#but with a reference to that Classic sprite thrown in

[biblically-accurate-dca]

super disorganized sketch page because i do what i want

[aion-rsa]

Were Rampage’s Monsters Really Based on King Kong, Godzilla, and The Wolf Man?

https://ift.tt/eA8V8J

If the release of Godzilla vs. Kong has you feeling nostalgic for the golden age of giant monsters, you’re not alone. There was a time when it felt like giant monsters ruled TVs and theater screens everywhere. They were even prominently featured in one of the most beloved arcade games of the 1980s: 1986’s “smash-em-up” Rampage.

Actually, there were quite a few years after Rampage‘s release when it remained one of the best ways to live out your giant monster fantasies. Later games would more fully realize the “destroy everything” philosophy that Rampage was built on, but it took a long time for another game to come close to matching (must less surpassing) Rampage‘s simple and satisfying gameplay. For years, it was the best way to let gamers play as Godzilla, King Kong, and even The Wolfman (despite the fact the games didn’t use those names).

But what if I told you that all of those years we spent pretending that Rampage‘s characters were based on some of the most famous monsters in movie history may have been based on a lie? Were two of Rampage‘s main characters really based on the leads of Godzilla vs. Kong? The answer is more complicated than you probably thought…

Yes, Rampage’s George is Based On King Kong

This one probably won’t come as a surprise to anyone, but Rampage’s iconic giant monkey (we know him more fondly as George) is indeed based on King Kong.

“I’m a huge fan of Harryhausen and Willis O’Brien so I made George an ape,” says Rampage designer Brian Colin on the inspiration for the character.

While it seems simple enough to suspect that King Kong was the inspiration for a giant ape wreaking havoc on a city, we’re about to discover that such assumptions are not as simple as they seem. Besides, George isn’t exactly a 1:1 copy of King Kong. Their physical differences are slightly different and George even has an origin story that suggests he was turned into a monster as the result of an experiment with a vitamin gone wrong.

One other interesting thing to note is that the version of George seen in the Rampage movie looks noticeably different than the character’s big-screen inspiration. Well, it turns out that there’s a pretty simple reason for the change.

“We just wanted to separate ourselves from every other monster movie that had ever used a gorilla, King Kong obviously,” said Brad Peyton of the character’s design while also noting that they made him a rare albino gorilla to help explain why The Rock’s character may have felt more of a need to protect him while he was young.

Still, it’s fair to say that those times you imagined you were King Kong when you were playing Rampage were not in vain as the game’s creators were apparently dreaming of the same thing.

Lizzie Isn’t Based On Godzilla but Another Giant Lizard…

While it’s difficult to buy into the idea that Rampage’s Lizzie isn’t actually based on Godzilla given that Godzilla is on the first ballot of any monster Hall of Fame ceremony, Brian Colin has previously revealed that the character was actually inspired by the design of the creature Ymir from the comparatively obscure 1957 Ray Harryhausen monster film, 20 Million Miles to Earth.

It probably sounds wild to think that a giant lizard in a monster game could possibly be a nod to anything but Godzilla, but as you can see in the comparison shot above, it’s hard to deny the design similarities between Ymir and Lizzie.

According to Colin, the decision to base Lizzie more on Ymir than Godzilla can partially be attributed to the logistical issues presented by portraying Godzilla and Kong as physically similar characters in a video game.

“Lizzie had to be a lizard, but she had to fit the same frame and size as George,” says Colin. “There’s no way Godzilla could fit inside that frame! Godzilla smashes buildings but Godzilla, ya know, has an ass the size of Boston! We couldn’t do Godzilla in that game even if we wanted to.”

Considering that some have already pointed out that Godzilla vs. King Kong hardly feels like a fair fight on the basis of their size difference alone, Colin may have been on to something there. 

While this may break some people’s hearts, Colin has also reportedly stated that he was “not a Godzilla fan or a kaiju fan,” which probably made it that much easier to pass up the opportunity to make a game that unofficially stars the legendary monster. Of course, nothing is preventing you from pretending Lizzie is Godzilla as you likely already have been during these years of blissful ignorance.

Ralph Is Based On a Last-Minute Effort to Conserve Memory (With Maybe a Little Wolf Man Thrown In)

Ok, a giant monkey and a giant lizard are obvious enough candidates for a trio of monsters, but what about Ralph? Who is he based on?

The answer to that question is kind of strange, but the first thing you need to know about Ralph is that he’s in Rampage due to some technical shortcomings that required the team to reuse some assets.

“Ralph is Ralph because he’s just George with the head swapped out and a different color palette. That way we could squeeze three monsters into the game without using three times the sprites,” Colin has previously explained.

Well, that makes sense, but why is he a wolf? Some have speculated it’s because Rampage was supposed to be a Universal Studios monster game at some point and that Ralph was going to be based on the Wolfman. However, Colin has previously said that rumor is “hogwash.”

Still, it’s highly likely that the decision to use a wolf as the final creature was at least partially inspired by Colin’s love of classic monster movies and the designs of those creatures. Future Rampage games even make subtle jokes that reference classic werewolf horror films. Besides, there are few giant monster movies that actually star werewolves. 

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Interestingly enough, the only giant monster movie I could find starring a werewolf was the 1983 “fan film” Legendary Giant Beast Wolfman vs. Godzilla (aka Godzilla vs The Wolf Man). While it seems impossible that anyone on the Rampage team was even aware of that film’s existence, it’s interesting to note the design of Ralph is somewhat similar to the design of the wolf in that movie and that it and Rampage seemingly marked the first time anyone showcased a giant wolf and a large lizard on the same screen. 

The post Were Rampage’s Monsters Really Based on King Kong, Godzilla, and The Wolf Man? appeared first on Den of Geek.

from Den of Geek https://ift.tt/3m7FpcN

[danganronpaheadcanons]

Theory: Tsumugi wasn’t as half in control of things as she wanted the cast to believe (and had more troubles with her executives behind the scenes than we were led to believe)

-In the prologue, Monokubs make the mistake of not having the players receive their first memories and have to do a “retake”, while one of the kubs mention it would be bad if it was on the air.

-In chapter 1, after kubs accidentally destroy Monokuma instead of killing Kaito, once Monokuma is back and adds the time limit, Tsumugi has her zoning out sprite and says she wants to be alone for a while to think about this. She also keeps mentioning how worried she is about the time limit and how she at some point came to accept that it is all going to be over.

Also, when Monokuma is back from “dead”, he makes a low quality cosplay that gets a disgusted comment from her, saying she can’t even comment on it because of how low level of a cosplay it is, before she ends up being the one commenting/asking if Monokuma being back means the killing game is continuing.

-When Monokuma file is delivered, Monokuma takes another jab at her saying it was the notebook that killed people you write the name inside of, which gets her excited and saying Death Note, before Monokuma cuts in to say it was actually just the Monokuma file. She has her frustrated expression, saying this was deliberate, wasn’t it?

-Monokuma keeps throwing a lot of lines being passive aggressive over Tsumugi having killed Rantaro as well, including his infamous getting excited over Tsumugi going to the bathroom topic opening up, as well as Monokuma’s comment on how “That idiot killed him before his talent could be uncovered” when Rantaro’s lab is discovered in chapter 5.

-Tsumugi also seems fairly nervous when Kokichi mentions he will break into their rooms to get the Kubs Pads, with no hint of her even being aware of what he was planning, though she could be acting. She words it as “You can’t go into a girl’s room without permission!”

-She is also completely scandalized learning Miu was showing her poop to Keebo every single day. It is unlikely that a Mastermind at full power would allow something like that to happen.

-She also seems to be surprised by Monokuma placing the flashback light in the virtual world at Kokichi’s request. After that trial, she consistently keeps bringing up how dangerous Kokichi is and he could even kill one of them outright and they can’t just let him be at the start of the chapter 5 continously, seemingly trying to get someone take action about it.

-Kokichi’s takeover and the entire rest of the chapter 5, including but not limited to: Kokichi’s ‘Mastermind reveal’, eerily close to what was planned explanation of the plot that was supposed to happen in this chapter or next for the backstory part, his takeover, not knowing what happened in the hangar nor knowing who was even alive, all the classic Kokichi related points pointed out by everyone.

As the Mastermind of the season, she had general knowledge/hand in planning of the things such as what the “nonsensical gifts to open up places were named” (She has an optional dialogue in chapter 5 about Last Real Key and Real Last Key, lamenting maybe it would have been better to call them “Thief’s Key” and “Magic Key” instead.) and makes reference to Gonta’s execution as early as Trial 1 at the mention of him watching bug movies.

She likely had played a hand in 'character creations’, as in what memories would be given to characters with what sort of specific quirks added to their behaviour, as well as what motives would be used throughout the chapters and what kind of executions culprits would have, but especially given how the characters were at the first take of the prologue, flashback lights, as mentioned by her were more of “autosuggestions” than complete change of their personalities/with twisting their background stories. (Ie. Tenko still mentions it is too dangerous to go outside in the first take of the prologue, just without any degenerate male comment, while Rantaro stays pretty much same through both takes when it comes to how he acts, and retake with the Kaede-Shuichi meeting goes exactly the same until it starts to differ with Kaede mentioning a piano song.)

As they all mentioned they had things they devoted themselves to, but wouldn’t say they marveled at (as they are not asked if they are Ultimates/have Ultimate talents in the Japanese version until after they got their clothes changed), it was not a complete full rewrite of their personalities/talents rather than exaggerations/modifications on them which they did reject/contradict/outright not believe at throughout the game while for the most part it did work out, it is not even close to being in control power over how any of them would act. (Unless they used a specific kind of flashback light to get a certain result. Ie. Hope’s Peak flashback light, which is a form of manipulation but not *complete* power over them)

TLDR; Tsumugi had quite a bit twists and turns she never expected or had much control over thrown her way, because she was dealing with brainwashed actual flesh and blood people than characters, and it was more than just Kokichi that wasn’t under her *complete* control with complete rewrite of their personalities/no “pregame wanting to join the killing game tape personalities” but just added on/twisted existing things on each of them had, though Kokichi was the clearest example of how the memories inserted couldn’t fully control them the way she wanted, that they had their own free will as humans, even in a highly manipulated environment/situation/memory fuckery.

[incorrect-echovn-quotes]

Flynn: ‘Pop’ is pretty heinous but like, I’ll accept it, y'know? It’s just the other half of ‘soda-pop,’ like how ‘cab’ and ‘taxi’ are the two halves of ‘taxicab.’ It’s fine. It’s chill.

Flynn: But 'coke'? That’s a fucking brand name! Of a specific drink with a specific flavor! That shits RUDE, it’s CONFUSING, it’s DOWNRIGHT NONSENSICAL! Fuckin' misusing the art of language to confound your fellow man! The gall! Learn some fucking respect.

Carl: No it just happens sometimes. Its like Jell-O, Kleenex, Popsicle, Scotch Tape. It just happens.

TJ: But that’s not a good parallel at all. You can’t compare calling Sprite “coke” like a lawless heathen to the classic linguistic phenomenon of generic trademarks/proprietary eponyms, and I’ll tell you why;

TJ: ‘Jell-o’ is a brand name under which multiple flavours of gelatin (and pudding/custard) are produced. There isn’t just “Jell-o” and then special “strawberry Jell-o”, the name has never denoted just one specific flavour; ‘Popsicle’ is the same as Jello, it was never a name for just one flavour of popsicle; ‘Kleenex’ is a specific brand of tissues, but it’s not inherently that distinct from other tissues. They are all lightweight tissues used to blow your nose; ‘Scotch tape’ is used to refer to any tape that is like the original scotch tape, i.e., clear, thin, small, sticky on one side. We don’t call all tape ‘scotch tape’. Electric tape, duct tape, and packing tape are all their own things, and anybody who calls any of them ‘scotch tape’ has no regard for their fellow man and ought to be thrown into the sea.

TJ: MEANWHILE, Coca-Cola is a specific kind of soda with its own distinct flavour. When Coca-Cola makes other flavours, they’re called “vanilla Coke,” “cherry Coke,” etc. but “Coke” is still its own standalone flavour, a wholly other Thing apart from the “special” flavours the company produces. It would make far more sense if people used ‘coke’ the way we use ‘scotch tape’; that is, to denote only those sodas that are similar in appearance and taste to Coca-Cola (Pepsi, RC, Shasta Cola, etc.). I could see all of those being lumped in under a generic term ‘coke’. I could even see it being extended to all brown sodas, even though comparing Root Beer to Coke is like comparing a badger to a zebra just because they’re both black-and-white mammals. You’re on thin ice but at least there’s still some semblance of logic.

Flynn & Carl:

TJ: But no. You southerners, who bask in your sun and heat and chew upon your wheat stems with the indifference of an armadillo in the face of oncoming traffic, you who revel in lawlessness and chaos, you linguistic delinquents who fear neither God nor man, you are really going to look at a list of drinks that includes such variety in taste and appearance as Sprite, Mountain Dew, Mountain Dew Code Red, Orange Fanta, and Dr. Pepper, and call it all “Coke.” You’re going to picture, in your mind, a clear, lemon-lime fizzy drink and request “coke.” And then when asked “what kind?” you will not say “Coke Zero,” “Diet Coke,” or “Cherry Coke,” no. You will answer “Sprite,” like a madman, like a feral possum who knows the ways of right and wrong and chooses wrong just to spite its creator.

Flynn & Carl:

TJ: And then you have the gall to say it’s an eponym as valid as ‘Jello’. No. You tossed your logic into the dumpster fires of the underworld long ago, you cannot justify it now. You cannot tell me you don’t know your own crimes. “It’s all coke,” you say, and you taste the sin of it on your tongue, and you laugh. Know this, that you are inviting judgment upon yourself and one day you will be devoured by the sun.

[douxreviews]

Veronica Mars - ‘Spring Break Forever’ Review

"Neptune didn't need another private investigator. It needed an enema."

Veronica Mars is a grown-up, and she really wants you to know it.

It seems like just yesterday we were all waxing nostalgic over the return of Neptune High alums, past loves and other familiar faces. The Veronica Mars Kickstarter movie felt like one giant hug for the fans; a thank you for making its existence possible, and for sticking by the series for so long that Rob Thomas had to keep it alive. I loved it for what it was, but I understood that if Mars and co. were to continue past that, it would have to be in a different form. We had the novels in the interim - The Thousand Dollar Tan Line and Mr. Kiss and Tell - which were both good in their own way, but Veronica Mars was made for the screen.

This new iteration of the series is in the perfect format for a mystery orientated show; a heavily serialized burst of episodes on a platform that allows it to be the series it deserves to be. Both Thomas and Kristen Bell have told us this isn’t necessarily the series we want, but one that we need. Whether or not that's true remains up in the air by the close of ‘Spring Break Forever’, the first episode of Veronica Mars since May 2007, but it certainly made one hell of a statement. This isn’t the show we loved; it’s grown up along with its titular character, and the world around her has changed because of it. It’s seedier, darker, and even more complex than it used to be, much like Veronica herself. The episode wastes no time in proving this with quite a bit of cursing (but not too much) and some more R rated content than we're used to - a decapitated head, for instance. It's all a little jarring initially, but it fits so seamlessly into the world that Thomas built that it's difficult to contest any of it.

Our first glimpse of Veronica is a flash-forward to what turns out to be the episode’s final scene. Veronica watches law enforcement comb a ruined crime scene at a seaside motel in Neptune; a familiar sight, minus the wreckage. She laments on her decision to stay in Neptune because she thought it needed her, and she needed it. Somehow, she believes that theory to be proven wrong, and these next 8 episodes will tell us exactly why she's been so defeated.

Back in the present-day, Veronica helps a burned 90’er get revenge on her slimy ex by hitting him back twice as hard; getting even is also a very familiar sight where Veronica is concerned. Ronnie doesn’t exactly break through Karsyn’s entitled attitude, but she does dupe her into paying quite a bit more than her usual fee, which is useful considering Mars Investigations appears to be going through some cash-flow problems, even with two PIs now under the same roof.

Keith doesn’t seem to find it as easy to manipulate gullible clients as Veronica. He’s even taking on a supermarket case that’s paying next to nothing just because he feels like he has to. I felt bad for the Mars patriarch, here. He’s still in pain following the hit and run we saw in the movie, a fact made all the more obvious by the cane he needs to walk. He also seems to be suffering from memory loss, which isn’t an ideal situation for a PI whose job is reliant on remembering the most miniscule of details. Perhaps he should consider handing over the reins to his eagle-eyed daughter.

Whoever takes the lead, both members of the Mars family will need to be at the top of their game following an explosion at a seaside motel during spring break. There’s a whole sequence in the middle of the hour that introduces us to everyone who was there at the time. It’s clearly a pivotal scene, one that demands the viewer’s attention, but without an established character, it runs a bit too long.

Regardless, the impact of the explosion itself is even larger that it seemed initially, with all of the victims’ deaths causing a myriad of complications for those they’ve left behind. Aside from a douchebag frat boy, the blow claims the lives of the fiancée of a congressman’s brother; the son of a woman with ties to a major Mexican cartel leader by the name El Despiadado; and the owner of the motel itself, who is survived by his inquisitive teenage daughter. It’s caring for this young girl that seems to be the reason Veronica becomes so invested in the case, a fact that Veronica doesn’t hesitate to point out as a huge mistake. Time will tell how this bond forms, but it’s clear that Maddy isn’t a world away from another determined teen we met a decade ago.

I think it’ll be interesting to see if the series takes advantage of the parallels between the girl Veronica was, and the woman she is now. She’s still an inherently flawed individual, who has trouble letting people in. Given all the heartbreak and betrayal she’s witnessed in her years in the PI biz, she’s not interested in getting married. We should know that already since it’s one of the first things we heard her say in the pilot – “an absolute”. Sadly, Logan still believes in the idea, and Veronica rejecting his proposal may have some lasting consequences on their already fragile long-distance relationship.

Plus

We got a snazzy new title sequence with a cover of the classic theme song by Chrissie Hynde. I like it.

Big Dick Casablancas is still in town, and campaigning against the party scene that keeps the bars, motels and other low-level joints in business. Nicole, a local business owner played by The Good Place's Kirby Howell Baptiste, is very much against his plans. Veronica liked her instantly, and I think I did as well.

Another great character introduced was Alonzo, played by Clifton Collins Jr.. He works for El Despiadado and he wasn't fazed in the slightest by a head being thrown into his boss' backyard. His assignment to the bombing case can only spell trouble.

Wallace is an 09'er now, with a wife and an adorable son. I'm so happy that he seems happy. Our Wallace deserves the best.

Tina Majorino (Mac) is sitting this series out, which is a shame.

I was gagged at the amount of time Jason Dohring spent half-naked. For the record, if he got down on one knee looking like that, I'd say yes to anything he asked!

Cliff was the one to refer Veronica and Keith to the congressman Daniel Maloof. I forgot how much I adore him.

A few elements introduced in the novels carry over into the series: Marcia Langdon, the police chief who ran against Dan Lamb in Mr. Kiss and Tell is one. Veronica's new dog Pony is another. I'm glad these little developments weren't ignored so that they could remain canon.

He Said, She Said

Veronica: "I spent my first 19 years trying to escape my hometown of Neptune. Made it out, then, after a decade away, decided Neptune needed me, and I needed it. I was wrong on both counts."

Karsyn: "Tell me we're recording this." Veronica: ""We're recording this" is my middle name."

Veronica: "There is no George Bailey moment at the end of this story, Dad. When we go belly up, no one's taking up a collection for us." Keith: "There's always that law degree."

Veronica: "This Sea Sprite bombing. I like to think I would have walked away if we didn't need the money. Knowing what I know now I wish I had. But there was a girl and I started to care about the girl. And if you know anything about what I do that's never good."

Pacing issues aside, I enjoyed the hell out of this episode. It made a strong case for making another return to Neptune, one that’s shed a whole different light on how corrupt and dangerous it still is, and how fantastic a character Veronica remains five years later. It’s good to be back.

7 out of 10 engagement rings.

---

Panda

[drink-n-watch]

Genre : Action, fighting, supernatural

Episodes: 12

Studio: Platinum Vision

  Something has awakened. Something that’s been slumbering for a long time is beginning to stir and the shockwaves are being felt all over heaven and earth. Demons are getting restless and the attacks on innocent villages have become routine. Thankfully, the Sanzo party is here to protect the good people from the fiends that would do them harm. Never mind that they happen to be just as fiendish themselves. As long as you can pay for the services, you can trust them. Probably. After all, you have to be able to trust a venerable Sanzo monk now don’t you? He’s the one smoking and getting into a fist fight with his demon buddy while screaming obscenities. Yeah, this should work out just fine!

The journey for this little title to make it on my to watch list went something like this: this looks like an otome adaptation, it’s probably really stupid, I’m gonna watch it. a week later – yeah there’s plenty of stupid out there, maybe I don’t need this one, I’m going to flush it. Wait the summary says Yokai, I like Yokai, I’m going to keep it. OK, I guess I should really watch this at some point…

yeah…this is a smart way to start this post…

If you didn’t pick it up from my little skit there, I did not know what I was getting into but I sure thought I did. The production value for this show is decent. animation can get a bit visibly cheap with reused scenes and stills with offscreen battles but for the most part, everything is well done. Voice acting is quite good, colours stick to a signature palette, design and art is pretty.

Unfortunately, I think this pretty design and art is in fact doing Saiyuki Reload Blast a disservice. I took one look at those chiseled young men and their intricate costumes (all different and this is important) and I immediately thought, this is clearly an otome. At best it’s a poor man’s Touken Ranbu which remains one of the best cute boy shows I’ve ever seen and also only. The lack of a clear female lead was pushing me towards option number two but I was expecting some basic slice of life nonsense with historical flourishes thrown in for flavour. Some manservice and if they wanted to push it maybe a drop of hoyay suggestion.

look at all that…mancandy?

I judged it entirely on it’s cover I have to admit. I’m willing to bet I’m not the only one at that. That’s the problem you see. Those that are generally uninterested in those types of shows probably dismissed it offhand. I don’t blame them, the aesthetic is pretty glaring, and it’s not entirely wrong, the show is classified as Josei. But aside for a few scenes in the OP, there’s no fanservice at all (unless you count the lady monk with the super tight outfit) and none of the expected staples of the genre. Someone specifically looking for the show insinuated by those visuals, would be disappointed or at least, confused.

The narrative and execution of Saiyuri Reload Blast is closest to a rather traditional fighting shonen. If you had switched one of the main characters’ design to a sexy lady without changing anything else at all, you could have marketed it as such easily. The season is roughly separated into three arcs. The opening establishing arc plays out as a series of monster of the week episodes, with our main party going from one village to the next and saving them from demon attacks. It’s fine, a little dry but I’ve seen worse.

I said it was ok….

The second arc is a flashback to 500 years prior where the story starts to really from and the foundations are laid for the greater lore. It quickly became apparent the this show was basing itself on a Journey to the West, which is pretty awesome. It’s a very loose retelling but there were enough similarities for me to recognize it pretty easily, that made my appreciation for the series rise quite a bit.

This flashback arc was rich in references to classic Chinese folklore and filled with a tense atmosphere unmatched by the other episodes. I also found the flashback characters considerably more interesting. Despite how bloody and ultimately sad this arc was, it was by far my favorite part of the anime and I would have loved a season that explored just that story. The last arc brings us back to the present where past and future collide in an all out multiple episode battle.

After watching the show I found out that Saiyuri is an expansive franchise. Reload blast is only the latest in several anime incarnations, a whole series of OVAs, multiple rounds of manga, at least one movie and a stage play. This may in fact explain some of my gripes. You see, Saiyuri really plays up a lot of shonen tropes. The never ending battles, mid-fight monologues (this is so prevalent in fact that I think in the middle of battle is the only way we get an exposition), the best friend fisty cuffs, the super dramatic realization screams and the cathartic last minute saves.

Nantaku really needed more development mind you

They’re all there and all well done, except this is a 12 episode series. When you’re characters are going through this massive emotional struggle over what is a pretty silly situation in fact at episode 60, it works because you’ve grown to really know the characters and you accept their eccentricities. Also the stakes have been slowly rising so you got accustomed to it at your own pace before everything spilled over into ridiculous. Now you’re just kind of in for the ride. When the same thing happens at episode 4 you’re like, yo relax dude and this is kinda silly.

The low episode count and the need to fit in a fully realized three arc narrative with a centuries spanning background really condensed everything. To Saiyuri’s credit, the narrative was still pretty easy to follow and although the characters were pretty shallow, they weren’t completely 2 dimensional either. But the dramatic pacing is what really suffers here and ultimately will stop most people from engaging with what is at it’s core a decent, even interesting story.

mullets again…

If you happen to be interested in the Four Great Classical Novels of Chinese literature, I say give this anime a shot. It has some good moments and the parallels with Journey to the West are really fun to notice. If you like the character designs and are in the mood for a fighting anime that won’t make you commit to a high episode count, this could also be for you. Otherwise, it’s uneven and clumsy. There was enough there for me to be intrigued about the other anime seasons and-or manga but not enough for me to actively seek it out.

Also, in the very last episode we find out the jeep they have been driving in al along has a mind of its own and is in fact Hakuryuu which is Hakkai’s pet dragon. We find this out in the last 5 minutes of the last episode. Like wha??? OK, I’m done now. Oh no wait one last thing. There’s no Yokai. I mean the demons are technically yokai but they call them demons and they look like demons… this show has some failings is what I’m saying.

Favorite character: Field Marshal Tenpou (If there’s a season dedicated to the heaven’s arc – I will watch it!)

What this anime reminded me: This is the only way a monocle makes sense:

The problem with some people is that when they aren’t drunk they’re sober

Suggested drink: Berry Burbon Blast

Every time Sanzo is sleepy(ing)– take a sip

Every time Gojyo gets called a water sprite – take a sip of water

Every time Sanzo tells someone to shut up – take a sip

Every time we hear a stomach growl – get a snack

Every time Hakkai spouts random facts – humour him

Every time Gojyo’s chain scythe thingy appears out of nowhere – take a sip

Every time Nantaku gets hurt – take a sip

Every time Goku throws a fit – roll your eyes

Every time anyone smokes – take a breath

Every time there’s mid battle monologue – laugh, it’s all you can do at this point

Saiyuki Reload Blast – Journey to the Middle Genre : Action, fighting, supernatural Episodes: 12 Studio: Platinum Vision Something has awakened. Something that's been slumbering for a long time is beginning to stir and the shockwaves are being felt all over heaven and earth.

[s-ound-wave]

I just finished NDRV3 last night (a bit late I know) so bear with me because I have a theory that’s probably already been done to death but -

So everything Tsumugi said was a lie. Well, nearly everything. She (and Team DGR) did implant new memories into the 15 characters, and they possibly weren’t ultimates. They also weren’t heading into space, there was potentially no meteors, that entire backstory is a lie. In fact, everything from the Flashback Lights we can rule as a lie, unless cross referenced with something else (that’s not Tsumugi’s own testimony, I’ll get to her in a bit). That’s pretty much the entire game chucked out.

Except...

a. Prologue:

 Kaede refers to herself as Kaede Akamatsu. Shuichi, likewise, refers to himself as Shuichi Saihara.

Obviously, given what we’re told by the game about Rantaro, he’s the only one who seems to know what’s going on, that it’s a Killing Game. An interesting point is that he asks ‘who is behind all this’, either suggesting that the 52nd game was drastically different, or that his Killing Game was under much different circumstances than we’ve been led to believe. 

The personalities aren’t all that drastically different. Miu is still foul mouthed, for example. 

Kaede trues several times to ask the Monokubs something, ‘If you guys are the Monokubs, then-‘, presumably asking where Monokuma is. Her sprite while she says this is her shocked one, with sweat on her face and mouth slightly open. It’s not really the face of someone who voluntarily joined up. Neither is how her and Shuichi claim to have gotten there, before the first Flashback Light - being thrown into a car by weird men. 

This is followed up by the Monokubs changing the topic to Ultimate Talents, which Kaede responds that she has a skill she has a skill she devotes herself to, but that she wouldn’t call it an Ultimate Talent. This is said while her sprite is in the ‘crossing arms and looking down’ pose, looking rather crestfallen or concerned. It’s a bit of a stretch, but I’m going to say that this interaction implies that Ultimate Talents exist in this world. 

 Monotaro gives the game away by saying ‘See, according to the backstory, there’s this Ultimate Hunt goin’ on.’ I’m half tempted to ignore everything the Monokubs and Monokuma say, considering I’m not sure how much of it is regular Danganronpa 4th wall breaking and how much is meant to be hints at Tsumugi’s claims at the end. He does say something interesting, claiming that ‘The first thing we need you guys to do is remember your true selves’. Monophanie backs this up by saying ‘need to reclaim your sealed talents’. Both of these could be for the fictional audience’s benefit, if we take what Tsumugi says at face value. 

Kaede’s reaction to Monokid saying there’s going to be a killing game is a shocked sprite, and, in her thoughts ‘K-Killing Game...?’. Again, not really the actions of someone who signed up for a Killing Game willing. 

This is everything usable in the prologue, as far as I’m aware.

b. Chapter Six Trial

There’s no reason for there to be so many discrepancies between the characters’ memories and the canon events of the first two games. Tsumugi is portrayed as some uber fan, why would she settle for less than perfect? The justification that Tsumugi gives is flimsy at best.

Tsumugi, as Makoto Naegi, says ‘If what I said is the truth, then Hope’s Peak Acaemy was...’ when Shuichi brings up the Cospox. Notice the ‘If’.

The places seen when Tsumugi as Chiaki claims that everyone is a huge DanganRonpa fan are - Japan, Australia, England, America and one other place I can’t identify.

When it’s revealed that it’s the 53rd season, the white V changes to a pink 5. Pink is used in DanganRonpa to symbolise lies (and blood, but it’s the wrong shade of pink for that)

What’s the in game justification for the NDRV3 cast not having any memories of the other games? Or Tsumugi not cosplaying as characters from the other games? (Other than the obvious real world justification that those games don’t exist)

I find it odd that Tsumugi as various characters keeps saying ‘DanganRonpa inspired’.

Gonna point out that they made a kid into a robot. Just gonna throw that out there. This has nothing to do with it I just think it’s fucked up that within a matter of second they took a normal teenager and made him into a walking talking surveillance robot.

Shuichi’s supposed audition video. The Shuichi in this claims that he’s a huge fan of DanganRonpa and has always wanted to be in one. Shuichi in chapter one does not recognise Rantaro, a previous contestant, or the Monokubs. He always reacts with fear and shock in the prologue, contrary to how he acts in the audition video.

Right after the wardrobe change. The change here is that there’s an extra bit after Kaede says ‘K-Killing Game?’, where Shuichi says ‘You mean... we were selected!?’ With the happiest expression on his face. This is not shown in the prologue, obviously. I’m doubting that this actually happened, and that it’s not just another trick by Tsumugi to bring them further into despair.

‘Well, if you’re going to call fiction a lie... Then yes’ this line stands out to me for reasons I can’t explain right now.

Kaede’s audition tape. She says she has no faith in humanity, and yet in the prologue worries over Shuichi and acts in ways one who has no faith in humanity wouldn’t really act.

Kaito’s audition tape. Yeah, no, guy didn’t come off like that at all. I think you get the drill.

c. Tsumugi

 Cospox. This is what she uses to justify how she can cosplay as Junko Enoshima while the everyone still thinks she’s real, by claiming that Junko (and the cast of DR and SDR2) are fictional in the world of NDRV3. Problem: She can’t cosplay as Kaede, someone she herself claims to see as fictional. This could mean either that the cospox itself is a lie, or that Kaede isn’t ‘fictional’.

She never claims her own talent was imparted onto her with the Flashback Lights

Interestingly enough, when giving her certain gifts (the prop carrying case is one) her eyes with swirl, like she’s under the effects of Despair. This also happens during the trial, and a few other times during her FTEs. AS far as I’m aware, she’s the only character in NDRV3 who does this.

In her third FTE, she says ‘This is the ‘Cosplay is Fun’ episode’.

The ‘cosplaycat criminal’ line that gets Shuichi thinking that Junko Enoshima and Hope’s Peak is actually real.

Tsumugi says that she’s been working for 53 seasons on the show. Assuming you have a murder once a week like we see in all three DanganRonpa games, and have 16 victims, that’s 14 weeks of murder as it goes until there are two students left. So 14 weeks x 53 = 742 weeks or 14 years, 2 months and 3 weeks of murder. This also means Tsumugi is at minimum in her 30s. This is assuming that she’s telling the truth, of course.

d. Misc

Maybe a bit of a stretch, but the D.I.C.E logo and the Future Foundation logo look similar.

Why is the History of Hope’s Peak Academy book even here, let alone in Kokichi’s lab? All it does is reveal all of the inconsistencies in Tsumugi’s fake memories.

Actually, the labs in general are a bit odd. All of them are really stereotypical, it reminds me of when I’m designing a house in the Sims for a character who’s athletic so there’s just sports equipment everywhere. 

So my theory is as thus:

NDRV3 doesn’t take place in a world where everyone is obsessed with DanganRonpa and watches Killing Games all day. It takes place in the regular old DanganRonpa universe (possibly where people watch Killing Games), some time after the events of DR3.

Tsumugi is a part of the Remnants of Despair. I’m guessing that either a) They are actually putting on a Killing Game reality show so they can watch people slip into despair then climb into hope then slip into despair again (this could be part of why previous survivors carry over) or b) something else, like studying Ultimate Talents in a slightly more gory way than Hope’s Peak was.

Tsumugi being part of the Remnants of Despair would also explain why the memories are imperfect. She worships Junko, she’s obviously going to play up her actions and downplay the actions of everyone else, it’s a classic propaganda move, and everyone who could have told them about the inner workings of Hope’s Peak Academy is no longer part of the Remnants of Despair.

I’m also going to toss out there that Team DGR might be another name for the Remnants of Despair. This isn’t based on anything, other than their running of Killing Games and it’s the organisation Tsumugi is a part of.

All of this is speculation and quite a bit of reaching, but I had fun doing it and not the pressing assessment that’s due today so that’s all that matters, right? I might update this post from time to time.

[ghostboy-gamedev]

Learn Log #1 - Pixel Art Basics 1

So this was the first week of learning pixel art! This week I had a look at some very broad concepts such as Size, Style and Lines. I’ll start with the first two topics because I feel like they’ve got quite a strong connection.

Size & Style

So if you’ve ever looked into pixel art you’ve probably heard of terms like 8-bit, 16-bit and 32-bit but you might not be sure what that exactly means. These were various processing architectures involved in old school video games. I’d say an allure of pixel is the recreation of old video game styles so these terms reflect their respective art styles. Basically, these terms explain ‘Oh I’m going to go for the style of the NES’. Here’s a great Reddit post basically explain it better than I ever could. You could also argue that it connects to the size of the sprite be it 8x8, 16x16 or 32x32 - some people use the terms as such and so will we in this post.

So that’s all well and good but how do you pick a size for pixel art? Well, from my learning this week not only does it depend on the style/complexity you’re aiming for but also your skill level and sprite concept. As we just discussed video game styles play a big role but if you’re not aiming for anyone style then concepts such as colour palette and outlines do too. For example, if you have a limited colour palette or need outlines you might need a slightly bigger sprite to fit in the detail you need - which brings us to concept. If your sprite needs to be expressive, for example your game is story-based, you’re going to need enough size to fit the expression. A trick to figuring this out is making the smallest detail or the facial expressions as small as possible while maintaining your preferred style/level of detail and working out the size of the sprite from there. Of course, this all connects back to skill level. If you’re not that comfortable with pixel art don’t start with big 128x128 sprites. Start with 16x16 or 32x32 first. These larger sprites also make things much more difficult to animate and are a lot easier to mess up.

Going further into style, I want to quickly discuss 1-bit pixel art or minimal colour palettes. 1-bit pixel art is a two-tone style meaning it only uses two colours throughout the piece. This is an interesting style to work in because you have that new level of restriction. For example, how do you convey different materials with only two colours? The use of patterns is really useful for this but they can’t be too confusing or complex also. In general, these minimal colour palettes make animation a lot easier but can make readability a little difficult if you have a lot of things going on.

That’s the last thing I want to touch on - readability. Whenever you make pixel art make sure it can be read - especially if it’s for video games. Making interactable objects outlined or enemies a specific colour is a great way to do this. Readability should be the first priority.

Practice #1 - Resizing Logos

These 16x16 logos are based upon the Barbarian and Warlock class symbols in Xanather’s Guide to Everything. I tried using them to follow TutByKai’s tutorial on sizing symbols from 16x16 to 32x32 but they proved to be to difficult for me to size properly. Here they are for you to check out though! In the end I managed to practice sizing in practice #2 and #3.

Lines

When I was studying about line-work this week I found it funny that rather than learning what to do, I learned what not to do. I think this is because we all have a rough idea of what a pixel art line should look like but not what makes a line look wrong or weird. The main culprits for this are called ‘doubles’ and ‘jaggies’. Note that these are not rules you have to follow and if using doubles or jaggies actually helps convey meaning then you can definitely use them

Doubles are when a line doubles up, usually as it curves or turns an angle. This can make the line weird as it begins to look more blocky or the extent/where the doubles are is inconsistent (for example shifting between inside and outside a circle). A good fix for this is anti-aliasing but that will be discussed shortly.

Jaggies are when pixel don’t within an established patter for example if you had a curve going: 2pxX 1pxY, 2pxX 1pxY,2pxX 1pxY, 3pxX 1pxY, 2pxX 1pxY, 2pxX 1pxY. That 3px line is going to look weird (also sorry couldn’t be bothered to make a quick reference picture online). It may work for irregular terrain such as nature but with man-made objects and more spherical/round objects it just looks strange.

Anti-aliasing (AA) is a pretty useful tool. You can think of it has a half-pixel. However half-pixels don’t exist so it’s really just a pixel roughly the colour between that of the line and the colours next to it. This is useful for fixing up those doubles or making more detailed curves/angles. You’ve got to be careful to not to overuse it as otherwise things will just begin to look messy. Also don’t just stick it across the whole outline - remember this is to be used like a half-pixel for curves. Don’t forget, just like more complex colour palettes you have to animate anti-aliasing too which makes things more difficult.

Finally, I have a few tips for outlines. Firstly, outlines must reflect the nature of the contents (point object = pointy outline). Secondly, fill in any voids within the outline as it can be distracting. Outlines can also play a big role in the way your character is seen by others and how they pick up on the nature of the sprite.

Practice #2 - Robert

So I made Robert yesterday for my practical this week. I’ve presented him here in stages of the spriting process so I’ll just talk through each stage.

So in this stage I started with a 16x16 canvas. As you can see Robert has very little detail due to the small canvas size and 1-bit colour palette. You can kind of tell he’s a robot from his head, if I were to just have him in 16x16 I might want to make the shoulders or a bit blockier to represent that. I did try to do that on the outer pixel of the hands but they kinda felt like wings. When you do pixel art in this smaller sizes each pixel and colour becomes much more important.

So in this next one, while I had the same colours I resized him digitally to 32x32 and added in a lot more detail which you can clearly see. His antennas are now away from his head to make it clear that his head isn’t just a weird shape. I couldn’t do that in stage 1 because 1px there was about 1/6 (?) of his head width. Now that it’s 1/12 (?) I can separate the objects while making it still feel attached. These antennas had some extra detail thrown in but I really like the details on the face. It starts to portray a personality - I think the mouth looks like a mustache so that with his name makes him feel like some kind of ‘Dad-bot’. Also I was able to make the body feel a little more robotic while still remaining humanoid

This stage I just adjusted the the two colours and chucked yellow into the palette. It definitely gives off a completely different but I feel that maybe I should have used a different yellow colour as it is a bit bright. The addition of yellow does make the waves above Robert’s head look like electricity rather than some sound waves or something else which shows how one colour can change a lot.

Finally, in this stage I dived into the colour palette. This change meant I could directly attach the antennas again and also add some detail with slight colour changes (including some shadows below the head and inside the body). Overall, while I think stage 4 looked nice I am particularly fond of stage 2 and the ‘Dad-bot’ vibe it gives off. Sometimes less is more.

Practice #3 - Joey

So, I loved making Robert so much I wanted to try again with the colours flipped. This time I was inspired by Brandon James Greer’s 1-bit video to make a character portrait.

So since this was going to be a portrait I needed to start with his expression as it was important I had that nailed down. I wanted to go with a confused look with one eyebrow raid and the other furrowed down but when I added the mouth it seemed a little weird. I decided to keep it though because I wanted to see where it’d go. The expression took up quite a bit of space so I didn’t have much room for other stuff in the 16x16 canvas.

When I resized Joey’s expression I didn’t do it digitally like I did Robert’s body. In stage 1 the facial expression took up a large portion of the canvas size and if I resized it then that some issue would exist. Instead I decided to redraw the face slightly sized up. I wanted the mouth to show teeth so it needed to become 5px tall rather than 4px. Based off this I made the eyes 1px higher and wider to a 2x3 size. I decided to keep to keep the eyebrow width but I did lengthen them so they’d retain their expression. I also spread out the elements and added a nose. As I gave Joey a head I realised that his expression gave me a classic ‘Wolfenstein’ or ‘Doom’ portrait feeling so I went off that and gave a similar haircut and armour in the style of the original Doom. It looked pretty good although if I was to leave him in this style I might make the armour less intricate and focus on adding texture to the different components. Additionally, as there it’s 1-bit the teeth did look like giant lips.

The piece really came together when I added colour (I was too excited to do a minimalist palette style). I tried to keep the colour palette down to a minimum so the piece didn’t get too overwhelming. For example, the armour only uses three shades of green - one being the outline which is also used for the eyes and mouth. I actually didn’t choose black for the mouth because it contrasted too heavily with the white which took attention away from the rest of the picture.You’ll also notice I used a double on the left eyebrow. I did this on purpose to make the right eyebrow point seem thinner and more furrowed downwards. I tried a couple of iterations of the eyebrows and I think I liked these the most.

In this stage I just added some more detail including texture, the scars and some shadows. Basically, I chucked out any hope for a minimalist palette. I added the shadows with another layer that had a reduced opacity which worked ok. There’s not much to say about this other than I feel like this stage had a lot more depth and it was definitely my favourite of the four. Sometimes more is more.

Learning Resources

My studying and this blog post wouldn’t have been possible without these amazing resources. Go check them out if you wanna learn some stuff about pixel art!

What makes art 8, 16, 32, 64 bit?

What Size To Make Pixel Art by MortMort

What Size is Pixel Art? by Brandon James Greer

How to Choose Pixel Art Resolutions by TutsByKai

Creating Pixel Art from an Object by Brandon James Greer

Pixel Art 101: ‘Styles’ by Pixel Pete

Pixel Art 101: ‘Game Boy’ by Pixel Pete

1-Bit Pixel Art Techniques by Brandon James Greer

Minimalist Palette in Pixel Art by Luis Zuno

Constructing Lines and Curves in Pixel Art by Brandon James Greer

3 Pixel Art Techniques/Common Mistakes (Doubles, Jaggies & Outlines) by MortMort

Basic Anti-Aliasing for Beginners by MortMort

[thewaterheaterguys]

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from DIY Plumber Info http://diyplumberinfo.blogspot.com/2018/05/the-best-commercial-plumber-clarendon.html from Blogger http://the-water-heater-guys.blogspot.com/2018/05/the-best-commercial-plumber-clarendon.html

[miamibeerscene]

Brew Review – Purple Drank by Coppertail Brewing @coppertail

There’s a little known musical genre I’m fond of called Chopped and Screwed. It’s a method of remixing wherein the track, usually hip hop or R&B, is slowed down dramatically and cut in (or ‘Chopped’) on itself, allowing key notes or phrases to be repeated. 

Take, for example, Alexander O’Neal’s If You Were Here Tonight. Listen to the original, then to the Chopped and Screwed version. This will give you an idea of the genre. 

The ‘Screwed’ part is actually a reference to the late Houston DJ Screw, who originated the style in the early 90’s. DJ Screw, otherwise known as Robert Earl Davis, Jr., found that showing down the music a great deal lent a heavy, sedated air to the song.

This worked really well with the drug of choice making the rounds in Houston at that time, Purple Drank. This drink, known as sizzurp, dirty Sprite, drank, etc., is basically prescription-level cough syrup – containing codeine and promethazine – mixed in a soda, usually Sprite or similar. A Jolly Rancher candy was sometimes added as well.

Those two drugs are sedatives in the nervious system, making them a perfect and lethal accompaniment to the new slowed down style of music. They supress coughing and pain, to be sure, but in larger doses can shut down breathing altogether. This, alongside other drugs, is what finally took the life of DJ Screw in 2000.

So that’s a lengthy and dark intro to the decidedly safer and more legal Purple Drank (Berliner Weisse, 3.5% ABV) being brewed by Coppertail Brewing in Tampa.

The beer, an almost quintessential example of the Florida Weisse style, is a classic weisse with a tart, face-puckering amount of tartness in an extremely light, almost buoyant brew. It’s a beer where the yeast is allowed to shine, and shine it does.

The purple color in this particular drank comes from a copious amount of boysenberry thrown into the mix. The berries bring the color, as well as a light fruity flaor to add to the lemon-forward citrus qualities of the Berliner. They help out the tang a bit as well, but this isn’t a beer that really needed help there.

Not going to lie, I had a pint while floating in my pool on a hot Florida day, and it was absolutely perfect. Perfect, I tell you. Light, fruity, and delicious.

Coppertail has been releasing bottles of Purple Drank periodically, but it’s not totally widespread as of yet. It’s easier to find it on tap, and worth the find.

At least the legal one is.

Drink Florida Craft, Dave @floridabeerblog floridabeerblog@gmail.com

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