. “But I haven’t enough evidence just yet to get the man convicted. But I shall find it, I shall.” And with that, he marched up to bed. I waited to follow him up. On nights like this, I give Remus space to mull over his thoughts about the case alone before going to bed. He has never asked me to but I know he wants the time to think.

“Hello,” said I, upon entering the room later that night. Remus seemed to have been lost in thought; upon my entrance, his head turned sharply towards me. “Would you like me to leave?” I asked hesitantly.

“No, of course not, darling,” he said, his expression softening, revealing the man I know behind the great detective. “As a matter of fact, perhaps I should let my mind become distracted by other matters and return to the case in the morning. I sometimes find it easier to approach the facts at a different angle when doing that.”

“I could think of a few ways to keep your mind distracted,” I said, grinning at him.

“Can you now?” he smirked.

---------

The next day, Remus decided to go back up to the Wright house and search Mary Wright’s room, the place where the crime was committed, for evidence of his new theory. He came back with a triumphant look on his face that indicated success. That night, after a small supper, Remus asked if I wished to accompany him.

“Where would we be going?” I asked curiously.

“To bring this case to justice,” he replied simply. “Bring your revolver,” he added; even though I had not yet consented to join him, he knew I could not refuse an offer such as the one before me. Not only because of my all-consuming love for him, but because of my curiosity as well.

When we arrived at the Wright house – which was, apparently, our destination – the door was opened by Dr Wright himself.

“Mr Lupin,” he said in surprise. Without waiting for a reply, Remus stepped over the threshold and into the house; I was on his heel as always.

“I must insist that you leave,” said Dr Wright in rage. “What is this hour at which you call upon me? Surely what you want can wait until tomorrow?”

“As a matter of fact, it cannot,” said Remus. His amber eyes bore straight into the brown ones of Dr Wright as though seeing right through him. “I don’t often carry out the commands of murderers.”

“I—what—h–how dare you—?” spluttered the doctor but he had turned significantly paler.

“Would you like to tell the story or shall I tell it for you?” said Remus.

“You know everything?” asked Dr Wright, sinking into a chair.

“I do.”

“Then I may as well come out and say that I had no intention for it to go this far. I suppose it began with my wife. I loved her dearly and I wanted a son terribly. When Mary was born and my wife passed away, I was in agony. I felt as though I had lost everything that I held dear. Mary was the spitting image of my late wife; she was a constant reminder of my lost love which was both excruciatingly painful and necessary for my survival. I hadn’t the heart to kill the girl but the pain drove me to near insanity sometimes and in those moments I would drag Mary into the shack on the outskirts of this property and whip her with my riding crop. I treated her terribly though nobody knew, not even the servants.”

My hands began to shake at that. Memories of my own childhood filled my head. The whipping, the beating, the screaming. I clenched my hands into fists to mask the shaking but Remus noticed. He noticed everything. His hand twitched towards mine but I met his eyes and shook my head ever so slightly. Not now. And certainly not here. Only one arrest would be made tonight and it wouldn’t be either of us.

I forced myself back into the present, feeling a surge of anger towards the man sitting before me but I did nothing more than continue to glare at him. All these years working alongside Remus had taught me to control my temper if only a little. This man would get what he deserved. Hitting him now wouldn’t solve anything. It would make me feel a whole lot better, though. The thought crossed my mind but Remus met my eye again. He knew what I was thinking. His eyes flashed, reminding me that acting now would be unwise and reckless.

Dr Wright must have noticed the disgust and fury with which Remus and I were glaring at him, for he added defensively, “I’m not proud of it; these were certainly my lowest moments save when I… well I’ll get to that later. Anyhow, the villagers heard Mary’s sobs and started the rumour that there were ghosts living in the old shack. I encouraged the rumours, or at least I didn’t discourage them.

“Then, all of a sudden, my little Mary was announcing that she was engaged, that she was to be taken away from me; my last living link to my wife. You must understand my position gentlemen.” Dr Wright’s eyes were wide; he looked like he was pleading with Remus and me to put ourselves in his position. “On Wednesday night, I left the house at 6:30 that evening, telling everyone that I was staying the night at a hotel as I had an early conference meeting the next morning. I wasn’t lying but I wasn’t telling the full truth either. I intended to go to Charles’ house and confront him, to tell him to call off the marriage and threaten him with everything within my power. I went to Mary’s room to bid her farewell and left for Charles’. I knocked on the door but there was no reply. The door was left unlocked so I entered. I called for the man but without success. Then I saw a letter lying on the table.

“‘Dearest Charles,’ it read, ‘Father is leaving town tonight for a conference. Perhaps you would like to stay at our house for the night? All my love, Mary.’ I was infuriated. I rushed back to the house but rather than entering through the door, I climbed into Mary’s room through the window and found Charles sitting at her desk, a mischievous smile dancing on his smug face. Anger surged through me and, without thinking, I grabbed the knife I had brought with me, for caution’s sake, and stabbed him in the heart. He gave a strangled sort of scream; it was not loud enough to wake the servants but it was loud enough to cause Mary considerable alarm.

‘Charles?’ she called from the hall. ‘Is everything alright?’ And that was when my world fell apart. Mary entered the room and I stood up so violently that I pulled the knife right out. So many emotions flooded me at once and it was too much for me to handle. I pulled out my gun and shot her. I stood frozen for what felt like eternities, watching my only child fall dead to the floor from a bullet I had shot. The servant’s yelps of concern from downstairs caused me to snap out of my reverie. When I realized what I had done, I dropped the gun, pocketed the knife and scrambled back out the window. I left for L'Hôtel D'Affaires and spent the night there. The rest of the story, you already know gentlemen.” Remus’ look of disgust had not yet faded off his face. My hands had not yet stopped shaking.

“I have alerted the authorities,” said Remus, “and they are waiting for us outside. You will accompany them back to the station and await your trial in jail. If you do not come peacefully, I will use force.” Dr Wright said nothing else but followed Remus and me outside where he was arrested by the county police.

---------

“I believe I owe you an explanation, Sirius,” says Remus once we were seated once more in the comfort of our armchairs in 221B Baker Street. “And an apology. I shouldn’t have suggested that you accompany me on this specific case. Not when the details of it could… resurface unwanted memories.” I shake my head.

“It’s quite alright,” I say.

“No, it’s not,” says Remus, taking my hand in his own. “I forced you to relive your worst memories without so much as a warning, all for my peace of mind. All because I wanted you by my side. It was horribly selfish of me.”

“I would have insisted on accompanying you anyway,” I say. “I want to be by your side, my love. Now, pray tell me about your thought process. How did you solve the case?” This, perhaps, is what I enjoy most about working on cases with Remus. The moment when the case has been solved, the victims avenged, the villains confronted and punished appropriately, and only Remus and I remain, in the living room of our flat, our limbs tangled together as I watch the excitement and passion that radiates from Remus as he explains to me how his extraordinary mind saw what only he could.

“Firstly,” he begins, and already I can hear the shift in his voice. He loves his work. And he shares it with me. It is one of the things I love most about him. (I do say that quite a lot. Perhaps it is simply because I love everything about him.) “I will admit that I entered the case thinking that Williams was very likely the culprit. I consented to conduct the investigation in the case that my client’s instincts proved to be correct but I was almost entirely convinced that the investigation would be worthless. My suspicion first fell upon Dr Wright when I was interrogating him. I asked him what he thought of the match between his daughter and Charles; he said he was looking forward to their marriage. I found this most abnormal as nearly all fathers feel some sadness when their daughters leave their houses for that of another man especially when their wives have passed on. Why should this man be glad to lose his daughter? My immediate response was that he wasn’t, he was merely pretending to avoid suspicion. This, however, was hardly evidence, it was nothing more than a gut feeling.

“So we went to the town pub and learnt about the shack. I followed this by visiting L'Hôtel D'Affaires and inquiring as to the hour at which Dr Wright checked in. As you may recall, he told us that he had checked in at 7:30, an hour after his departure. But at L'Hôtel D'Affaires I was informed that Dr Wright only checked in at 10:30 on Wednesday night. By this point, my theory was formed and I was certain of its accuracy but I still needed proof. Therefore, the following morning I went to the scene of the crime and, after some rummaging about, found Mary Wright’s diary which included Charles’ reply to her letter that invited him over on that fateful night. The diary told me everything I needed to know. Then you and I went to confront Dr Wright, he was rightfully arrested and here we are now.” Remus concludes his explanation with a grim smile.

“Wonderful!” I say, applauding him for his achievement. Remus shrugs but I can see that he is attempting to hide a smile. If I could only shower him with compliments for the rest of my days to see his beautiful smile, I would do so. “You know, detective, one might find it very attractive when you make all these deductions,” I add.

“Oh?” he says, eyebrows raised. “And would this ‘one’ be you, by any chance?”

“Is that another deduction?” I tease.

“That wasn’t something I needed to deduce, love, it’s written all over your gorgeous face,” he says. Then I kiss him slowly, bringing my hand into his hair when I feel his on my waist.

“I do love you, you know,” he says, his lips still lingering on mine, refusing to pull away. “I don’t say it as often as I should but I do. The world can continue to hate it but I will never cease to love you, Sirius.”

“I know,” I reply, allowing my hand to fall and gently brush his cheek. “I love you too.” Remus blushes and I can see the man I fell in love with. Where the rest of the world sees only his brilliant mind and his icy exterior, I see beyond. I see the goodness in his heart, the emotion in his voice, the passion in his eyes, softness of his lips. I see it all and more. He shows it to me and only to me. He lets me have him. And I give him all there is of me in return. It is of this that I think when I lean in to kiss Remus again. And it is of this that I think when he kisses me back.

#remus lupin #remus lupin fluff #sirius black #sirius black fluff #moony #padfoot #wolfstar #WOLFSTAR FLUFF #wolfstar fanfic #Wolfstar fanfiction #wolfstar oneshot #remus x sirius #sirius x remus #Marauders #marauders fanfiction #marauders oneshot #sherlock holmes #switching fandoms

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twh-news · 3 years

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Loki' composer on how her MCU score reflects the main character's flair for the dramatic

By Josh Weiss

Natalie Holt's timeline was turned upside down last fall when she landed the highly-coveted composer gig for Marvel Studios' Loki series on Disney+.

***WARNING! The following contains certain plot spoilers for the first four episodes of Loki!***

The other side of the story speaks to the old world grandeur of Loki's royal upbringing on Asgard, a city amongst the stars that eventually found its way into Norse mythology.

Wilson's character isn't the only person fed up with the TVA's lies. Hunter B-15 (Wunmi Mosaku) also became disillusioned with the place and allowed Sylvie to escape in the most recent episode

#Loki #loki series #natalie holt #Loki spoilers #loki series spoilers #Article #Interview #SYFY #Long post

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dabidagoose · 3 years

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What's your fave video game sountrack(s)? =^o

Ok that is a very loaded question so this is gonna be a long ass response, I hope you're prepared for what you've done.

(ok there's a tl;dr at the end if you want it sorry for this lmao)

FIRST POINT my immediate thought was the Ikenfell soundtrack (actually my immediate thought is I can't fuckin' choose they're all amazing but. then ikenfell). On the personal side, I was pretty much obsessed with the game for like three months straight, and i fuckin' love aivi and surasshu's music. I am also a simp for chiptune so jot that down. Moving past what may very well just be personal preference there are some incredibly interesting musical choices and impeccable choices story-wise that hit just. SO fuckin hard. Like emotionally. I won't elaborate on to the context and why the song works so well but the final battle theme is absolutely SPECTACULAR. (I could elaborate though so. ask if you will and i'll write another spiel on why it breaks my heart and soul). But also to reference a less-plot relevant piece I'm gonna bring up Alchemy is for Everyone. The squish bass sounds at the beginning are SUCH a fun environmental sound, it is really just NOT a sound I hear often which makes the track really stand out. And it fits SO perfectly for all the slimes and just. It's so WET. I love it. Makes me wanna wriggle. Which ok is probably also personal preference on reflection because my friend hates a wet song that I love but. Ok it's GOOD. Anyways continuing to the melody the fuckin PITCH bends. This is digital music at it's peak. We get the fun sounds. We get the fuckin pitch bends. Which are so fun because having slightly out of tune notes is such a fun feeling. It's a little off kilter, it's a little different. It's just SO funky and sounds so awesome to bend those pitches just a little bit, take full advantage of the medium and play around with it. Now I'm gonna talk a bit about why I love aivi & surasshu's music so much which. Ok so I believe(?) they coined the term "digital fusion" where you're mixing all these fun fresh digital sounds with real instruments/more traditional sounds and it can work SO fuckin well (for extra musical literature on this subject I'd like to suggest Yoann Turpin and specifically Chip Ship). Which we already get a taste of that where the pitch bends are playing on piano but it really kicks in when the violin takes over the melody and it's SUCH a graceful instrument in comparison to all this funky/awkward stuff we've had. The dichotomy is fuckin awesome. The violin is like a graceful victorian socialite ballroom dancing in after these pitch bends just pinned their arms to their sides and wiggled their hips around. We then get a third spacey instrument (I. have no idea what it is.) and it is. SUCH a switch. We have moved from awkward and stilted to almost too perfect and graceful (I forgot to write before but the high piano at the violin adds so much) to a moment of awe and discovery. We are now exploring the universe, the world of science and alchemy, and it is fantastic. The song almost seems to have it's own little narrative, and this is just a backing track for exploring one of the buildings!!!! This is within the first couple hours of gameplay, it is incredibly non-plot-relevant but SUCH a piece of art. I am absolutely in a slime ball watching amazing science happen so precisely and it is. so fuckin cool. And I could probably go off about every single other song, but in the interest of keeping away spoilers and finishing this post before 2 am, I will not. (Addendums because I can: this is less wet than the one my friend hates, and also this song is MOIST. I would also like to mention It's Showtime and Between the Lines as other song favorites but if I went into them I would never sleep.)

Okokokok. So. So SECOND point (I'm. so sorry.) I looked at my video game music soundtrack (I have two main soundtracks one for just every music but I didn't want to overwhelm it with VG music so I made one just for that that has ENTIRE soundtracks from almost every game I've played which. oops.) and I found two other contenders based mostly on I Really Liked The Games. The Oneshot soundtrack and the Night in the Woods soundtrack. Ok I'm gonna talk about Night in the Woods first cause HOLY shit. holy shit. The fucking astral songs. Those are fucking masterpieces. Such a simple ensemble but it creates such an INTENSE atmosphere. I really love instrumental music can you tell. I specifically want you listening to Astral Train for this one (played it for my senior recital and even though I had to play the violin part on clarinet I maintain it was one of the best choices I've ever made), but we the way the layers blend together is a fucking masterpiece. Since this song had to be designed so that any layer could play alone and each one could join in any order, each part of the quartet has to be interesting, but they still all must blend together and so they each get melody moments but the harmony/bass lines have to be interesting as well and. They ARE. This is such a hard task and it's accomplished SO. INCREDIBLY. WELL. (Side note: also makes for a good ensemble piece for, say, your and your friends' senior recitals, so everyone gets fun parts, a chance in the limelight, and a chance to rest, haha totally irrelevant note right there definitely no connection to my real life). With Astral Train we really get this cool ghostly train feel and through all the Astral pieces we REALLY feel the absolute intensity of Mae's dreams and the music creates such an immaculate vibe. It is unmatched. The rest of the soundtrack contains plenty of bops in a variety of genres too, where the bass songs have to be both playable and fun (Die Anywhere Else my beloved), and we get nostalgic and mischievous music fit for this ragtag team. This is the feeling I've had hanging out with my teenage friends at 10 PM in a parking lot. It is absolutely perfect for this video game. The music is SUCH a bop and really emotionally connects to me cause the game is such a bop of a plot. It is truly fantastic. (Addendum: Ok listening to Gregg rn and. Holy shit bop. I love him. I love this)

Ok now onto Oneshot, which, admittedly, does not have as strong a holding on the podium as these other two do, but curse me for having been emotionally destroyed by the video game because now I am emotionally attached to the music too. But, again, ATMOSPHERE. I am once again gonna be speaking in the interest of spoilers here, so I hope anyone who's finished the game will forgive what I'm not saying, but the entire landscape of this desolate planet is just SO much. The world is so simple and empty, and yet awe is often mixed with this feeling of despair. This is incredibly fitting for Niko, for the hopeful little pal they are, and creates an incredible effect. (I included specific song reccs for the last but I don't quite for this - so I'll just say now that I'm listening to On Little Cat Feet). The visuals are fairly simple, the map small, and just looking at the game the world feels incredibly small. But the music makes it all seem so vast. We really get put into Niko's shoes (or their little cat feet I suppose), and get to see this world for the vast, terrifying, but incredible place it is. The music makes you feel like that child seeing a new world for the first time, (this isn't spoilers past the first chapter but I'm warning you anyways) even though you are meant to be a god, you are still made to feel small and the world still large. The music does so much of this work, and it's incredible. Throughout the soundtrack the underlying angst, the despair, remains present, and the game has so much more impact for the music. No game is incomplete without it's music, and Nightmargin does a fantastic job creating this music for Oneshot. I haven't analyzed the actual music instruments/structure so much, but it's those instrumental sounds again tearing at my heart strings again. I would also like to recommend this game beyond the soundtrack, since it is an incredible story, with some puzzling gameplay, and it has made me feel how no other game has. It is a masterpiece of a game, and I implore everyone to play it through. Get hints if you need to, or play alone, just make it to the Ending. You'll know when you're there. (Addendum: I think I'm very repetitive here but I refuse to edit it so you have to live with this. Anyways gonna say it again: Play Oneshot!!)

Now I have chosen three game soundtracks that had a story that incredibly connected with me, and music to bolster that story and those emotions in incredibly meaningful ways. But there are so many others with great music, but that didn't necessarily connect on such an emotional level. Portal and Portal 2 have fantastic soundtracks, Celeste has beautiful music, Underhero has some funky and spectacular beats, Undertale and Deltarune are famously incredible (although I also did emotionally connect with them... but they're already talked about enough. Lancer beloved.), Clam Man is just. Fun., Oxenfree is also incredibly atmospheric and spectacular, Sewer Rave just has nice beats, and Minecraft is nostalgic as all hell. There are so many games to choose from, that from the moment I saw your question I knew I would be writing a far too long Tumblr post to answer you, because it feels an injustice to just answer one without reasoning, or without bringing to light all of the other amazing sounds I've discovered.

To finally answer your question, I think Ikenfell deserves the top spot in my heart. My instinct was right, there's fresh sounds, great musical structure (see: Between the Lines that I didn't elaborate on), incredibly emotional sounds, and fantastic storytelling within the soundtrack. But I love all of these other soundtracks, so I must bring them up. For they also have spots in my heart.

TL;DR - Ikenfell wins but I also love Oneshot and Night in the Woods and many others so I don't know what to say chief (lies i have too much to say)

#i will not apologize you brought this on the world by asking #i'm so sorry you had to find out i'm such a nerd This Way #i want to ask my friends to proofread this for legibility before posting but lets be real thats not happening. it wont be legible #so sorry about being this much of a nerd. not really but. wow that got long. mm vulnerability my behated #ikenfell #night in the woods #oneshot #only tagging those three cause theyre the ones i got too emotional about.#ok ok im gonna post this now lmao #wait am i legally allowed to mention blaseball cause the garages or is that not allowed #ok i think its not allowed #but the garages r very good i listened to the newest album today and *chefs kiss*

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ozzdog12 · 3 years

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2020 Top 7 (and 1)

2020 am I right? We saw an insane amount of games come out and 2 brand new consoles. What a wild and weird year for gaming, and life in general. In case you are relatively new here, and to be honest that would be completely fair considering I don't post very often on Tumblr anymore, every year going on the last 4 years (on here) I have done a Top 7 (& 1) for my favorite videogames of the year. Check out 2019, 2018, & 2017. What’s wild, as I look back on my list of games that I’ve completed and played, only maybe 10 came out this year. 2020 was a huge backlog year.

Lets get on with the ‘And 1!”

Favorite Game that Didn’t Come out in 2020: Control (PS4)

Control may very well have been my 2019 Game of the Year, had I played it in 2019. I LOVED Control. I wanted to play it in 2019, but initial reports that it was a little rough on base consoles put me off until it was fixed. And Holy smokes what an insanely fun and trippy game once I finally started it. I knew within the first 20 minutes this was going to be the shit when I went down a hall, walked into a room and talked to the “janitor” left out a door behind him and the entire building had shifted. I’ve always liked Remedy games, but from a distance. Max Payne 1&2 and Alan Wake all oozed with weirdness and intrigue, but never enough for me to finish them. I missed out on Quantum Break. The story is Control is just the right amount of mind f*!$ for me and builds a universe I didn’t know I needed. It take some time to piece everything together, then everything just clicks. The game does have a weird difficulty spike when fighting bosses and the checkpoints were too far apart at times, but those were later patched. I spent an insane amount of time within the Federal Bureau of Control building and even more time after that with the Foundation and AWE DLC and it STILL wasn’t enough. I wanted more. Outside of Prey, I can’t think of another game that stuck in my brain more after I’d finished it. Control is absolutely a MUST PLAY title. In a world where everything sort’ve feels similar, Control stands out of the crowd.

Number 7: Astro’s Playroom (PS5)

I never thought in my wildest dreams that a game I had almost zero interest in playing would end up on my list of favorite games this year. Astro’s Playroom is being labeled as a ‘Tech demo’ but that feels like an insult to what it is. It’s a full fledged game and its free! I’ve paid more for less. A charming little platformer that lives and breathes the history of the Playstation. So many cool Easter eggs and references. It certainly centers its gameplay around the DualSense controller and everything it can do, but at its core, its a completely approachable and forgiving 3D platformer. I played it just to see what it was about, next thing i knew I had completed all the levels and wanted to further explore all the nooks and crannies within the game. I wanted to see everything the game had to offer and I had an absolute blast doing so. Makes me kinda wish I’d played the previous game on PSVR (I’d have to have a PSVR too)

Number 6: Spider-Man: Miles Morales (PS5)

Another quality title, albeit a spin-off, from Insomniac to add to their Spider Man universe. Gameplay felt obviously like Spider-Man, but Miles has unique abilities that made the game feel different enough, especially the cloak and stealth. I enjoyed the fact that it was short and concise. The issue with most ‘open-world’ games is that they are entirely too bloated with unnecessary filler content (I’ll get to that in a later game), something I felt the first game suffered from, but I also understand why they are there. However I could’ve use one or two more story missions to help flesh out some characters, but it wasn’t required and didn’t change my opinion one way or the other. My one BIG gripe was with Miles himself. He is an extremely smart young kid, but so incredibly naïve. Peter Parker tells him the one thing he SHOULD NOT do is tell people he is Spider-Man. I get it, that’s part of his growth, but Miles thinks he can just solve his problems by revealing his identity and it almost certainly never works out.

Number 5: The Last of Us: Part 2 (PS4)

The Last of Us Part 2 may be the most polarizing game in the history of the medium, but for the absolute wrong reasons. I’m in the minority that I very much enjoyed my experience with TLOU2, quite a bit actually. Its better in every single way over its predecessor, except the overall story. There are plenty of fair criticisms to be had about the story and various things within the game itself, but I thought the gameplay was so tight and crunchy. There were genuine moments of suspense and terror that I felt that no other game has ever given me. The entire hospital section (2nd time) was so susensful, I had to put my controller down to gther myself. Some of my favorite moments in the series I experienced with a character I wasn’t overly fond of. How many games can do that? The Last of Us Part 2 was meant to invoke emotion, not necessarily joy. I think that's what people lost along the way. Say what you will about the direction Naughty Dog has taken over the years, but you would be hard pressed to find a studio that makes games graphically better than they do. Yes, I know about their crunch culture, but this is not a place for that. I will say, the game was a tad bit too long, which is not something it typically say for a single player, narrative driven game. The pacing and the way the story was told wasn’t my favorite, but I respect what it was trying to do, even if it failed in some aspect of that, I finished the game within the week it was released. Something I RARELY ever do. I’m a father and I related with Joel a lot in TLOU, but I also recognized how wrong he was. There is a lesson to be learned. Your actions always have consequences and while he was doing what he thought was the right thing, it wasn’t his choice to make, and in doing so set up a series of events that were entirely avoidable, but again, that’s the point isn’t it?

Number 4: Grindstone (Switch)

I’m counting this as a 2020 game since it just came to the Switch this year ( less than a month ago) but its not the first time I’ve played it. Grindstone was the only reason I kept my Apple Arcade subscription and when I let it lapse, there was a void I just couldn’t fill. I bought Puzzle Quest on Switch but it just wasn't the same. Its THE perfect game for bite sized play, even though in its addictive nature, you’ll clear a few levels and an hour has passed before you know it. It has the perfect amount of depth that most ‘match’ games don't. You have different weapons, items, and outfits w/perks to use and experiment with to keep it fresh. I went months without playing my Switch and when this was announced in August, I couldn’t wait! Sadly, I had to wait 3 months, but since then I have spent so much time on the Switch. It gave me a reason to play it again. The art style and humour is great. The variety of enemies and challenge is just right. I can’t recommend it enough. Seriously, check this game out!

Number 3: Doom Eternal (Xbox One)

I will be the first to tell you, I did not like Doom (2016). I found it extremely boring and trite. I understood what Doom(2016) was doing and it succeeded, maybe too much. Nostalgia is a helluva thing. So in saying that, I was mildly interested in Doom Eternal. Doom Eternal is nothing like 2016 outside of it being a Doom game that connects to the rest of them (& also being a sequel to 2016). The mechanics are drastically different with more platforming (for better or worse). Eternal is challenging, at times very hard, especially early on. Eternal has no respect for its players, in a weirdly good way. It laughs at how you’ve played FPS before this one and WILL MAKE you play it its way, not your way. Yes, you point and shoot, but ammo is scare and you MUST use everything in your arsenal. No more using just 2 guns for the whole game. The enemies are relentless. Sometimes you have to pause and take a breath after a battle because you go a 100 mph for the whole fight. You have to continuously move or you die. There is an enticing rhythm to it. I categorize Eternal as ‘Blood Ballet’. Its a game where when your feeling it, much like a rhythm game, you get in the zone and there is no stopping demons from getting slayed. Surprisingly, unlike most games in the genre, it seemed to get easier (sans one extremely frustrating platforming section late in the game) the longer you played it. Was that a testament that I ‘learned’ the Eternal way or it truly did get easier? I don’t know, but the final Boss(es) were....easy.. I had more problems and deaths within the first 4 hours than I did the final 8-9 hours. The multiplayer was also surprisingly fun. The older I get, the less interested I am in multiplayer, but I found myself coming back for more for a good month or so.

Number 2: Gears Tactics (Xbox One)

As 2020 comes to a close, I came to a stunning realization. I might be a bigger Gears of War fan than I had previously thought. Don’t get me wrong. I love Gears, but I seem to love Gears more than I thought. I'm way more invested into the lore than I recall. Anyways, Gears Tactics is everything XCOM 2 SHOULD’VE been. Not only does Gears Tactics utilize the Overwatch action, its makes it EXTREMELY important. The story revolves around the father of Kait Diaz, Gabe and a ragtag group of mostly random soldiers to take down Ukkon. Anyone who is remotely interested in the Gears universe will love the story and references. The gameplay is just so damn satisfying. The bosses are very challenging and different. I actually had to change my strategy to finish the final boss. I experimented with a totally different style of class and was rewarded for it. The post game stuff is also aplenty. This game scratched a VERY specific itch for me and I’m itchy to jump back in. I’m glad this came to Xbox One because I’m current computer could not run it.

Number 1: Ghost of Tsushima (PS4)

I have a very odd relationship with massive open world games. I love them, but I get very burnt out on them. They all have a relatively same-y formula and are often populated with bloat. GoT does have some of that but to its advantage, its not very populated, in a good way. One of the things that I really appreciated about GoT and its side quest is most of them felt meaningful. The thing that really stood out to me about GoT is the absolutely satisfying combat. It just feels SO GOOD. It requires timing and patience. There are different fighting styles for different enemies and even the armor you wear is more than just cosmetic. The combat is so fun and satisfying that I was immediately excited when they announced Legends, a multiplayer add on, for free. Its so much fun and is a blast to play with a group of friends. I’m sporadically still playing the Legends mode. I initially wanted to play the game in ‘Kurosawa’ mode but I am glad I didn’t because the game, even on the PS4 is stunning, and on the upgrade on PS5 is jaw-droppingly smooth. I did play the entire game in Japanese with English subtitles. I still don't know what Jin’s English voice sounds like. GoT does a good job a drip feeding you new abilities and things to keep things fresh. I love stealth and once I unlocked it, I spent the majority of every battle taking out as many enemies as I could while in stealth mode. Ghost of Tsushima does a lot of things very well, that the few things it doesn’t can be easily overlooked.

#videogames #control #grindstone #tlou #doom eternal #gears tactics #ghost of tsushima #ps4 #ps5 #xbox one #switch #nintendo switch #playstation4 #GOTY #spiderman #astro playroom

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heartlessconviction · 3 years

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Kingdom Hearts: Melody of Memory. Pleasantly surprised however not worth £60

So I’ve beaten Melody of Memory and I’ll be the first to say, it surprises me just how fun this game is. I am not fond of Rhythm games to begin with and as you may already know I am exceedingly critical when it pertains to the KH series as a whole. I think most of the games are flawed in a game design and mechanical standpoint. And I’ll be bold enough to say the series has been getting progressively worse since KH2FM dropped in 2007. Re:Mind redeemed KH3 somewhat yet we are 11 patches in and Guard is still fucking broken so you be the judge there. There really isn’t much I can say since the gameplay really doesn’t have any level of depth towards it, you hit the notes on time with the beat essentially. You have a melee attack which is placed onto the 2 bumpers and one face button, you need all 3 since at some point you will need to hit notes simultaneously. The most depth you will get is in the Gliding and avoiding attacks, upon the track some heartless will try to hit you and by jumping over these it counts as a beat in any given song, you will also need to utilize the jump since certain heartless can only be hit whilst in the air. At parts in a song you will also need to glide and manouver your character into green notes, but the same basic rule of thumb applies here. Later in the game you will come across deep dives and boss fights, which force you to also use the analogue stick to hit notes, but at the end of the day you are just tackling a song. The amvs that play are pretty scripted and in these segments they can become extremely distracting as the notes tend to blend in with the video in the background. This only applies to the Deep Dives and the boss fights, but it can become a pain in the arse when you miss a note due to a white flash lingering within the video and it tricks you to press the button a tad early. In terms of story the game is pretty bareboned, I will say this now. If you are playing this game strictly for the story and you have no interest in the Rhythm game genre. Save yourself 60 dollars, the new story content is held towards the end of the 8 hour campaign, for the rest of it Kairi is pretty much summarizing the events of the Xehanort Saga. Poorly I might add as so much context is stripped away from these summaries. If this is your first KH game, do not go into this expecting to understand the events of the previous Saga. These summaries are designed to pad out game time, they do not serve as passable representations of the last 15 years of the series. There are far more effecient ways to experience the story as a newcomer via The Story So Far HD Collection Bundle. MoM fails heavily in this regard. {I’m not going to go into depth on the new Story content as this isn’t a spoiler review or anything.} In terms of playable characters you have 4 teams, consisting of 12 characters as a whole. A Sonic Heroes predicament, all of the characters function the same and whatever miniscule difference they have is strictly cosmetic. At some point in a few worlds you will have guest characters with you, but again they function the same. A disappointing aspect of this Team System is that the Team Members are locked and with no ways to customize them, perhaps mods for the Switch will fix this. However for the base game each member is locked into a particular team, so you are unable to change them around. For example you cannot put Sora, Roxas and Xion within the same team. I do not understand why this hasn’t been included as timeline plotholes cannot be used as an excuse, as you can face any of the bosses with any of the teams. So you could have Team Days face off against KH1 Ansem. Admitingly its a small omittance since the teams are merely cosmetic. Yet as we know cosmetics whilst insignicant to the gameplay itself does hold merit to a games content and overall value when it pertains to replayability and customizability. Teams and Team Members: Team Classic: Sora, Donald and Goofy Team Days: Roxas, Axel and Xion Team 3D: Riku and Dream Eaters Team BBS: Aqua, Ventus and Terra The song selection is something I adore and hate at the same time, you have classics such as: Sanctuary Simple and Clean The 13th Dialema The other Promise Another Side/Another Story {Deep Dive} Vector To the Heavens Even One-Winged Angel makes an apperance. Yet there is a shocking absence of KH3 representation, you have Let it go and a few other songs. {Around 8 in total} But considering the fact I actually prefer a lot of the KH3 variations of the songs its disappointing they didn’t make the cut. Especially the masterpieces from the Re:Mind DLC. Above all of that for a lot of the songs they use the original PS2 renditions rather than the remastered variations from the HD remixes which... Why? They are inferior in comparison imo. Even so, Let it Go in japanese is fire. As a whole this game surprised me, but I do not think for a second that its worth the 60 quid asking price. Its amazing to have a homage to all of these amazing tunes from the series thus far, nevertheless for the story content whilst it isn’t as halve arsed as Re:Coded. Its not enough to justify the price tag. Rhythm games are not for everybody and that is perfectly fine, people aren’t getting upset because KH has a Rhythm game. They take issue with the fact lore is locked behind the paywall, and yes whilst you can just watch the cutscenes on youtube like most of us do with Union cross and Dark Road, it just isn’t the same experience that you would get from experiencing the cutscenes yourself after a tough challenge. If this game was 30, which I whole heartedly believe it should have been. I would be a tad warmer in my critique. Unfortunately that isn’t the case, from a gameplay standpoint this is truly a quality product. Its just overpriced, now if they included the KH3 songs and the Re:Mind songs within the base product maybe that would shift my stance, however I have a suspicion they are going to try and milk those for DLC. If not great but it just feels like something Square would do at this point. No Simple and Clean Ray of Hope Mix is not included. Yeah, it baffles me as well. The conclusion in which I will sign off with is this. Despite my feelings on the games price tag, It has succeded in fundamentally changing the approach in which I listen to music going forth. Upon playing this overtime my brain slowly started to recognize the patterns and began to pick up on the subtle nuances that the majority of these songs contain. Small features of a particular track you wouldn’t even think about on a casual listen can be indispensible in building up to the grander narrative of a song, the slightest of mistakes can cause the melody as a whole to fall flat and this was something I had to come to grips with and adapt to when going for the full chains. Even now when I listen to songs in my free time, these small details are easier to notice and I feel that I am presented with a whole new experience with some of my favourite Songs. It is like I am truly experiencing them for the first time once more and that is something I will forever attribute to this game.

#Kingdom Hearts #Melody of Memory #Surprised me #A tad overpriced however

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farchanter · 4 years

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Mark Z. Danielewski: House of Leaves Series Scripts

It is the kind of discomfort that has nothing to do with purposeful conversations or conversions but rather born out of our collective cultural anxieties.

This is not for you.

House of Leaves is one of the greatest books I've ever read. It is both the progenitor of, and still the best-executed example yet, of my favorite genre: a kind of art-horror metafiction with a focus on explorations both physical and spiritual— an examination of the human psyche in the face of our cosmic smallness and inscrutable entities that we cannot possibly understand. There are some outstanding stories in this space, but none is quite as good as House of Leaves. It's possible that none will ever match it.

So when Danielewski announced that he was publishing three scripts of a proposed House of Leaves prestige TV series in order to attract a streaming service to said series, I had to read them.

If you're not familiar with the original novel, the concept is basically this: a man named Johnny Truant comes into the possession of the papers of a deceased man named Zampanò. As Truant sifts through them he discovers that Zampanò had been putting together a thorough, well-researched, novel-length critical academic analysis of a film called The Navidson Record. The Navidson Record is a self-shot documentary about a war photographer named Will Navidson moving his family away from the ghosts of his past and into a new home in Virginia. Shortly after arriving, though, the Navidsons discover that parts of their house don't make basic geometric sense. Worse, the supernatural effects grow worse with time. Ultimately, a sprawling system of featureless, lightless rooms of indeterminate size is revealed. Will Navidson, in particular, becomes obsessed with exploring this strange space. Crucially, though, The Navidson Record does not actually exist— not in our world, and not even in the world of Johnny Truant and Zampanò. Truant begins to compile Zampanò's notes to try to understand why he wrote so obsessively about a movie that seems to only exist within Zampanò's writing.

So, to recap: House of Leaves is three layers of fiction. At the innermost layer is The Navidson Record, a haunted house documentary that does not exist in-universe. Ensconcing it is Zampanò's sprawling thesis on The Navidson Record. And surrounding that is Johnny Truant's notes on his experiences in compiling said thesis and the strange things that start to happen to him when he does.

A House of Leaves TV series could have taken one of any number of directions, including simply making The Navidson Record. But, instead, the scripts that we're given here add yet another layer of metafiction around the book. The viewer is asked to accept a world where we suddenly receive evidence that the events of House of Leaves are real. Johnny Truant really did compile Zampanò's analysis, and worse: The Navidson Record is a real documentary about a force that we do not understand. And, as we come to understand, that force is spreading.

The ramifications of this discovery are diverse: in one funny scene, we find a bunch of literary scholars angrily destroying their work as they discover what they thought was fiction is nonfiction. But the House of Leaves series also sets the stage for secretive organizations bent on suppressing knowledge of The Navidson Record and whatever it captured.

I went through a wide range of emotions and opinions on the scripts. At first I thought they were relentlessly strange (even communicating to a friend that I thought they were a "cosmic horror stream of consciousness.") The first episode bounces all over the place, and introduces a breathtaking number of questions. Although we don't ever get answers to them all, the scattershot vignettes do eventually congeal into a narrative as we make our way into the later episodes. We still have a great number of questions, but we should also remember that this is only meant to be roughly a quarter of the series.

My problem with the House of Leaves TV series, however, is how it chooses its antagonists. One of the things I love about the novel is that the house is an eldritch horror with motives both unknown and unknowable. In framing the Navidsons against such an incomprehensible blank slate, we get to see a lot of them and ourselves in the narrative. It's sincerely frightening, and Danielewksi out-Lovecrafts Lovecraft.

The series has a lot of that. If it had focused fully on the creeping spread of, and struggle to scientifically understand, the strange evil of the house then I would have loved it. However, the introduction of some type of corporation or government agency actively trying to cover up the truth left a sour taste in my mouth. I think what makes House of Leaves work is the house— we don't understand it, and our struggle to do so only raises more questions. It's a science fiction story about how small man is in the Universe, how vulnerable we are when we leave our little safe bubble, and how foolish we are for feeling the inexorable pull to leave that bubble.

Corporations and government agencies, however, are necessarily run by people— comprehensible people. Those can be scary, but in a very different way that I almost think is wholly incompatible with cosmic horror.

Maybe this project illustrates that it might be impossible to write cosmic horror into a TV series. Maybe it's impossible to raise tensions in that way not only across a season, but also with the ebbs and flows that delineate single episodes. Maybe you need to switch genres to do that, meaning that perhaps cosmic horror is best left to movies, games, and books. That's above my power to answer. All I can say is that I wanted a lot more of the script's Keflavík Tape and mysterious doorways than I did assassins chasing after a flash drive.

Let this not detract, though, from my belief that you must read House of Leaves if you haven't.

#completion list #books #completed #todo #review #Mark Z. Danielewski #mark danielewski #house of leaves #house of leaves series scripts #horror #cosmic horror #metafiction

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anniefprp · 4 years

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Rationale

For my PRP, I have made and directed a contemporary horror film that combines the use of found footage with traditional filming practise. I was inspired to create this because I wanted to create something that feels unpredictable and keeps the audience on edge. I was inspired by directors such as Daniel Myrick and Eduardo Sánchez (The Blair Witch Project), Lee Cronin (The Hole in the Ground), Denis Rovira van Boekholt (La Influencia, El Grifo) and Troy Wagner (Marble Hornets).

Creating the piece

I really like the found footage genre, because it creates a level of realism that you don’t find when using traditional filming methods, as there is an element of plausibility. It was pioneered by films such as The Blair Witch Project, which sparked debate at its release as to whether or not it was real, and Marble Hornets, a web series posted on YouTube, that sparked similar debates. However, these projects were so successful because they were doing something new. Now, several decades on, the found footage genre is much more saturated. Thus, I wanted to take this genre which I have always enjoyed and draw from its spirit of being unpredictable and unsettling, but to do something new. Thus I came up with the idea of switching from found footage to traditional filming mid-film, in a way which I hope will have a similar effect that found footage films had when they first debuted.

First, I had to find inspiration from the piece. I knew that I wanted to create a piece that started off as found footage and then switched unexpectedly to conventional filming; thereby setting up an expectation for the audience and consequently subverting it.

My first point of reference was existing found-footage style films. My biggest inspiration for the piece was The Blair Witch Project. It popularised the idea of using found footage to make a feature length film. It also gave me the idea of setting the piece in the woods. I liked the atmosphere created in the film in that there is a great sense that the fact that they are out alone in the wilderness means that they are isolated. Isolation is scary because it rules out the possibility of help dealing with the threat. I wanted to emulate that atmosphere in my own piece.

Another piece of found footage filming that greatly inspired me is the ‘Marble Hornets’ series. It did something rarely achieved since The Blair Witch Project in 1999, which is that it created the illusion that the story could actually be real, and it did this by taking the found footage style of filming to a new platform; the internet. It was certainly not the only series of that style to rise in the early days of YouTube, but it was arguably the most popular in that niche. It quickly established, in the same way that The Blair Witch Project did, a reason rooted in reality for the filming to be occurring, and therefore justifying the possibility that it might be real. In The Blair Witch Project, they are filming their own investigation; in Marble Hornets they are creating a short film. This was the second stimulus for the story of my piece- finding a justification for the existence of the “found footage”. I was trying to keep the narrative simple because there were time constraints. Knowing that my actors were going to be my fellow students, and thus a similar age to me, got me thinking about situations I or my peers might be filming ourselves. My idea was a kind of holiday vlog. So, combining this with my first piece of inspiration (filming the piece in the woods) I came up with the idea of a hiking trip! This fulfilled both my criteria (wilderness and justified filming) and was practically very achievable- I wouldn’t need too much in the way of props and costume.

Now that I had a situation, I came to the trickier part of the story; the threat. I had lots of inspiration for this, so it was a question of finding something that was achievable, interesting, and fit with the themes of my piece.

Both The Blair Witch Project and the Marble Hornets series had a supernatural threat. I really loved this idea- a supernatural threat ties in perfectly with the isolation of my scenario because it adds to the audience’s feeling of helplessness and dread- how do you fight something that has no basis in reality? Furthermore, both of the aforementioned supernatural threats are vague and undefined in order to add to the feeling of helplessness. However, there were practical considerations to take into account. Both of these pieces use an abundance of effects and props to create their supernatural menace, and I had to consider how much of this I would realistically be able to achieve. The problem I faced was not only that I would need these elements, but that they would have to be very good, because it’s very easy for something like this to appear quite amateur in an already low budget medium. Overall, I felt that trying to make my threat supernatural would be making life unnecessarily difficult for myself, so I decided to opt for something rooted in reality.

That didn’t mean that any of the above was a pointless rumination, however. There was inspiration I could take from the supernatural menaces mentioned and incorporate that into my own threat. The main thing I had learned was the fear of the unknown. How could I take something possible and incorporate this unknown, dangerous element? This was my inspiration for the character that I created to be the villain of the piece; ‘Red’.

Even his name is an unknown factor. It’s not so ridiculous that it’s clearly not a name, but it’s not a normal choice. Is it an alias? Does he have something to hide? Every decision I made for the character was supposed to make the audience ask themselves questions; how did he get injured? Why is he out here on his own? The element of mystery, as I had learned from The Blair Witch Project and from Marble Hornets, creates a sense of uncertainty in the audience. And this sense of uncertainty creates a sense of unease. I took inspiration from human characters that are unsettling. A film that really inspired me was ‘Us’, directed by Jordan Peele. Some of the characters in that film are doppelgangers, and you can tell which the doppelgangers are because they are unsettling in odd, subtle ways.

Once I had created this character, the story flowed quite naturally from there. Again, I was trying to keep the narrative simple, and I had a serial killer and three innocents alone in the woods together so the obvious choice was to build up to him attempting to murder them. And with that, I had devised my story.

The creation of the script

Another thing that adds to the level of realism in a found footage film, in tandem with the element of plausibility, is that often the dialogue feels very natural and un-staged. This is because with many found footage films, such as The Blair Witch Project, the dialogue is largely improvised. I definitely wanted to incorporate this into my piece, because it creates a greater sense of naturalism that found footage creates so well, so when I was writing the script, I used a combination of actual script writing with directed improvisation. For instance: see appendix a.

The parts of the script in italics are improvised action, whereas lines that are important to drive the plot are scripted traditionally.

Alongside creating a script from improvisation I also tailored the characters I created to suit the actors I had cast. My thinking behind this was that it would make the improvisation seem more natural is the cast felt comfortable within the characters that they were playing, and this would encourage natural dialogue and a feeling of realism for the audience. For horror media to be scary, there needs to be an element of truth in it, because if it is entirely removed from reality then there will be no perceived threat for the audience.

Chemistry is also very important on screen, and I was lucky enough to be able to use actors who have known each other for some time, so that the relationships would seem real.

It would have been interesting to do this project with people I didn’t know so well. In that instance, I would have created the characters with them, rather than for them. It would have taken a much longer rehearsal process.

Once I had the script, it was time to storyboard the piece. Storyboarding the found footage section of the piece was easy enough, because it would all be one shot; it could be as messy as it came out, and it just followed the narrative of the scenes I had drafted when writing the script. However, the second section of the piece, which is filmed conventionally, would be more complex. I wanted it to contrast as much as possible with the found footage portion in order to subvert what the audience is expecting (which is a continuation of what is already established). My main inspiration was the film ‘The Hole in the Ground’, directed by Lee Cronin. This film has a really good sequence in where the main character is searching in the woods. It feels very threatening, as if she is in real danger, but you don’t know what the danger is. Careful observation led me to the conclusion that short shot that are quite different from each other are key, because they keep the audience on edge and give them no real time to acclimatise to a shot. Although in contrast, a few longer shots are needed to break it up so it doesn’t seem manic. Another style of shot I had observed in horror films is the shot where you can see something the character on screen can’t, or vice versa. If you can see something the character can’t, it leads to a feeling of helplessness. You want to shout; “watch out!” but you know you are powerless to stop it happening. Here is an example of a shot where I used this: see Appendix b. On the other hand, the shot where the character sees something that the audience can’t creates an unknown for the audience- what is the danger? Where is the danger? An example of this would be this shot from La Influencia (Appendix c) where the main character has seen something before the audience has.

A few other shots that particularly inspired me were from ‘The Hole in the Ground’, which has the sequence of the main character running through the woods that utilises lots of shots where she crosses the screen to show great distance being travelled; see appendices d and e for a direct comparison with a shot that I took, and also the Criminal Minds episode “Mr & Mrs Anderson”, which has a sequence where a character is strangled that inspired my own sequence. I particularly liked the point of view shot of the victim being strangled, because it brought the viewer into the perspective of the victim.

So with all this inspiration I created my storyboard. I knew that there were going to be time constraints- I only had a day to film because my actors were busy. I created my storyboard very specifically so I would know exactly what I wanted. This also meant that on the day I would find a contrast in filming styles- the sound footage would be semi improvised and the conventional footage would be filmed in a very rigorous way. I hoped this would translate to a dramatic shift of feeling in the actual film.

Filming the piece

On the day of filming, I allowed the actors some time to improvise extra scenes in the section before the threat (Red) appears. This had several purposes- one, to flesh out the more scripted scenes with a few extra snippets to communicate a sense of time- more short scenes gives the impression of time passing. Secondly, I had found during the rehearsal process that the actors were very receptive to the characters and the story, truly embodying them, and I wanted to give the actors a chance to bring their own short sections as a chance for them to demonstrate the choices they had made for their characters. For instance, there were moments that Sam’s character struggled working the camera. This allowed the other characters to make fun of her age, which establishes their playful relationship and that Sam is their elder, and it adds a moment of comedy that will help to lull the audience into a false sense of security. I have come to find that my own personal style of directing benefits from a good ratio of instruction and collaboration. And finally, it gave the actors a chance to warm into the characters before the drama of the second half.

Another challenge on the day of filming, as mentioned briefly above, was the timings. I had only one day to film the piece, as my actors (being fellow third years with their own PRPs to create) are very busy. The story takes place over several days, so I filmed the scenes out of order (for instance, all of the night-time scenes, regardless of their chronology, had to be filmed last). This provided a challenge for my actors, because they had to jump around their emotional states. I tried to help them with this in rehearsals. I kept the story pretty simple, and I made sure that they were all very familiar with it in our first rehearsal, nearly a month before the filming date.

Another simple way of communicating the passage of time was by using different locations, so I found a couple of different wildernesses to film in that were close to each other.

Editing the piece

Now that I had filmed the piece, I came to the second important part of the process of creating the piece- editing it. Creating the base footage was pretty easy, because I had lots of material to choose from when I had let the actors improvise the found footage, and the second section (contemporary filming) had been planned out to thoroughly that it was mostly just a process of trimming and editing the shots together. But then we came to the more complex parts; visual and sound editing.

The visual editing of the piece was mostly colour grading it. I looked at lots of horror films for inspiration for this. Often horror is set at the night-time, but mine was in the day, so I decided to take out a lot of the brighter tones to make the mood more sombre and less upbeat. I also darkened it slightly. A film that inspired me would be The Ritual, which is also set in the woods. Even though some of it is in day time, the muted colours and the darkness leave you feeling uneasy; see Appendix f for an example. The other thing that I did when editing the piece was to make the found footage section lower quality. This was to add to the homemade feel of it, and to contrast with the switch to conventional filming.

I also had lots of inspiration for the audio. I’m a big fan of horror games; I think an interactive experience, when well executed, can be a terrifying experience. For the soundtrack, I took inspiration from classics such as Slender, created by Mark J. Hadley, which excellently builds tension throughout the 20 or so minutes it spans in a very simple manner. The aim of the game is to collect 8 pages. After every page that is picked up, a new sound starts (e.g. heavy breathing, static sounds, and an unsettling base note). I incorporated this simple layering of sounds to create tension into my piece. The part of my film that is conventional footage is split into three sections (Jo looking for Lucy, Lucy running then being attacked by Red, and Jo finding Lucy’s body). So, inspired by Slender, I added new parts of the soundtrack in each new ‘scene’ (they are not quite distinct enough to be labelled separate scenes but they are definitely distinct. After the first ‘scene’, I incorporated some creepy base notes. In the third ‘scene’ I added more higher pitched, tenser sounds. This created an effect of layering the different sounds on top of each other, increasing the tension. I also saw a short film I liked called El Grifo by the same director that filmed La Influencia (Denis Rovira van Boekholt). In this film, the soundtrack is really thematic, as the film is centred around plumbing, so the soundtrack sneakily features sounds like water dripping to point towards the terror in the film. I thought I could incorporate this into my own work by really emphasising the panting sounds of the two female characters as they run away, because this hints towards how Red will kill Jo at the end; strangulation. It will make the audience think about being short of breath before the strangulation happens.

The results

Firstly, let’s talk about how I achieved the criteria that I set out to fulfil, before looking at things that could have been improved upon.

The film subverts the traditions found in the found-footage genre by breaking the unspoken rules; the rule that this film is potentially real because it is justified by being “found footage”. It does this by establishing these rules in a relaxed, friendly atmosphere, and then the violent plot shift coincides with the breaking of these rules; the found footage is gone and we turn to conventional filming.

The dialogue feels natural and believable because the characters that actors played were easily accessible and comfortable for them; as I had written them to be. The actors really took to the situation and characters and I loved working with them.

A fearful atmosphere was created in the conventionally filmed portion of the film by the use of camera work that I did, that was inspired by directors such as Lee Cronin, Denis Rovira van Boekholt and Daniel Myrick, as detailed above.

The tension was also enhanced by the sound and visual editing that I did in post-production.

There are a few things that I would have improved upon retrospectively. Firstly, I would have done the vfx (cut on Red’s face) in advance, because it was difficult on location when it was windy.

I would have liked more time to film. Of course, this wasn’t possible, but if theoretically it were, I would like to have worked with the actors to find a more genuine sense of fear, to evoke the same in the audience. This could have been done with breathing exercises to build panic, or we could have workshopped ways to get the actors to a place of terror (in a safe and healthy environment, of course). In fact retrospectively this could have been done in rehearsals to abide with the time constraints of this project. I did this for the last scene though and the atmosphere is right. I did this by having everyone start their drinks and creating the friendly relaxed atmosphere that I wanted at the start of the scene (to lull the audience into a false sense of security before the reveal of Red).

I also think I could have built the tension more effectively. I was going for a real shock to the system when the footage becomes conventional, but I think that the easy atmosphere at the start might have made this change a little too jarring.

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dlamp-dictator · 4 years

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I’ll keep an eye on this anime. If anything, it definitely looks pretty, the fight scenes have been [done] well so far, and seeing Melida be cute in full color is great. If I just get a decent action series out of this anime, I’ll be happy.

-Allen X, October 22 2019

Well folks, Assassins Pride wrapped up last week and I can safely say I got what I wanted. In the end, I think this was a pretty fun and passable anime to watch weekly. Decent action, decent plot, and a decently written story. Nothing was too offensive or annoying save for one or two moments in the middle, and as much as I felt the show stumbled compared to the manga and possibly the light novel I have hope that this might just get an official translate and... well, you know, do the pacing thing better.

But since I had a habit of covering this thing after every arc I figured I’d give the show some closing thoughts and an overall opinion of the thing at the end. I hope I don’t spend a 1000+ words on this, but... well... I can get pretty wordy when I get a groove, so we’ll see.

But anyway, let’s start with...

The Good

The Visuals

Let’s not mince words folks, this anime is pretty. It might be because I’m a sucker for night aesthetic, but the one disadvantage of the black-and-white manga is that were really never got to see just how dark the world of Flandor really was. To quote myself again:

(This is a) world trapped in perpetual night with warriors of light being the only thing keeping away further darkness, along with the last bastion of humanity being a literal chandelier city in case you missed the symbolism

And nothing makes you really feel that more than that first scene of Kufa walking through the quiet streets on his way to the Angel estate, seeing not only how dark the world is from the night sky above, but also how artificial the light within it really is. The dark aesthetic really helps a lot of the other characters pop out a lot more in terms of the actual color. Mana is literally a glowing, flaming aura that lights the darkness like a candle. The two main girls in this series are a bright blonde and white-haired girl that stand out against the black night sky like the sun and stars.

Again, symbolism.

The list goes on, but you get the idea.

The Action

Not to say this is Trigger or Madhouse or Perriot, but it is pretty nice that we get a decent action scene every arc. Something I definitely appreciate is that they show contrast between Melida’s kind nature and friendly attitude with her brutal and dirty fighting style.

See, Melida is a kind and gentle girl that would rather not use violence save for fighting demons, but if she has to fight she’ll use every dirty trick in the book. She’ll throw sand, she feint attacks, she go into brawling when close enough, she fake being injured to make her opponent let their guard down. It’s a nice little story detail that shows you this noblewoman was, in fact, trained by a ruthless assassin that taught her to actual fight for survival instead of like a nobleman. Her taking down stronger students by doing all but outright cheat is almost hilarious to watch sometimes.

The Overall Narrative

For as fast as the pacing was I feel like I got a good idea of Melida’s story and the trials she has to endure as the “Incompetent Talented Girl”. This story focused on Melida more than Kufa, which is something I’m very thankful for. It’s always tempting to switch over the OP male MC to overpower his way through things, but to my pleasant surprise this only happened in one arc, and it was an arc that had some justification for it, though I really didn’t care it myself. Save for the third arc everything was to show Melida’s growth from a shy and bullied girl to a competent swordswoman that can even hold her own against the other heirs of the three noble houses.

But that’s enough of the good, so now we have to talk about...

The Bad

The Pacing

There’s no getting around this. Even if I didn’t already read bits of the manga online ahead of time the pacing for this show is still insanely fast. Even taking out the fact that this is an adapted story we’re never given enough time to absorb certain scenes. And the worse is that a lot of the arcs have a focus on intrigue and mystery. Luna Lumiere Selection Tournament Arc had two major mysteries: who was the one that changed the plaque and who is Black Madia masquerading as? They especially took care to make Mule seem like a very suspicious party only to reveal it was a third party in the very same episode. The mystery of Black Madia was done better, though by necessity as she couldn’t reveal herself until the very last moment of the arc. This was fine in the anime, but it could had used an extra episode or two of build-up between scenes. The arc at Rosetti’s hometown was a huge mystery that had Kufa under believable suspicious, and was actually done pretty well by not revealing the true culprit until the last episode of it, it also helps that Kufa was under suspicion from the first episode of it. The Library Exam Arc was... done alright, but it could had used an extra episode or two to cook and add some more tension between the Angels and the other nobles, but it was done well.

And that’s the main issue. Every arc could had used one or two extra episodes to really set the scene. Nothing was done poorly in terms of structure and narrative, but everything could had been better had things slowed down. Despite the action this show isn’t a shounen or action genre, it’s a political drama with a combat school setting.

This might also be just the issue of this being a 12-episode anime adapting a novel. A novel has the advantage of progressing its plots slowly with the knowledge the reader has the entire book to finish either that arc or at least most of it. If that reader skips around because they’re bored that says more about them than the author. With an anime or television show you don’t have that luxury, you only have a few episodes at best to keep a viewers attention, especially for something like the seasonal anime lineup where you have to keep audience retention every week and your competition is the other 50+ anime out there that might possibly be more interesting. I pity whatever decent anime has to contend with the newest My Hero Academia season along with everything else.

I understand the need to want to just show off the cool bits to keep audience attention, but it came at the cost of the narrative. Even if this thing still holds together well it could hold together much better if they only focused on the first two arcs of this series instead of trying to shove in four, but alas...

In any case...

Other Smaller Issues that Bugged Allen

Really, the pacing was the biggest issue in this anime, but I do have my fair share of gripes and nitpicks too. I’ll keep this in list form for the sake of simplicity.

Kufa having access to potions/medicines that can not only kick-start a mana-less person into having it, but one that can also turn half-Lyncrophyes back to humans opens up quite a few plotholes and issues. I’m sure the light novel and manga explain their existence better, probably something to the effect of them being extremely experimental and a deadly risk, but the anime doesn’t explain that and it can take you out of the story if you care about the world-building.

I feel like side characters like Nerva, Mule, and Salacha were suppose to get more screentime, or at least more development, but just didn’t due to the pacing and runtime. You get the basic idea of everyone, but it feels like the show wanted to do more with them, or at least that the source material probably did more with them.

The occasional moments fanservice don’t work too well in this series. It’s nothing to the level of Senran Kagura or Ikkitousen, but when your cast consist of mostly middle school aged girls the most fanservice that should be seen is a beach episode or a sleepover episode. And while this anime did have a sleepover episode it still also took time to put some of this girls in... compromising positions. My general rule of fanservice is that high school age characters doesn’t really count due to the wonky-ness of hormones act and how most media east and west tends to treat high school characters anyway, but middle school kids... yeah no. That’s just my morals, but it’s still a detractor from the anime.

The third arc kind of felt pointless since it tried to focus on Kufa’s relationship with Rosetti. I didn’t really need to know about Kufa’s past, and connecting it to Rosetti just... doesn’t feel right given how he dismissive treated her in the first arc. Making Rose a half-vampire was also pretty pointless to me. It feels like they were trying to give Kufa a harem when this show is mostly focused on Melida, and the most interesting part about his past is a mix of his life in the dark zone of the world and his past as an assassin, not his relationships with his apparent adoptive sister. It just felt... really focused and a waste of time. They could had cut out this arc, gave each other arc an extra episode to build up some things and be none the weaker for it.

The Dub

The nice thing about VRV is that I can see the HiDive dubcast along with the show. I only watched a handful of episodes, but here are my general throughts for those curious. Overall, the dub is fine, but like most HiDive Dubcasts it feels... off. Not bad, but it feels like they needed to be 4 or 6 weeks off the original release instead of 2 or 3 to get the director in the right place. I feel like most of the issues with this dub come from the direction and scripting rather than the actual voice-acting. But just to keep this short.

Kufa sounds too flat. This was a pretty common dubbing issue back in the early 2000s when trying to translate/localize a stoic, serious character. The director is probably trying to make the actor emulate the original Japanese voice acting and Kufa just sounds too flat and bored at times because of it. Most character like this tend to be given a more deadpan and sarcastic edge to them in English to make the have a little more emotion. In Japanese that flat tone is meant imply stoicism, resolve, and masculinity. In English... that’s just sounding flat and bored. Again, most characters like this are usually given a different kind of tone to keep them from sounding bored. For Kufa I’d say a more strict and stern tone of voice would help given he’s an instructor, almost like a even-toned drill sergeant issuing orders. He does sound like that from time to time when actually instructing, but I wish he kept that persona. Though that’s just my take.

Nerva and Rosetti... just don’t hit it for me. I don’t mind the difference in tone, but the script doesn’t lend itself to it. Rosetti’s actor makes her sounds much more like an adult in English, but her actual lines are still childish, which makes her come off as a little... cringe. Same with Nerva, but I’m willing to overlook it since she’s more of a side character anyway. Mule actually sounds pretty good in this regard. Her tone sounds less like a middle schooler and more like a young college woman, but since a lot of her actual lines has an air of condescending smugness it works out, though her actor sounds like she’s reading the script and not acting from it.

The scripting in general seemed to really want to follow the subbed version and it falls flat because of it. When I read the subtitles that take the world, systems, and general wackiness of this subpar anime so seriously it’s fine. But to actually hear it in a language I understand... it kinda’ shows how lacking the series is. I’m not saying they should had added jokes or anything, but it feels like they could had made the dialogue a bit more casual than it was in the subs so that the lines flowed a little better. HiDive dubs, their dubcasts especially, tend to feel like a product of the early 2000s rather than something current.

Thoughts and Recommendations

Overall I do recommend this series as a decent action show with some nice colors to it and a killer OP and ED, but there's a lot better I could recommend too that does everything this anime does but better.

So... here are a recommendations I have if Assassins Pride didn’t really click with you as much as you hoped.

A bit of an odd recommendation, but I’ll stick up Goblin Slayer first. This anime is actually a lot like Assassins Pride, being a character-focused story with decent side characters and does a lot of its world-building in the background. However, it does its arcs far better than Assassins Pride since they aren’t intrigue-based and the cast is solving much simpler problems in the grand scheme of things. It’s also an anime based off a light novel just to add to the similarities, and said anime also has four arcs to it. I will say this is a series that’s not for the faint of heart, and I almost recommend skipping episode 1 if you’re of a weaker constitution if you plan on watching this one.

Next up would be Chivalry of a Failed Knight. It does the combat school aspect of Assassins Pride much better, taking some strides to show that each of its students are, in fact, warriors capable of harming and killing others and going to a school to hone those skills. And if you that Melida was a ruthless fighter Ikki probably takes it a step further. And this is also another light novel adaptation, though the manga did technically finish its updates online if you’re curious. A side recommendation to this one would be Armed Girl's Machiavellism.

My last recommendation will be Katana Maidens. This is another combat school anime that I feel is honestly average, but it’s an anime-original series that has 24 episodes behind it, and quite a few decent action scenes. I recommend this one more to action junkies as I feel the story really starts to drag in the second half, but an overall decent series that does do itself world-building a little better than Assassins Pride, or at least I’m not asking as many questions at the end of it.

And those are my thoughts on Assassins Pride. Now I have a Rambling on video games to work on, so I’ll see you all later.

#assassins pride #your dictator is speaking

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sazorak · 4 years

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Every Game I Played in 2019, Ranked

2019 sure was a year that happened where I happened to play some video games. Here’s the ones I played enough to form opinions, in a rough ranked order of preference.

It’s kind of weird that I’ve done this for five years now, but hey. I like to talk about things that I like / dislike. Hopefully you’ll empathize with my complaints, and give ones I enjoyed a try.

As a bonus, I also tweeted about the anime I watched and enjoyed this year.

2015 | 2016 | 2017 | 2018

Orm & Cheep: Narrow Squeaks – 1985 – ZX Spectrum – ★

How far would you go for a joke? For the sake of a joke, I spent an hour beating an incomprehensible, shitty ZX Spectrum Game about Orm & Cheep, an 80s British children show I only know about from a Trash Night video making fun of it.

Orm & Cheep: Birthday Party – 1985 – ZX Spectrum – ★

… and also this one, though Birthday Party is marginally better than Narrow Squeaks. Marginally. Extremely marginally. Congratulations to Orm & Cheap: Birthday Party.

16. River City Girls – 2019 – Switch – ★★★

The style of River City Girls is great. I like a lot of what it’s doing in terms of look and sound. It’s just that… well, River City Ransom’s gameplay was interesting something-like 30 years ago. Gameplay wise, this game hasn’t evolved that much from OG RC Ransom. The combat certainly feels better, but as far as it controls… I can’t tell if it’s not taking advantage of modern controllers and just sticking too close to the original’s control scheme, or if side-scrolling beat-em-ups are themselves just so staid and dated these days that there’s not much to be done. I just wasn’t having much fun, and the RC Ransom progression of new techniques and stat boosting didn’t exactly make me want to keep going.

It’s a real shame because in terms of pure aesthetics and concept, the game is amazing. I just don’t actually enjoy playing it. Oh well!

15. Baba is You – 2019 – Switch – ★★★

The core gameplay concept of Baba is You is fantastic. The way you manipulate nouns and verbs to construct phrases that operate as equations in a physical environment is super interesting. The early goings of the game were quite fun.

The problem I have with this game is that when you hit a wall in it, that wall can sometimes be impenetrable. I found that Baba is You is at times too subtle with its attempt to “teach” you tricks or onboard you into approaches to puzzles; it’s possible to come to solutions without taking away the lesson the designer intended, which can make later puzzles basically impossible.

The difficulty curve feels all over the place; I was extremely high on this game early on, but after getting completely blocked moving forward for hours on end, with the only real recourse being to either look stuff up or stare at past puzzles to try to figure out what apparently crucial lesson I missed despite coming to my own solutions, I ultimately decided to just do something else.

14. Cadence of Hyrule – 2019 – Switch – ★★★

Zelda has great music. Crypt of the Necrodancer has pretty good rhythm-game action. Combine them, and you get… well, it turns out you get a pretty OK procedurally generated Zelda-game with Necrodancer mechanics, I suppose. The appeal is easy to understand, though I’m personally not sure I care much for the final product.

I enjoyed the original Necrodancer well enough as a simple run-based, short-ish rhythm dungeon crawler. The brevity of each given “run” (stemming in part from my own inadequate skill, I suppose) worked well with the style of gameplay, in that it never really became much of a chore.

Meanwhile, I enjoy Zelda as an extended puzzle adventure game where there’s an innate unthinking flow to the actions. I’m not typically thinking much about the moment-to-moment about the actual mechanics of the action; the brain’s desires flow directly to the motion on the screen, as it were.

Combining the two results in a Necrodancer experience that’s way too long, and a Zelda experience that is way harder to control. Add the fact that the procedurally generated world isn’t that interesting and I’m just rather lukewarm on this. Meh!

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13. Super Robot Wars T – 2019 – PS4 – ★★★

It’s fantastic that Super Robot Wars is finally getting proper, high-quality localizations again. It felt like a dream to finally be able to play this franchise again after being forced to stop after the DS era. Playing through the rather roughly translated, and somewhat monotonous SRW OG: Moon Dwellers was good because the OG games tended to have the highest production values and narrative quality (missing out on 2nd OG may have also helped). SRW V was my first foray into the more recent non-OG games, and so shined as something rather fresh to me.

Two years on, and two Super Robot Wars releases later, it’s plain to see that Super Robot Wars’ current annual release cadence is not great. It results in incredibly repetitive, monotonous games that rely heavily on asset reuse— both between games, and even within the same game. Part of the problem is that the derivativeness doesn’t feel additive. It’s not like SRW T is SRW V + SRW X + New Stuff; it’s more that SRW T is a reskinned SRW V, with some heavy series-asset reuse to boot. I think it’d be a bit more tolerable if it felt like these games were building on each other, but every single one feels exactly as slight and mechanically weak.

Super Robot Wars’ combat have not been particularly good from a tactical sense for a long time now. The original OG games were probably the last time the combat was particularly interesting for me, as it presented an actual challenge and difficulty curve. Nowadays, they are entirely fanservice cakewalks, even on the hardest modes. Hell, they’ve apparently decided that increasing the difficulty of the game means you don’t get to chase the special challenge goals, which actually can paradoxically make portions of the hard-mode actually easier than the normal. Bizarre!

I guess the idea is “well, folks are playing this to see the bits, so if it’s hard they won’t!” Which… I disagree? If the gameplay is deeply unsatisfying, why wouldn’t I just watch the damn series? Crossover shenanigans don’t mean much whey you don’t do much with it. Fanservice talking heads ain’t enough!

The addition of Cowboy Bebop and the return of GaoGaiGar and Gunbuster should have had me onboard. The series list for this game is fantastic. But what they do with it is so flat that about 30 chapters in, I just… stopped. It wasn’t worth it. I’d plainly seen all that it had to offer. Easy, slow, and repetitive gameplay isn’t appealing to me, even if I do get to see Spike Spiegel doing sky donuts to take out a Zaku.

Additionally: stop putting Nadesico in these games. The units are boring, the plot is boring. Stop devoting so much time to it! It sucks!!

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12. Ape Out – 2019 – Switch – ★★★★

Ape Out is a game where you’re a big ol’ gorilla murdering guys with guns while dope ass percussive jazz drums play to the action. It’s cool, it’s short, it could honestly probably do with being somewhat shorter, but whatever. I enjoyed it.

BattleTech – 2018 – Steam – ★★★★

Despite being famously a “mecha guy”, BattleTech has never really been my thing. While I’m not opposed to mecha-as-tank-analog, it’s not my primary focus in the genre; I like my robots to be fast, really. I like mecha getting into melee and fucking shit up. Mecha for me is a power fantasy. That’s not really BattleTech / MechWarrior’s thing. That all being said, I quite enjoyed my time with BattleTech, the PC-game rendition of the tabletop thing. It’s a neat turn-based tactical robot combat RPG with an interesting overarching campaign structure… to a point.

The first issue I had is pacing. While the game is turn-based, the combat and movement plays out in real-time. And given how lumbering these robots are, this means that a single mission can take aaaages. Think 45 minutes to an hour for a single mission. It took me about 20-30 hours to get to the campaign’s halfway point, which is when the game really started to sour on me.

The second issue is one of variance. Let me run you through the fundamental loop of the game. You are a mercenary captain that has a ship of mechs and mech pilots, and you fly around from planet to planet taking on jobs. You need money to pay for your ship to keep going, as well as to pay your pilots. It’s expensive to outfit your mechs, and severe damage to them can both REALLY eat into your budget and also take weeks in-game to repair. Missions are rated based on difficulty, and you are expected generally to field a greater “tonnage” of mechs in excess to that difficulty. This all plays out pretty well.

The game starts with you possessing mostly lighter mechs, and as you progress, you’re presented more and more missions in the campaign that require increasingly beefier mechs with more armor and more guns. Whereas in the tabletop game there’s presumably a kind of “point” system by which players are given a limited amount of tonnage that they can field on any given mission (for purposes of balance), there’s no such limit in the game; as such, you’re encouraged to field the four-ish beefiest robots you have, as they’re the most likely to kill everything fast while coming out with the least damage.

How do you get these beefy mechs? Well, you don’t buy them; instead, you’re aiming to kill opposing pilots and leave their robots as much intact as possible so that you can salvage or steal them. It’s kind of amusing; your entire gameplan after a point becomes “how the fuck do I shake this robot around a bunch such that its pilot dies???” It makes sense in practice, but if you think about it for even a second it comes across rather silly. Given you need good mechs to progress, you don’t have much other choice other than just running tonnnsss of missions and hoping you eventually get enough mech fragments to reconstruct some of your own. But beefy-ness isn’t the whole story, as some of the robots you can get just plain suck, regardless of their tonnage. You’re basically rolling dice again and again hoping a robot worthy of stealing shows up so you can kill its friends, and try to kill its pilot as gently as possible. You go through this cycle four times, across the four different weight-classes, until you’ve got what you need in terms of a team of class-appropriate mechs.

The fundamental lack of variety in what you field combines with every single mission really being “how do I kneecap everyone” instead of the given mission objective to make the game quite samey. Mission types don’t vary much, and the environments don’t constrain you all that much, either; the only ones that are particularly interesting are moons and Mars-like planets where your mechs’ ability to regulate their heat become much more constrained, which can necessitate loadout changes.

I enjoyed the story enough for what it was, but honestly? After 30 hours, I was pretty much good. I had a good time with BattleTech, but I’d had my fill.

Mortal Kombat X – 2015 – Steam – ★★★★

In my ongoing adventure of playing the Mortal Kombat games for their goofy plot / story modes and nothing else, I played Mortal Kombat X. I’m not sure there’s much to talk about these other than “Hey I enjoy their dumb ongoing narrative; I wonder where they’ll go from here!”

11. Mortal Kombat XI – 2019 – Steam – ★★★★

Ditto. The plot for these games are getting sillier and sillier, and the ending of XI may be the most ridiculous yet. In a good way.

10. Devil May Cry V – 2019 – Steam – ★★★★

Character action games are heavily predicated on the question of “How do we spice the game up over time so that it stays interesting… without overwhelming the player?” Devil May Cry V’s answer is “well, we’ll slowly give them more characters with their own expanding skill sets, that’ll be neat!”

It is neat, but I’m not sure it was actually a good idea. The three protagonists all have extremely different move sets, meaning that the forced switches between them on a chapter-to-chapter basis results in you never really mastering any one of them. Each character has a ton of depth, but… take, for example, Nero, the “main” protagonist. He has a sub-mechanic involved with revving his motorcycle sword to boost damage. I never actually figured out how to get to work. Never really had to, because he had so many other mechanics that were also effective, and I never had much time with him alone to dial in the weird motorcycle thing.

DMCV also does probably my least favorite gameplay gimmick of “introduce new mechanics in a boss battle!” Like great, you gave me a whole new move set here, and are now going to rate me on my performance when you’ve never given me a chance to learn these skills? Oh wait, you’re giving me new mechanics in the final boss battle!?! Fuck off. That sucks!

Also, I think I’m an outlier, but I actually preferred playing as V, the control-three-characters-at-once-while-reading-a-book guy. Just felt like I dialed his move set in easier. Weird.

9. Untitled Goose Game – 2019 – Switch – ★★★★

I’m not going to pretend that this is a deep game, or an enduring game, or even necessarily a great game. But I had a lot of fun with it, I have a lot of good memories thinking about it, and I am glad that so many people out there are now wrestling with the fact that birds can be both terrible and also good. Untitled Goose Game carries a powerful message about avian kind. You would do well to learn from it.

8. Super Mario Maker 2 – 2019 – Switch – ★★★★

Mario Maker 2 is such an incremental upgrade to Mario Maker that it hardly feels like it earns that “2”. That being said: Mario Maker 1 is pretty darn good so it’s not like that’s all that bad. The additional mechanics and story mode are good, granted, but like… I had been wanting more than just Mario Maker 1.5.

As is, it was pretty easy to get bored with Mario Maker pretty quickly, given it was mostly a game I’d already played quite a bit before. The addition of the campaign held my interest for a fair amount of time, but I’m not exactly coming back to this all that often. Hopefully the content updates they seem to be rolling into it keep up.

7. Kind Worlds: Lo-Fi Beats to Write To – 2019 – Steam – ★★★★

This is less a video game and more a sort of vague pen-pal application masquerading as a game, but man… the existence of this thing is neat. It’s just a program where folks write letters about their problems, and people send them stuff back. That’s it. It’s kind of a sweet thing to just exist.

I’m not a person with what would one term especially Heavy Problems, but just going through other folks letters and giving them an encouraging word is itself nice.

6. The Outer Worlds – 2019 – Epic Game Store – ★★★★

Having been deeply disappointed with the quality of Fallout 4, I was very happy to see Obsidian come back to do their own Fallout-a-like. The Outer Worlds isn’t perfect; I wish it had a bit more of a bite, the gunplay was… fine, the environment design was kind of dull, and the gameplay loop did not outlast the length of the game itself. But I had a fun enough time with it.

That said, I think the dearth of me having much to say here sort of speaks to how… rather unambitious the writing and design ended up being. There’s not a ton to say about it. It’s more responsive than a Fallout 4, to be sure, but even that caps out at a point. It doesn’t necessarily offer much in the way of RPG-style different “paths” to develop your character in terms of who they are or how they behave, beyond the sort-of four-way axis of “grouch to nice” and “corporatist to socialist.” The skill tree ends up being pretty flat, and you can basically become a master of everything by the end.

Shruggo.

5. Pokémon Sword – 2019 – Switch – ★★★★

Pokémon Sword/Shield is a bizarre thing— its design is constantly fighting against itself. There are tons of ease-of-use improvements– but it somehow has some of the worst online in the series. It gives you dozens of complex, half-explained systems— but also feels the need to hold your hand lest you get lost in its incredibly linear, dull story. It adds challenging Pokémon raid battles that you largely need to team up with other players to beat— but also has one of the most trivial progressions in the series. It has a huge and varied open “Wild Area” where you can catch hundreds of Pokémon before ever facing the first gym— but that wild area largely exists as a world unto its own separate from the traditional Pokémon “routes”. It doesn’t want to have a plot up until the very end when it decides that gee, I guess we have to, even if it makes no sense.

Let’s go into these in more detail.

Sword/Shield introduces a ton of gameplay improvements. Auto-saving, while problematic in places, is super useful. The ability to move Pokémon directly from the box to your party is great, and removes a lot of process headaches. Single hand controls are a godsend for both improved accessibility and general ease of use. Items are way easier to get, Pokemon are easier to raise, and this is probably the easiest game in the entire series to breed and raise “high tier” Pokemon for online battling.

On the other hand: despite your friend list being loaded into the game, you are forced to use a bizarre password system and request system that is super confusing and prone to issues. You cannot directly trade or battle or play with friends except through this, which occasionally results in headaches anytime someone uses the same four-digit password as you and your bud. The Max Raid battle system is super poorly explained in-game in terms of how you find and join others raids— I only divined it by a tweet someone made. They did away with the “GTS” trading system they had used for the past decade that allowed global Pokemon bartering, presumably in favor of encouraging more natural trades— but didn’t give any way to actually communicate with people in game what you want to trade for. It encourages more in-person interaction, but that’s once again playing into Game Freak’s obsession with the Japanese mode of gaming.

Sword/Shield perhaps has the most sheer amount of systems in any one of these games. It’s not necessarily all good, but in terms of “wow, you’re not babying us huh” it is at least interesting. There’s Pokemon that evolve based on absurd, never-explained conditions like “number of crits in a single battle”, “pass underneath this specific rock when they’re at low health”, “spin baby spin.” The wild area has tons of mechanical stuff that they let you explore without forcing your hand much, and they let you explore it freely without really railroading you. There’s a separate wild-area specific currency system based on raids / dens that you just stumble upon unprompted, really.

On the other hand, the core story progression of the game though… is perhaps the most infuriatingly patronizing thing I’ve experienced. Cutscenes happen every 15 seconds, often-times forcing your movement, and are almost of zero consequence beyond someone going HEY YOU SHOULD GO THAT WAY. The game is completely unwilling to let you get lost when going through the story. It’s constant, it’s unrelenting, it’s maddening. It literally made me mad.

Pokémon Raid battles are super interesting. The battles themselves aren’t necessarily hard, but the kinds of things they present— in terms of providing access to unique Pokémon, rare items, and the fact that they’re not as “rinse-and-repeat” as normal battles— gives the system and game increased longevity. It’s a pretty deep system, with meaningful rewards. A five-star battle is time consuming and you run the risk of failing, but if you pull it off you can get items like TRs, EXP candies, even bottle caps (super useful items that let you increase the baseline stat “DNA” of your Pokémon), and the captured Pokémon can have unique moves you’d normally have to breed and possess extremely high baseline stats. You can even get hidden secret abilities! Nice!

On the other hand: the core game progression is so piss easy and straight forward. The game’s leveling curve is all out of whack, in part because their introduction of a forced “always on” EXP share. In older games, you’d only get EXP from actively battling and beating a Pokemon in a fight, or having participated in a fight. Now, your whole team gets EXP just from being around, and you also get EXP from catching Pokemon, making curry, and all sorts of other small activities. All of this is fine or even good in the abstract as it makes raising stuff easier, but the game isn’t well balanced around it. Encounters don’t scale, which can result in you steamrolling the game if you engage with any of the game’s other systems prior to beating the game. I had to compensate by stretching my normal party of six into a party of 10, constantly swapping members out to keep the average level across the party down. Additionally, the only non-PVP reason to train and breed pokes, the Battle Tower, is so trivially easy this time that… why bother??

The wild area system is brilliant. A big criticism I’ve had with this series in the past is that the kinds of Pokemon any given player is bound to encounter and capture tend to be pretty similar. The limited amount of Pokemon that tend to be put on a traditional Pokemon route, and the limited means you have to encounter them (“hey I walk through the grass, we’ll see what pops up”) doesn’t trend towards players ending up with very different party compositions, just because there’s not a ton of options at any given point. The wild area completely tosses that out the window. As an open space, the types of things someone encounters will vary wildly— and it’s further varied by player-specific weather conditions that dynamically change the encounter tables. It completely opens up the kinds of Pokemon one can encounter early on, presenting hundreds of appropriately leveled options for players. It’s brilliant. The intermixing of both grass-only, overworld-visible, and raid-specific Pokemon also increases the range of encounters. It’s the accomplishment of the core Pokemon concept of “explore and find everything.” Finally.

On the other hand: the wild area is actually kind of boring to explore, visually speaking. It’s basically the Ocarina of Time field with sporadic patches of grass. There’s little actually diversity or mechanics to its exploration, especially when compared to the fact that… the game still has normal routes. They still behave as they always have, except that by the total remove of “Hidden Machine” mobility moves, the ability to explore geographically has been severely hampered. There’s no “gee, I can’t get there yet, guess I’ll have to come back later” except for a single mobility mechanic (the ability to go over the water, introduced very late in the game). It makes revisiting past areas mostly a box-checking exercise, and in general feels like an odd juxtaposition. They either should went all-in on the wild area or better merged the concepts together, because as is it feels… weird. Especially because the wild area could have done with being bigger and more diverse looking.

The game spends most of its time having no story at all, which is kind of boring. Juxtaposed with the railroading stuff where there’s still constant cutscenes with their mostly mediocre characters who don’t do all that much, it almost comes across as padding than anything. There are good characters (Piers and Marnie are the best, the gym leaders in general are good) but man do they try too hard to put Leon over.

But then at the end they introduce the story super quickly and it’s very dumb in a way that made me laugh out loud so congrats I guess.

All in all, I rather liked Sword/Shield. It’s no Sun/Moon— which innovated in tons of places and had an extremely charming story, cast, and progression— but the places that it innovates, and the ease-of-use improvements that they’ve put in the game, are great improvements to the baseline formula. While it’s caused a ton of drama online, the Pokédex and Pokémon Bank stuff are not huge impacts on my personal enjoyment of the game. It kind of stinks a bit, but the overall package is still quite good and fun.

The Legend of the Zelda: Breath of the Wild, Master Mode – 2017 – Switch – ★★★★★

Breath of the Wild was my favorite game the year it was released. The harder Master Mode is something that had interested me as something to check out for a replay, but I decided to wait until the shadow of my previous playthrough loomed somewhat less. Breath of the Wild is, after all, both a monumental game and also a monumentally large game. Going back to it for Master Mode would mean (by way of my own obsessive brain) 100%ing it all over again, which is extremely time consuming, even if I don’t go after the all the Koroks.

There was also this sort of reticence in my behind to confront the creeping suspicion I’ve had in my mind that some of the DLC additions have made the core game worse. Which, I would say… is probably somewhat the case. Certain DLC gear items extremely imbalance standard play and really fuck with the exploration of the game (specifically, Majora’s Mask basically making you not have to fight multiple enemy types). Still, I knew I could ignore those, and just focus down on the core experience of Master Mode: harder enemies, regenerating enemy health, and the introduction of floating platforms.

Turns out, BOTW is still fucking amazing, and while the additions Master Mode make aren’t essential, they do make for a fun second run of a fantastic game. The harder enemies make the early parts of that game WAY HARDER (making you really have to get good at using your bombs and stealth), and while that difficulty ramp doesn’t keep up throughout (which, honestly, the platforms are somewhat to blame as they make getting certain bits of higher-level loot earlier easier), it’s still just a great game to go back to.

Breath of the Wild remains my all-time favorite game. Hyped for BOTW2.

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4. Sekiro: Shadows Die Twice – 2019 – Steam – ★★★★★

Sekiro is in a sense the purest expression of the Souls formula. Stripped away of the jolly co-op, the PVP, the stats, the equipment, and most customization to speak of, Sekiro asks the simple question: can you do this? Can you learn all the systems in this quite challenging game, and engage with it on its own terms?

In its mechanical simplicity, I found Sekiro to be my favorite game of that lineage, as it has allowed them to really polish the gameplay by its singular focus. It just feels amazing to stealth around and backstab dudes, parry everything, and triumph in nail-biting sword duels. While you do gain new skills and equipment (in the form of the ninja tools), they are just supplementing the fundamental systems of the game, rather than acting as diverging ones. So really, most of your time is spent not learning wholly new methods of combat, but instead improving your mastery of the core one.

And the feel of mastering that combat is incredible. By the end you feel unstoppable; normal enemies that would have been challenges early on are nothing. Even a lot of the bosses become trivial as-time goes on, bar the few ‘mastery test’ bosses interleaved throughout the progression. This isn’t some “hey I got more EXP and now over-level for everything!” thing, either; this is me, the human holding the controller getting skilled enough to become a Sekiro master. It’s an amazing feeling.

I beat every single boss in the game, including the hidden ones, and enjoyed the hell out of it.

3. Bloodstained: Ritual of the Night – 2019 – Steam – ★★★★★

I’m very much on the record as being a huge IGAvania partisan. I fuckin’ love the core loop of that permutation of the Metroidvania formula. Koji Igarashi no longer being able to make Castlevanias hurt me. A lot. Over a decade of time spanned between the last IGAvania game, Order of Ecclesia, and the release of Bloodstained. I was a bit worried.

Thank god Bloodstained is really, really, really good.

Bloodstained is extremely “one of those.” You move about a 2D interconnected world, collect items and abilities until you find the stuff that let you move forward in a new area. It’s kind of an eclectic hybrid of IGA’s past titles. The castle design feels very Aria of Sorrow. The shard mechanics feel close to Aria/Dawn of Sorrow’s soul system. The weapons feel very Symphony of the Night meets Portrait of Ruin. The overall mechanics of movement feel most akin to Order of Ecclesia. All in all: a good mix.

The game is massive. There’s so many weird one-off mechanics (something I appreciate), bizarre callbacks, goofs. There’s an in-depth alchemy system (mostly used for cooking, which is funny). The shard system is a bit boring in places— some shards are extremely simple and forgettable mechanically— but the shard leveling system is kind of hilarious in how broken it can become. The familiar system from SOTN is back and has been essentially perfected by making it a dedicated slot so you can just hang with a fairy or sword pal.

I wish the game had more enemy diversity, and the story left something to be desired. Many shards just aren’t very interesting. But the game is just so dang fun. The core gameplay loop is just so compelling, and the game just feels so dang good. I’m glad they took all the time to polish the gameplay feel because hooooooooooo boy.

Looking forward to those DLC characters for some additional playthroughs.

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2. Outer Wilds – 2019 – Epic Game Store – ★★★★★

“Space exploration”, “cosmology”, “archeology”, and “sociology.” While these are certainly not the only fields that dominate much of my attention, they are some big ones. The Outer Wilds is a space exploration game where you explore the structure of a strange but exquisitely constructed solar system, and dig through the remains of a mysterious vanished alien species. Also, you’re stuck in a Majora’s Mask-like apocalyptic time loop ‘cuz the sun keeps exploding. Should probably find out why that’s happening.

I went into this game completely blind, entirely based on the way Austin Walker was raving about it on twitter. Austin’s interests in heady space shit is pretty similar to my own, and turns out? Worked out quite well for me. I blindly explored this solar system for about twenty hours over the course of a couple weeks, and came away from the experience misty eyed at the ending. Outer Wilds is fantastic.

It’s a surprisingly touching and cozy for a game that mostly about you going off into space on your own, all alone. And that’s because you’re not, really. Outer Wilds is less about the science of exploration and archeology and the meaning of it, why it matters even in the darkest moments. Why do we explore? Why does science matter, divorced from the parasite of industry and markets? What value does it give to us, to future generations?

The game is built on the notion that even as we individually wander, explore, and discover, we’re all together collectively building on something that may outlive us, even outlive our species, the pursuit of a collective knowledge that transcends personal enrichment and individual accomplishments.

You are but one a few alien explorers, each on their own adventure. As you adventure, you catch their signals as you cruise across space. The things you learn and do are further built on the relics and messages left behind by the Nomai, the species that came before. This sense of a personal and emotional connection in the act of discovery is the heart of this game. We’re not standing on the shoulders of giants; we’re holding hands with those before us and those after us to build a bridge to a future that we may not live to see.

It’s a positive message of hope in the face of oblivion.

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1. Fire Emblem: Three Houses – 2019 – Switch – ★★★★★

I’ve been really on-and-off on Fire Emblem over the years. I first got in on the franchise with Awakening, which I rather liked for its anime-ass sensibilities— though not without criticism. I found the combat kind of obnoxious in its tendency to get muddied down in the Oops You Done Fucked Up, Time To Reset junk. It was too anime-ass in some places, not the least of which being its incredibly one-note characters who had little bearing on ongoing events so as to support the permadeath system without too much wasted effort on the developers’ part. Fates, the follow-up on Awakening, only amped up these criticisms, becoming convoluted, stupid, and kind of obnoxious to play.

I had hopes that Three Houses would be an improvement. Initial impressions made it seem way more serious, way more grounded, with a lot of improved systems. Turns out: it was better than I could have dared of expected or hoped. Three Houses isn’t improvement, or even innovation; it’s a revolution.

Three Houses is great. It’s long, it’s got so many different systems going on that I hardly know where to begin with describing it, but… it’s great. It’s the platonic ideal of what I’d like out of a Fire Emblem. Things feel like they matter. The setting feels weighty, the plot is actually good, and the characters are absolutely marvelous.

No, it’s not perfect— its handling of representation could DEFINITELY be better. Some of the narrative is hokey as hell in places. Certain routes seem to have gotten more attention than others. The class-based specialization systems could do with more depth such that so many characters don’t end up mostly identically specialized to each other.

But… I found the combat extremely enjoyable. The charge-based rewind mechanic removed the feel-bad gotchas of unanticipated troop appearances and bad rolls etc. The characters are fun, and they’re kept relevant all the whole way through via creative framing of events. The ability to roam an actual physical space via the monastery made the world feel more alive, and made everything feel more real.

The writing was actually interesting and nuanced, exploring things like faith, race, social classes, feudal politics, and romance. While the three routes are largely similar, it’s interesting just how different the underlying messages of each of them ends up being. I appreciate that in this game where you otherwise spend most of your time hanging around with nobles in a church ends just short of you rolling out the guillotines by the end.

This is a tactical RPG in 2019 that I have put something like 150+ hours into, having beaten only two of the four routes. I was, and still am, deeply invested in everything that is. I’ll probably go back to the other two routes when the final DLC is out next year.

SAKURAI, PUT EDELGARD IN SMASH

#GAME OF THE YEAR #2019 #GOTY #nonfiction #thinkpiece #fire emblem: three houses #outer wilds #bloodstained #sekiro #pokemon sword/shield

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scripttorture · 4 years

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1.) For a character, which can be as similar or different from yourself as you want. They're from the country of Imptula (based on England, with influence from China), and work as a healer. Once had a good relationship with the Archmage Chromain Baker, but after he starts having people tortured for information on the Wrathlanders, they stand their ground and fight his agenda in every way they can without putting themselves in unnecessary danger. Beyond that too, if you'd like.

2.) So, character creation questions: Name? (1st, last, middle, nickname?) What race? {for story purposes, they’d need to be one of these: Human, Mithu (rabbi- elf people), Draeken (lizardfolk), or Catfolk } Hair? (length, style, color, texture) Skin tones? Height? Body type? Age? Sex/Gender?3.) were they trained as a combat medic or a hospital doctor? Or a potion-maker/ pharmacist type? Affinity for what element? (Fire, water, earth, air, life/death?) Personality? (key traits, or a meyers briggs quiz if you want) Likes? Dislikes? What would they do on a day off/ in their free time? (hobbies, how they wind down, places they’d visit)

I feel like this is a question that’s more about how I’d write a character involved in this kind of activism then what people like this are ‘typically’ like. And I’m happy to indulge. (Though for the record I’m not sure if there is a ‘typical’ anti-torture activist in real life.)

With tabletop roleplaying games (which is what this sounds like) I tend to build a character starting from the race and culture they’re from.

I do that because I found looking at the stat bonuses for different rpg races was helpful for narrowing down the class I played.

But if it’s just writing and stat bonuses aren’t a factor- I personally go by what I think is interesting.

And what’s interesting to me is in-betweens and boundaries. If I have a setting with a lot of cultural differences then I want to show them. I like writing different characters navigating cultural differences in as many different ways as possible. I like code switching. I like exploring how people relate to their cultures and why.

I don’t tend to write a lot of non-human races in my fantasy.

I tend towards writing non-white characters. Partly because I feel like the genres I write in are completely saturated with white, Europe-based stories. And partly because it’s an unfortunate fact that I’m more likely to get published as a white person and the lack of representation is harming kids who aren’t white.

Looking at this list of character features I am struggling to put anything together. Because- well I don’t create characters in isolation. I create them for the world they inhabit.

In my own stories I’m creating them as I create the culture and other characters. I pick traits based on contrast to other characters. I pick backgrounds and inherent features based on what they add, what they bring in to the story.

And I do a similar thing in rpgs. I pick my character’s race because of what the world lore says about them and how that would effect them navigating the world. I pick their personality and age based on the other characters around them.

I also tend to hand out neuroses to my characters like sweets.

So you know what? Since we’re talking about how I would do this let’s put aside the list of features and focus on what I’d find important: the relationship with the Archmage.

This opposition is important, it’s character defining for both of them. I’d want someone different but not a complete inversion. I’d want to create a strong sense that these characters have different backgrounds, different roots, but enough similarities that they’d have been friendly. I’d also want to create as much diversity in the story as possible.

He’s a man. So my first instinct is to make a female character to oppose him.

He’s probably at least middle age if he’s occupying a position of power that requires promotion. I’d either make the activist much younger, in her 20s, or much older, in her 70s.

I’ll talk about making an older character because I feel like having a younger character would be more… typical. It’s a common fantasy trope to have the young good-hearted apprentice turn on their evil mentor. It’s a lot less common to have a good-hearted mentor stay alive and try to take down their evil ex-student.

An older character means you could have a wealth of experience. You could potentially give a character that age experience in every single area you’ve mentioned at different periods in her life. And that breadth of experience in turn means that she could have a lot of connections, hundreds of old friends.

That means that setting up an organised opposition wouldn’t be work. It would be a few letters or phone calls.

‘Lee my dear, how are you pet? Now I’m ever so sorry to bother you but I don’t suppose you’d be able to let me and a few friends into one of your warehouses tomorrow night? Oh well of course not dear! They’re very well behaved-’

‘Josephine, darling how are the children? I’m very happy to hear that, and the Mother’s Union meetings are they going well? How wonderful! I knew you’d be able to manage it- I don’t suppose the members would be interested in-’

‘Georgie love, how are the orchids doing? I am so glad to hear that, now I don’t suppose you know a Dr Cheng of Rainwrights Street? It’s ever so important I get to speak to him-’

One of the wonderful things about writing older people as activists is the place in society they occupy. A lot of cultures have traditions of revering the elderly as the holders of communal wisdom and history. And in practice a lot of older people have deeper and more wide ranging ties to their community; they know a lot of people and they know them well.

This makes them a natural fit for a communal movement. They can capitalise on respect they have already earned.

This also shifts the narrative away from big singular acts, making it about a collection of smaller sustained actions. I personally think that’s more true to life, and it leads to a different kind of story.

Having an older character as a focus also creates an easy way to introduce disability in a naturalistic way. Arthritis, cataracts, heart disease and cancer all become more likely with age. Since the character’s strength is in her social capital there’s a great opportunity to write a powerful disabled character.

Age and disability could even create an advantage for her. Even if the Archmage is comfortable having a bunch of strapping young men arrest, or even beat, a frail old lady with a cane other people won’t forget it.

Acting openly against a character like that, especially a loved member of the local community, would create a backlash. It would inflame opinion and help turn people against the Archmage. Because how dare he treat a sweet old lady with such disrespect.

To flesh this character out further, adding to her personality and hobbies, I’d simply look back over what I already have and think about what that suggests.

If I want the character to be someone with ‘soft’ communal power then I’d concentrate on the sorts of hobbies and traits that support that image. That make her above reproach in the cultures she’s part of.

Depending on the culture that can mean participation in religious rites and various institutions.

Thinking about England now I’d make a character like that the head of a local WI group. I’d make her a good cook and the kind of person whose door is always open to her neighbours. She’d make jams and pickles and cakes and have three types of tea blends in the cupboard. I’d make her a very good listener, patient and compassionate. She might do a little bit of gardening and grow flowers.

In essence I’d deliberately pick hobbies and traits that have particular associations in that culture: things that emphasise her status as a respected pillar of the community.

I don’t know what these would be in the cultures found throughout China. I also don’t know what they’d be in the setting you’ve created which has blended English and Chinese cultures. But you should be able to figure out what they are by thinking about the culture you’ve rooted this character in.

Alternately you might want to give her hobbies that are useful for the plot later on. Perhaps they establish a connection to a particular character, or establish the character’s capacity to cope well with a particular problem.

Rounding this off, you do not have to use the character I’ve sketched or the type of character creation process I do. There is no ‘correct’ way to approach writing. This is just the way I’ve found that works for me personally.

I hope that outlining it will help you think about your own character creation process and what you want out of this character.

Anti-torture activists really can look like anyone. They can be ‘mavericks’ operating outside the system. They can be traditionalists deeply entrenched within it. They can be any age, gender and race. They can be disabled.

Think about the kind of character your story needs. Think about what’s typical for the genre and whether sticking with that norm benefits your story.

Above all practice. Writing does become easier with time.

I hope that helps. :)

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#rosavirgoart #writing advice #tw torture #fantasy ask #writing styles #activism #writing activists #character creation

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klimp42 · 5 years

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Final Fantasy 8: An Amazing Story Hidden Behind Weird Mechanics

So it should be said that there is one thing that I love and that is some good narrative in gaming. I love it, give me a game with a good narrative and at least decent gameplay and I am in there, and a good narrative doesn't mean oscar level writing because I love Deadly Premonition, a notoriously weird game, but a golden game in my heart. Its story is weird and unique and at times outright strange, but it's endearing and I love how wild the story gets as it goes on. Now why am I talking about this? Why it's because of my lovely new bad gameplay good narrative obsession, Final Fantasy 8. That's right, gamer boys and girls we are going back to another old game, and that's because I just played it, and the remastered just got announced at E3 this year.

Alright so if you know nothing about the Final Fantasy series, let alone the 8th installment, let me help you out. Final Fantasy is an old franchise, it started in 1987 and got its name because the original name Fighting Fantasy was taken by a board game in the states, the myth of it being called Final Fantasy because it was a last ditch effort to make a successful game is just that, a myth. The game is prolific, being one of the granddaddy's of the JRPG genre and helping bring that good ol fashion turn based combat system popular in tabletop games like Dungeons and Dragons (D&D) to videogames. Final Fantasy 1 is a classic of gaming and also is kind of like D&D, you have classes similar to the previously mentioned board game; Warrior, Monk, Thief, Paladin; with a few of its own unique classes; Red mage, Black mage and White mage. The games story was very simple, worlds ending, killing these fiends and go back in time and stop Chaos from doing this over again, also at some point the game explains that you are from another universe and that's why you just start outside the beginning kingdom, Final Fantasy stories like to be a little wild at times.

Like D&D you gained levels in this game by fighting monsters, getting stronger with each fight and eventually being strong enough to be able to face the final boss on even grounds, or maybe a little above them if you grind out yourself to max level. This system, if you are into the RPG genre, is incredibly rewarding as you get to see your team of lowly nothings evolve into masters of combat who can slay gods. The best part, to me at least, is going back to the starting area or an area that gave you trouble and stomping on those monsters who thought they were so cool 20 levels ago. Now in Final Fantasy series this system is in most of them, fight monsters, get exp, level up and your stats go up with it, the special cases are Final Fantasy 2,6,8 and 10, and of these the worst offenders of weird leveling are 2, 6 and 8. That's right, I said it, 6 has a weird leveling system with level not raising stats and needing summons equipped to level stats, I personally don't believe that it deserves its spot as one of the best Final Fantasys but that is an article for another time. I could explain why each is weird and 10 is fun and different in a good way, but forget all that and let's get into the focus of this piece, Final Fantasy 8.

Now even though it is my new obsession in good story bad gameplay, my fascination for this game goes way back to when I was a 3 year old with a pizza hut demo disc. Yeah you bet that was a thing, you would order a large pizza and it would come with a playstation demo disc that had a couple of games, but the only one that mattered to little old me was the demo for Final Fantasy 8, or that game with the guy with the cool sword and big water snake, as I was 3 and couldn't read that well. Seriously, if you have played a Final Fantasy game before you would know that you can use summons by clicking the tab they are in and then selecting the one you want, well ol kid me thought it was random as I was just picking things at random. So what I am saying is, I have always had a special place for this game in my heart, so there might be a bit of bias.

So I spent some time flip flopping over what I wanted to discuss and explain first, story or gameplay, on the one hand I wanted you to know what FF8 had to offer narratively, but on the other hand I feel I should let you guys know what you're getting into when you play this. So I decided to compliment sandwich this one, but like a subway compliment sandwich where the teenager who doesn't really want to work there barely tries to cut your bread so the top part is like really thin. So thin that what I am going to give you is this, FF8 is a great story of a young man learning to overcome his own weaknesses to understand that strength can be found in companions, listen I know that sounds cliche but I need more space to talk about the amazing character development and got to tell you about this bad gameplay.

So remember when I said that old Final Fantasy's had a nice leveling system based on fighting enemies, getting exp and raising stats? Throw it all out the window, because like I told you earlier FF8 is one of the weird ones. So for some reason FF8 has a whole system based around equipping "Guardian Forces" (summons) and then through this unlocking the ability to junction (equip) magic to your stats; like strength, magic, hp and the other classics; while also being able to junction magic to element and status attack and defense, allowing you to be able to either protect or do damage based on said elements and statuses. Now you might be thinking how does this work, because magic is usually used based on magic points (mp) well there is no mp in FF8. This is due to the narrative stating that it is very rare for people to do raw magic instead they need to draw magic from nature and creatures/people and use it that way. This means that in FF8 magic is a finite resource and instead of regaining mp you have to spend time drawing magic that is randomized to be either 2 or 12 magic, so it can take awhile. If this sounds a bit weird and confusing, don't worry it kind of is, there are tutorials to explain it, but man is it a weird system. So why is this all necessary? Well unlike other Final Fantasy's, in FF8 leveling raises your stats by the littlest amount, so to be able to do decent damage and also defend against it you need to junction magic. Also to make things even worse, leveling can be a problem as monsters level with you, so if an enemy is tough for you at level 20, raising your level to 30 won't help you as they will be doing more damage and have more health. The game does try to offset this by making it so if an enemy had fire to be drawn at lvl 10, at lvl 30 they would have fira to be drawn, which would make it so that you can junction a more powerful magic and do more damage. FF8 also gives you the option to just cast magic instead of drawing it from enemies, and can be useful since most bosses have healing magic to draw from them meaning you can go in without a huge stock of cure's.

Alright so we have a confusing system with a bad mechanic of monsters getting stronger with you as you level, is that all that is weird? Nope. So remember the guardian forces I mentioned earlier? Well they are necessary to be able to junction spells to stats and make your party stronger, but there are a limited number of them and that usually means only three of the six party members will have guardian forces so you can make a decent party for fighting. The problem is that the game likes to switch around who is playable a lot, and while it is fun and interesting in the narrative, it sucks gameplay wise. The game does make it easy by letting you be able to switch who has what guardian forces in a menu, but it gets tedious after the 15th time you have to do it and especially when the game switches between two perspectives like 4 times in 30 minutes. Also sometimes you have dream sequences where you play as another team and when you come back to your main party everyone but Squall, the main character, has everything unequipped, so you have to go back and re-junction everything and it's just a waste of time. Listen I could keep going on the weird aspects of this game, but I don't want it to take up this whole article and we got cool card games to talk about.

FF8 does a lot of things in a weird and bad way, but that doesn't mean it doesn't do things really really right, and thats with Triple Triad baby! Triple Triad is the super fun card game that exist within FF8, a game so good that you can also play it in FF14. The game is easy to get into and can get pretty hard with each area of the game map have unique rules, yet you can game the system by going to areas and abolishing rules and bring rules from other regions to new regions. Well except for one region, it is the king of rules, no exceptions! The fun of this game is not just showing the npc's of FF8 why you are the Yugi Muto of Triple Triad, you see you can learn an ability to turn cards you win from Triple Triad into items, which in turn can be turned into spells, powerful spells, I'm talking spells you are not meant to gain until like lvl 45 or 50. This means that if you want to you can spend time in the starting area at lvl 7 and leave a powerhouse that level thanks to Triple Triad. But there is a problem, this method is not quick, it takes hours to do this and also to even be able to get the ability to do this you will need to get AP for your Guardian Forces, which means either fighting fights normally or carding enemies which kills them but doesn' give exp, it can only be done at low health so be careful not to accidentally kill them.

So I have given a decent way to have fun but let me give you guys, in my opinion, the best way to enjoy FF8's gameplay, cheats. That's right a game that's so weird that the PC port has cheats that you can add to your save. I'm not talking about the normal ones we saw when FF7 and FF9 were ported to modern consoles, like the ability to turn off encounters and have it so you don't lose health in combat and do max 9999 damage. I am talking about the ability to modify a save file so you start with most low and mid level magic at full stock on all characters, and let me tell you it is a blessing. On PC it also allows you to at anytime raise all magic stocks to 100 and max level Guardian Forces, and let me tell you guys if you don't have the patience for the grind or want to try and just enjoy the story I highly suggest using these cheats, it makes things so much easier and I hope that the FF8 port coming to console has these cheats too. Also I should let you guys know I didn't immediately use these cheats, I tried to play it legit about three different times and every time the grind burnt me out, honestly if it wasn't for these cheats I would never had enjoyed FF8's amazing story. Speaking of amazing stories, let's finish off this subway compliment sandwich and talk about the good stuff.

So let me give you guys the easy lore of this world, on this planet, there are two types of people, normal people and sorceress, sorceresses can use magic naturally and a lot of them use this power for world domination especially the last sorceress, Adel, who was in charge of the country of Esthar and almost succeeded, due to this the Gardens were created by a man named Cid with the sole purpose to be able to kill sorceress should one like Adel show up again. The thing is one will show up and I don't mean because of plots need for a main antagonist, I mean because a sorceress can not die until she passes her powers to another female. Our story follows the character of Squall Lionheart, a quiet and distant youth who wants nothing more than to be able to prove that he is strong enough to be on his own, so badly that he actively shuts out other people who try to get close to him. Our boy here is a SeeD candidate in Balamb Garden, which means he is close to graduating and being basically a mercenary for the Garden until the need to fight a Sorceress arrives. And from there that's how the story grows, you have a cast of characters that join over time each interesting in their own right, helping as you deal with a looming sorceresses threat. Sounds pretty standard right? Well let's be real even something standard can be handled masterfully and that is exactly what FF8 does. Before I get into that there are two more characters I need to talk about. Laguna Loire, a soldier of the Galbadian army, who Squall keeps having vivid dreams about, through these dreams you see piece by piece of what he went through and how these events shaped him and the world around him and also how he is connected to Squall. There is also Rinoa Heartilly, a young girl who wishes to free the city of Timber from Galabadian control and in the process acts as the catalyst to what motivates Squall to change, all do to a chance meeting. When you look at the plot of FF8 it is abit generic what with stopping a Sorceress from creating her perfect utopia and most characters, outside of the ones mentioned above, get little depth to them, but what makes this story so engaging and interesting is Squall.

You see Squall starts off as a character who I can say I was disappointed in and didn't really like, a character I had adored since I was a kid due to my memories with that demo. He is angsty, off putting and really annoying, hell it feels like half of Squalls Dialogue is "...", but the thing is, that's the point. Squall is like that because he is afraid of trusting people again, fearing that if he does he will get hurt again and abandoned like he was as a child, so he puts on this cold front to make it easier for him, he doesn't have to worry if people like and rely on him if he is cold and indifferent, they would all just hate him. It is through this premise and his chance meeting with Rinoa that we see how Squall grows and changes, a man who I started off hating and grew to love and it's because it feels natural. Squall isn't cold because he thinks its cool or because he knows he is better than everyone else, he is a kid, a sad kid who went through heartbreak way to young and is afraid to love someone again. He is thrust into a dangerous world and has to come to terms that his lifestyle will not work for him, that he needs and wants to rely on others and he can't just keep ignoring a part of himself. Through the course of FF8 you see a quiet kid with a broken heart, overcome himself and become a real hero and use his new strength to make sure he can protect those close to him as well as himself.

And now we reach a bit of a problem, I would love to explain more, I want to explain why certain scenes moved me so much and why Squall's journey brought me to tears, but then I would need to spoil parts of the story, and that is the last thing I want to do. This is a Final Fantasy story that has incredible character development and I want people to be able to experience it themselves, to see what makes it great. I should also at least mention that the story is not without faults and tropes with Rinoa starting off being your typical manic pixie dream girl and if Squall really wanted to be alone he would have left SeeD after completing his training, and of course the other characters are not given as much screen time as Squall and Rinoa. However, tropes are not always bad and can still have depth, and by the end of the story I would say that Rinoa sheds the trope but it is on the nose in the beginning.

I left a lot of stuff out and with the HD remaster coming out sometime this year I think that if this article intrigued you, pick up a copy and experience it yourself. Experience a masterpiece of character growth that I believe is held back by clunky gameplay choices. I sincerely hope if you do decide to pick up this title that you enjoy Squall's story as much as I did.

#final fantasy #final fantasy viii #final fantasy 8 #final fantasy 8 hd #final fantasy 8 remaster #squall #squall leonhart #rinoa #rinoa heartilly #laguna #laguna loire #article #look at at #discussion

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