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maeve-is-annoying-about-books · 8 months ago

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Wakes up in a cold sweat

Axiom Verge 1 is a subversion of the classic masculine power fantasy, while Axiom Verge 2 subverts the classic feminine one.

Hear me out. First let's define both really simply. The masculine power fantasy is essentially one of becoming one's own self, and exerting their power upon the world in their name. The feminine power fantasy is one of union, nurturing and caring for another. We can further simplify these ideals into two lines. The masculine power fantasy is to kill the father. The feminine is to save the daughter.

That's the most barebones description but it's just to get us off on the right foot. Essay below the cut going into detail

In AV1 we follow Trace. All along we're set up with a simple idea, Trace must survive, grow to master his environment and his abilities, and go on to slay his foes. The Rusalki.

Wait what?

Yes, the Rusalki are a controlling force on Trace. For him to fight his way into the masculine power fantasy he must use his power to buck the control of another and choose for himself what is right. But that's not what happens. In fact, he works with them. Why?

Athetos is the final position, the ultimate masculine form of Trace. He makes clones of himself and each fail to become. They're stripped of name and identity and these "lesser selves" are now subservient only to Athetos. The Father. The Master. If Trace wishes to become a man, he must prove himself unconquerable and stand evenly with Athetos.

That's the nightmare segment. We see Trace literally chasing after an ideal self he can't keep up with. We see him become one of the failed clone monsters and experience being a puppet, it's the masculine nightmare. He is a failure, he will be subsumed, he must become his perceived ideal self.

But it's all a trap. Trace doesn't just man up and beat the toxin that's mutating him. He has help from Ophelia. See, there's been a secret this entire time in the background, have you caught it?

When Trace finds his mutated other selves, he tries to reason and they will not listen. They're caught up in the masculine narrative and there are only two ways out of it. Destroy Athetos, or change the script.

Trace, who has been nurturing and healing the Rusalki despite their power over him. Trace who has to use his understanding, and for whom a boss fight isn't glorious single combat. Trace who bears the ultimate yonic symbol in the Axiom Disruptor. Guns are generally phallic symbols but this one's design but this one disrupts (heh) the narrative symbology to a different one.

Empathy, sacrifice, and grace are often hallmarks of the feminine power fantasy. There is much to be said about whether these are healthy themes but for now, in present moment, that's often what they are. It is in showing empathy to his failed clones that he finds purpose beyond meager violence to face Athetos. It's through empathy that he connects with Elsenova and the other Rusalki who then grant him the power of making connections to defeat his foe. He sacrifices his own pride and it allows him to see the world for what it truly is rather than a playground to be remade in his image. The address disruptor may seem a tool to do just that at first, but in actuality it cannot change what has not already been changed. Most of all, he sacrifices his ultimate masculine form in Athetos, refusing to become powerful to become understanding. His method is not to subjugate his potential lesser selves and become the standout example but simply to be, in the world he is in.

Indra is taken by the hand along the path of the feminine. She comes to rescue her daughter and must work under the mercy of the Arms. A class of people who have power, and power over her as a kind of patriarchy. Indra! A world-class CEO is now a victim of a system and a culture that simply doesn't value her for what she is.

And just like Trace, the further she goes along this path the more misled she is. She is expected to sacrifice everything, even her life for her daughter. She must care for Damu and balance catering to the desires of the figuratively-masculine Amashilama.

Trace suffered being the victim of toxic masculinity. Becoming isolated and dejected and discarded. Indra becomes the victim of toxic femininity, sacrificing until there is nothing left to give. She is used for her body and her mind is a discarded, useless thing. But it is from that mind that Indra flips her own script.

She remakes her body in her image, as she likes. Have you noticed the hacking tool that makes her the master of her demesne? The phallic symbol of the ice pick? Each tool she has leads her closer to her destiny and the more she makes a name for herself the more empowered she becomes, to the point she makes her own name for herself in the world. Everything Indra is given puts her in the position of that brave and empowered masculine, even and especially, the ending.

Should I talk about how Indra's body is used so that Amalshilama can get at her real goal? The next generation of Arms. How she is literally used to produce and bequeath the next age to the patriarchal Arms? At how Indra's past self takes on the feminine role of sacrifice and fulfills the idea of motherhood by reuniting with her daughter, and how that leaves our mechanical Indra free to pursue her name? (Presumably Ophelia?)

Indra's pursuit saves her life, in a sense, and she becomes greater than the simple story she was placed into. As Trace did. As they both did and in so doing did not become victims of masculinity and femininity. In fact, all throughout their games they win by pushing past the constraints humanity would place on them.

And just. AUGH. The symbolism! The way Trace carries larva on his back being "injected into". The way Indra is given actual soldier's weaponry. The way Sudra is still until the Disruptor is picked up, almost a symbol of beginning life. The way Indra seeks a way to allow Damu to build a body and follow in her example. To literally make himself.

Axiom Verge is so good actually.

#axiom verge #axiom verge 2 #trace eschenbrenner #trace av #indra chaudhari #indra av #essay #gurl i could write a thesis about these games now #where's the third where we create the divine hermaphrodite #or did we do that twice already #ophelia #the music is cool in these games go check that out if you haven't #but if you haven't then why are you here #basically axiom verge is a subversion of common storytelling and is all the better for it

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seph7 · 4 months ago

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Majestic Man

Xpose Issue 5 - November 1996

Is Colonel Bach, head of Majestic-12 in Dark Skies, friend or foe? James Brooks asks actor JT Walsh for the truth…

IN THE secret history of extraterrestrial contact, the watershed event was the supposed crash of an alien spacecraft in Roswell, New Mexico. The lives it changed were set into distinctly different courses, some of whom appeared to vanish altogether, like the evidence of the whole incident. One of those so affected was US Navy Captain (later, Colonel) Frank Bach, a man who dropped out of sight to become head of the secret Majestic-12 group which would later recruit John Loengard.

In many ways, Bach is the most complicated continuing character on NBC's new series Dark Skies. The actor playing him is no stranger to the kind of role where the appearance of moral ambivalence is a defining characteris-tic. JT Walsh's career spans several years with a long list of stage, TV, and feature credits. Recently, the bulk of his work has been in movies, though the actor does not differentiate or discriminate between the various media.

"I don't look down on anything," Walsh says. "I'm an actor. I mean, I've done everything from off-Broadway to Broadway to television to film. I just go where the work is. That's always been my motto: do what comes next." The character and material determine the project.

"There have been other opportuni-ties, let's say, on television before that I didn't much like. But I like this guy and I like the idea. It was fun. I read the script and thought it was terrific. And that was the end of it.

"Some of the more satisfying experiences I've had have been on television, to be honest with you. I just did a movie for cable and it was one of the best experiences I've ever had. It was a TV schedule and a TV budget, but it was the most fun I've had in a long time. So I don't distinguish between film, television, or anything else."

JT Walsh was born in San Francisco and moved with his family to Europe at the age of five. His father worked for the government, something which undoubtedly helped inform his take on Bach, the ultimate bureaucratic insider. He attended boarding school in Ireland, attended a year of university in Germany and returned to the United States to graduate from the University of Rhode Island with a BA in Sociology.

A prolific actor now, he came to the profession later in life, becoming a full-time actor at the age of 31. Before that, he had been a social worker in the South Bronx, salesman, and underground journalist in New York. He was simultaneously working in community theater where he was spotted in 1974 by a director who invited him to participate in the Eugene O'Neill National Playwrights Conference, reading new plays.

What followed was a rich run of roles culminating in a principal part in the stage production of Glengarry Glen Ross which led to his film career, including the David Mamet picture House of Games. His feature credits are almost too numerous to list, including Tin Men, Tequila Sunrise, Good Morning Vietnam, Red Rock, Outbreak, and Nixon. He has also appeared in a number of TV productions as well, notably an episode of The X-Files entitled The List.

Of his work on The X-Files, Walsh says, “It was like doine a movie. We worked 18 hours a day, every day of the week.”

He points out a major difference between the two series whose subject matter invites natural comparison.

"In terms of the subject material, I don't compare this to The X-Files. I think it's a fixed kind of deal with Dark Skies where you have a known enemy, known heroes. You have a focus which is unlike the focus on The X-Files. Even in talking with Chris Carter, his view is that anything that cannot be explained is fit material for The X-Files. I don't think you have that with our show."

Dark Skies, he points out, concerns itself specifically with the alien Hive and the conspiracies that result. "The episode [of The X-Files] I did was about reincarnation and moths and bugs." He laughs, "It wasn't much fun having a fly up my nose for six hours."

Co-creator Bryce Zabel has said that Frank Bach is someone who believes that the end justifies the means and in a tough fight, he will be as tough as necessary, regardless of the conse quences. "Is Bach good or bad?" Walsh says. "My answer is, 'yes.' He is good or bad. He's one of those two. My father worked for the government, over seas after World War II. We're now living in an age of political correctness, but imagine somebody put in the position of investigating UFO stories.

Bach is in the position of having to track theses stories down and find out whether Francis Gary Powers was on acid when he was flying the U-2 or whether he actually did see something which cannot be explained in any other terms. When you're on that kind of a frontier, you kind of make up your own rules because there are none.

"So you can say he's bad, but he sa guy on the forefront of a war. He's conducting a battle against an enemy that he sees, that he has evidence of, that you see in the pilot, but everyone else has to be kept in the dark."

Bach straddles a line between good and bad, light and dark, with a peace of mind that alarms Loengard, pushing the younger man out of Majestic-12 and into a twilight zone of resistance against both the aliens and the suppression of the truth of their presence on Earth. Bach is at once a mentor to Loengard and a betrayer. Along with the very nature of the series' subject matter, Walsh is pleased with the dramatic possibilities it holds for both Bach and for Dark Skies.

"It's a good gimmick for me to tell ripping good yarns because you have this tension between what's known and what isn't known, and you play on people's paranoia and their fears. And it just puts this character into an 'ethically challenged' situation."

Walsh finds a great deal of enjoyment playing ethically challenged charac-ters. "Why do I do those characters? Because they're fun, you know. They re much more fun than being a fingerpointer — you know, Where did he go?' "He went thataway."

There are other dimensions to Bach, though, which suggest an existence at odds with the cloaked nature of his position as head of Majestic-12.

Walsh believes that Bach has his own standard of decency. The need to make a decision and take action carries with it its own morality.

"I grew up in an era where people were making decisions all the time, screwball decisions. Growing up in Europe after World War II, you know, people came back home and there'd be arguments all the time about what did they do that for? But when these people were faced with what they had to do, they had to do something.

They couldn't get on the phone, take a poll, see what was cool. You don't get anywhere that way; you've got to take a shot."

As controversial now as it was fifty years ago, the Roswell incident continues to divide those interested in UFO sightings. Several members of the Dark Skies production staff believe that all the furor surrounding Roswell and other alleged sightings imply that something is going on. Although open to the possibilities, Walsh holds some reservations.

For him, the main thing is to keep telling the stories and tell them well through a character whose motives often run counter to the decency portrayed by Loengard and Sayers. The fact that it involves UFOs and a secret group seemingly answerable to no one is icing on the cake.

"Like I said before, we're telling ripping good yarns here. And that is filled with risk and political incorrectness, if you will."

Whether the series goes its entire planned run or ends after one season, JT Walsh has already established Frank Bach as an interesting dimensional character more than able to shoulder his part of the grand design.

"He's like a scientist of the invisible. Trying to prove or disprove these things. Because if the word got out that the aliens were here, imagine the insanity." It's an insanity Bach is just as determined to prevent as Loengard is to risk. That struggle alone should help fuel the series well into the present era.

Keep watching the Dark Skies...

#j.t. walsh #underrated actors #jt walsh #character actor #dark skies #colonel frank bach #american actor #90s actors #90s #90s nostalgia #90s sci fi

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companion-showdown · 7 months ago

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Whostory - Robert Holmes

Robert Holmes was the most prolific writer for Classic Who, writing stories for every Doctor except the first and seventh. He has written more episodes for all of Doctor Who than any other writer, and is fourth in number of stories, behind only the NuWho showrunners. He likely would have written even more during the seventh Doctor's era but sadly passed away before the completion of his final story The Ultimate Foe

Holmes was script editor for one of the best regarded and most influential eras of the show, the early Tom Baker era, which defined Doctor Who's more horror based episodes and still influences them today. Just this year we saw the return of Sutekh, from the Pyramids of Mars, a story Holmes script edited for.

Holmes introduced many different and lasting concepts and aliens to the series, either through creating them or being the first to write for them, including (deep breath), the HADS, the Third Doctor, all the third Doctor's companions, the Autons, the Master, Gallifrey, the Sontarans, the regeneration limit, Rassilon, the Eye of Harmony, and Romana.

#whostory: round up #robert holmes

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araneitela · 1 year ago

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"Destiny has thousands of faces, why does it choose to wear this one?"

/rattles at bars /rattles at bars more firmly

Are we supposed to take this at direct face value? Tell me something, Kafka, what exactly is Spirit Whisper, and where does it come from? Does everyone from Pteruges-V possess it? I just double checked to see if I can find anything at all in any reference, and there's nothing that seems to indicate it to be the case. But also, I find no 'odd references' to any other instance of its use anywhere else, or by anyone else? I'm having a big brain moment, humor me for a moment: what if she actually is directly tied into Fate itself? Okay, let me bundle up some of my thoughts here:

Any showcasing of Spirit Whisper indicates that it doesn't seem to even remotely drain her of anything to use (I know we're speaking game mechanics here, but remember there are drawbacks to other things in this same game), regardless of the targets in question. In her trailer, she subdues (read: pit them against one another) a large number of men without doing as much as blink, the Jepella Rebellion had her very intricately control (and since this was a 'mock trial' of sorts— I do assume a lot of its dialogue to be genuine, but still?) 4 judges. But most importantly, when Kafka (of course) accompanies Blade to the Xianzhou, she likely knew exactly who to expect upon arrival due to Elio, she must've, it would also explain why she was perfectly calm and anything but unnerved. But the ones on the scene there? They're all very big players: Blade himself, Jing Yuan, Yanqing, Dan Heng who ultimately found his High Elder form; and Kafka didn't seem to flinch nor grow concerned even once. That means she was likely prepared or able to possibly intervene through SW, that means it's inherently capable of handling very significant 'foes'. Now of course, one can say that the script would have possibly reassured her, but through her SQ we know that she actively believes that fate is not by default predetermined, which tells me that there must still be an element of preparation or a 'safety net'. Yes, I know, I'm making an argument for fate, but it's very specific. Any way, it's strong and she seems to never flinch. What on earth is it?

Now, here's one thing about it: it is able to take people's choice away from them, isn't it? Isn't that on some level directly contradicting fate? Or in other/better words: is that not directly controlling fate?

The entire trailer ends on the premise of what No Country for Old Men presents, and to elaborate for those who don't know it: the entire story narrows down on the narrative that destiny is encroaching on all of us, you can't outrun destiny, any choice that you believe you have is an illusion because there is no second-guessing fate. In that final sequence, Kafka presents the final man with a coin flip, 'as for the ending, wanna take a guess? Some might think he stood a 50/50 chance of surviving this if he guessed correctly, but he doesn't, and he never did. It's even in the way that she speaks, she never actually offers him a chance. If anything, she's simply presenting fate as inevitable. And when the scene proceeds, you hear the gunshot following almost immediately. Within this trailer, the one who controls all of their fates and how they are led to it, is Kafka herself. Throughout all of this, Kafka is in full control of their fate.

I'm talking nonsensically here, as in I'm just putting out thoughts almost maniacally, but I feel as if I'm connecting dots, I really feel like there's something here. But let me present you with the dialogue that I noted at the beginning one more time, and reread it after what I just talked about:

"Destiny has thousands of faces, why does it choose to wear this one?"

Not only that, but look at the shot that accompanies it. Yes, we know it's her spirit whisper due to the glow in her eyes (although I'm now also wondering, because at the beginning of the trailer, I don't see it as firmly; does it possibly grow fainter if its use is lighter?) but the entire moment is so immense, so overbearing. And the fact that this specific shot also feels as if it's a callback as well to Rorschach Inkblot's Fear Card, which is just perfect use of it by the way. But any way, let me point you to the other dialogue:

"Stealing a glance?"

And this line appears during the 'fulfillment' of the fate of the man we then see, at her hands, and let me show you the glimpse we're given of his final moments, just as she speaks those words. Stealing a glance at what, exactly? His fate? Or... fate? Is it her? Or part of it? — And lastly, there's another few lines that I want to point out, and they're at the beginning. And this, to me, is more so interesting because of the odd phrasing that was chosen for this. I do so wish I knew Chinese, because I'd love to know the source text and its weight/significance:

"Don't be afraid. Listen to me, wasn't it you, who invited me?"

Kafka. Kafka. Kafka. I need answers. Who are you talking to; to all of them? Why would they be inviting you? Unless we're talking quite literally, but then I present the question again: why?

Ugh. The Greek Fates, destiny. The Moirai, they weave the (silk) threads of fate. And then there's the spider, the arachnids that are all over her design. Silk, a spider weaves silk, fate could be, in part, represented by a spider within this universe (all en-compassing, coaxing, and yet not forcing), a spider that weaves silk, silken threads of fate. Am I overthinking this? I probably am, but this is so on the nose to me, that I can't imagine it to be a coincidence. Mihoyo doesn't do anything without meaning to. Ugh. Now if she is tied to fate in any capacity, that gives me something extra to hook into in terms of that 'humanity' that we're given glimpses of. No one knows better than fate itself that life will end, that it is therefore precious, that it is fragile, as all things within it are. And man, the sheer amount of references that she makes to very mortal things being beautiful is almost unnerving, especially this following one: "The human body is beautiful in its fragility"; there's also an odd sense of detachment from humanity when she speaks, and yet at other times, an odd sense of intricate connection (ie: her empathy towards Blade and the TB, her 'musicality'—).

Guys, I just have many thoughts.

#[ meta. ] the mara's tether is firmly in her grasp. she will not pull upon it before the designated time; nor shall she relinquish it.#[ i'm just going to make some hot chocolate for after my shower. i'm just. so overwhelmed. but thrillingly so. ]#[ bUT STILL. ]

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brokehorrorfan · 1 year ago

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Leviathan will be released on 4K Ultra HD + Blu-ray on February 20 via Kino Lorber. Directed by George P. Cosmatos (Rambo: First Blood Part II, Tombstone), the 1989 sci-fi/horror film includes reversible artwork.

David Webb Peoples (Blade Runner, 12 Monkeys) and Jeb Stuart (Die Hard, The Fugitive) wrote the script. Peter Weller, Richard Crenna, Amanda Pays, Daniel Stern, Ernie Hudson, Michael Carmine, Lisa Eilbacher, and Héctor Elizondo star.

Leviathan has been newly restored in 4K from the 35mm interpositive with Dolby Vision/HDR and 5.1 surround and lossless 2.0 audio. Special features are listed below.

Disc 1 - 4K UHD:

Audio commentary by film historians Steve Mitchell and Nathaniel Thompson (new)

Disc 2 - Blu-ray:

Audio commentary by film historians Steve Mitchell and Nathaniel Thompson (new)

Leviathan: Monster Melting Pot - 2014 making-of featurette

Interview with actor Ernie Hudson

Interview with actor Hector Elizondo

Theatrical trailer

On the dark and forbidding ocean floor, the crew of a deep-sea mining rig discovers a sunken freighter that harbors a deadly secret: a genetic experiment gone horribly wrong. With a storm raging on the surface and no hope of rescue, the captain (Peter Weller) and his team are propelled into a spine-tingling battle for survival against the ultimate foe—a hideous monster that cannot die... and lives to kill.

Pre-order Leviathan.

#leviathan #horror #80s horror #1980s horror #peter weller #kino lorber #dvd #gift #George P. Cosmatos #richard crenna #daniel stern #ernie hudson #hector elizondo #80s movies #1980s movies

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thesparkwhowalks · 1 year ago

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Joshua

Real Name: Apparently Joshua. All Appearances: Teen Titans #20 (1969)

Teen Titans #20 opens with the Titans Lair being invaded by a mysterious figure in a brilliant white costume! He circumvents their defenses and manages to neutralize the team's two super powered members with little difficulty. Luckily, he's actually a good guy and there for help.

It seems that his city's youthful protest movement is on a collision course with the police. Further, when that clash happens, the protestors will be armed. What neither side knows is that agent provocateurs from organized crime as the ones pushing and arming up for violence. The Titans travel with Joshua and intervene, preventing the bloody conflict and revealing their old foes, The Aliens from Dimension X, as the real masterminds behind everything.

With the situation disarmed and his kid brother, one of the protestors, safe, Joshua retires from costumed adventuring after this one adventure.

The wildest part of this issue is that this wasn't supposed to be the story. Originally, Teen Titans #20 was scripted by then-newcomers Len Wein (who would later co-create the All-New X-Men) and Marv Wolfman (who would later co-create The New Teen Titans) with art from longtime Titans artist Nick Cardy. Editor Carmine Infantino read it and hired writer/artist Neal Adams to extensively redo it, deeming the issue unpublishable as it was.

The "why" is, as I understand it, a matter of a some debate. Wolfman's take was that DC didn't want to risk the backlash of the story's social commentary, as "Joshua" was originally a Black superhero called "Jericho". He would have been DC's first Black hero had the issue seen print. Neal Adams on the other hand derided the story as two suburban white kids' attempt to solve racism, well-meaning but tone deaf and naive and very "limousine liberal" in feeling.

Since Adams would go on to pencil Green Lantern & Green Arrow's "Hard Travelin' Heroes" era just a year later, an era that kicks off with an elderly Black man castigating GL for ignoring the problems faced by minorities in the U.S. while focusing on the stars AND ultimately introduce John Stewart as DC's first Black hero, I'm inclined to defer to his recollection.

#teen titans #dc titans #silver age comics #60s comics #dc universe #dc comics #dc #dc characters #comic books #one appearance wonders

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tvmigraine · 2 years ago

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FORGOTTEN LIVES: Robert Holmes

Before we begin! Remember to get a copy of the Forgotten Lives Omnibus at this link! The 31st is the LAST opportunity to preorder the new book before you lose your chance! We're going to aim for another double-post today, so that you have enough time to pick up the book!

In the Chibnall era of the show, we were introduced to the idea of Division - we've yet to see it fully in expanded media, but it seems a lot like the Celestial Intervention Agency, pulling strings in the background to make things work in favour of the Time Lords. The Fugitive Doctor is working (reluctantly?) for Division, but we have yet to see the Doctor's relationship with these shady organisations in the show. With the Camfield Doctor, we saw how they bend the rules and act outside the Time Lords' interests. But what does it mean when the Doctor loses their freedom?

Robert Holmes (1926-1986) may be most well known for the invention of the Sontarans, however has written many important episodes for the show including Brain of Morbius alongside Terrance Dicks under the name "Robin Bland". Along with having written the debut episodes of the Third Doctor, The Master, Jo Grant and Sarah Jane Smith, he's also written the episodes Spearhead from Space, The Deadly Assassin, The Talons of Weng-Chiang, The Caves of Androzani, The Two Doctors and many more from the 2nd Doctor era all the way to the 6th. He would've written The Ultimate Foe to complete the "Trial of a Time Lord" storyline, but passed away before he could finish a script.

Here we see a lonely Doctor working trapped beneath the heel of the Time Lords. Where he would have a companion, he instead has a small device that keeps him under constant surveillance. He's stuck doing missions that makes him do terrible things, waiting for that day where he can turn the tide and wipe the red from his ledger.

Portions of his era make him standout, as he does things I never expected to see from either book. In the first book, when written solely under Jay Eales, we see a similar set up to Dennison's "Gauntlet of Absolution" handled in a much different way. The Doctor, much like his current situation, is supervised by the alien race over the course of weeks as the Doctor tries his best to find the best outcome. An unexpected appearance at the end happily caught me off guard, something I hope to see in future releases.

When introducing other writers to this Doctor, Ian McIntre penned another multi-part story that took us between the Hinchcliffe and Holmes incarnations. We see this Doctor reunite with a friend made many faces ago, acting similarly to stories like "The Girl in the Fireplace" and it's relationship to "Deep Breath", not being a direct continuation as much as it's building on the pre-established lore around a strong concept. There's a moment that shows the Holmes Doctor almost reminisce on better times, when he had more freedom than this face may have ever known.

They're possibly the Doctor go through the most physical anguish out of the other incarnations. Eales writes a fantastic opening scene in "Borrowed Time" that details the scars and injuries that this Doctor has sustained, some to a point that should lead to regeneration but instead he is forced to continue. The Doctor that we see at the start of these stories is nothing like the broken and defeated Doctor we find in his send-off.

And as much as I shouldn't pick favourites, I have to give incredible amounts of respect for this TARDIS interior. Referred to as the Rococo TARDIS, it is a gorgeous steampunk design that feels like this Doctor letting out the personality he wishes he could properly show without regular interference.

I have little else to comment on - unlike the Harper or the Camfield Doctors, Holmes' background is easy to understand and stories are simply good. That being said, I couldn't help but consider the specific pairing up of Series 6B Troughton, Jo Martin and Holmes' Doctor. Three incarnations that would not know each other dealing with some alien planet while navigating the bureaucracy of multiple different Time Lord branches could make for either a fantastic political drama or a very funny political comedy.

For more insight into the creative process of every author that worked on Forgotten Lives, you can go to @forgottenlivesobverse and find interviews from everyone involved across the books. If you're looking for insight on how the outfits were designed, you can go to Paul Hanley's Patreon and find what went into designing each Doctor.

Here's the stories you can look forward to as this Doctor does his best to balance his ledger and make amends, pushed to his very limits.

THE OTHER SIDE by Jay Eales

THE HIVE MINDERS (Part Two) by Ian McIntire

RETROGENESIS (Part Seven) by Philip Purser-Hallard

BORROWED TIME by Jay Eales

Our final post will be the George Gallaccio Doctor, the final Doctor before we would begin the Hartnell era. You've got very little time to get the book, so don't miss out!

#forgotten lives obverse #forgotten lives #obverse books #doctor who #the brain of morbius #robert holmes

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persiamedie · 3 months ago

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Title: “A Punchline in the Capital”

Setting: Washington D.C. – A blend of reality and whimsy, where the political powerhouses meet the bizarre.

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Panel 1: The Streets of D.C.

*The sun shines on the gleaming Capitol building. Crowds bustle with excitement, holding signs that read “Make Laughter Great Again!” while balloons float in the air. In the center, the iconic arch-nemeses, President Trump and the Joker, are about to face off.*

*Caption: “In a world where laughter and governance collide, the two most unlikely adversaries prepare for a showdown!”*

---

Panel 2: The Stage is Set

*An enormous inflatable clown with big red shoes labeled “Joker’s Circus” looms over the stage, where President Trump stands with a gold microphone. The backdrop is a colorful collage of D.C. landmarks fused with giant clown props.*

*Trump: “Folks, we’re bringing back the best comedy this city has ever seen! Better than any late-night show!”*

*Joker (from behind the inflatable): “Comedy? Oh, darling, you’re in for a surprise! I’m the punchline to your serious script!”*

---

Panel 3: The Opening Act

*Trump delivers his opening monologue, epic gestures in full swing. The crowd laughs, though the Joker looks unimpressed. Suddenly, the Joker pops out of nowhere, juggling rubber chickens!*

*Joker: “Why did the chicken cross the road? To escape your speeches!”*

*Caption: “The ultimate test of humor begins!”*

---

Panel 4: The Contest Begins

*Both men face off with ridiculous gags. Trump pulls a giant razor-sharp pencil out of his pocket, claiming it’s for “the best policies,” while the Joker pulls out a paintball gun and splatters colorful paint all over Trump.*

*Trump (with a smirk): “Nice splatter! But I prefer strokes that count!”*

*Joker (laughing maniacally): “You’ve got that right! But don’t forget the punch of a good joke!”*

---

Panel 5: Sudden Chaos

*As the comedic battle heats up, a massive balloon of an eagle emerges, swooping down and stealing the show. The crowd gasps.*

*Joker: “What’s this? Eagle’s got the punchline now?”*

*Trump: “Get that eagle! It’s an unfair opponent—I’m supposed to be the symbol here!”*

---

Panel 6: Batman Makes an Entrance

*Suddenly, a dramatic shadow appears! Batman swoops in, landing between Trump and the Joker, his cape billowing majestically.*

*Batman: “Enough of this nonsense! Washington needs a hero more than a jester.”*

*Caption: “A twist in the tale!”*

---

Panel 7: Unlikely Team-Up

*The Joker, surprisingly, and Trump look at each other, then back to Batman. The atmosphere shifts as they realize they must collaborate to save the event.*

*Trump: “Let’s call it a truce—together, we’ll make this the best show ever!”*

*Joker: “Only if I get to throw confetti bombs!”*

---

Panel 8: A Collaboration of Chaos

*The final scene shows all three figures—Trump, the Joker, and Batman—leading an over-the-top parade of laughter, balloons, and hilarity through Washington D.C. The atmosphere buzzes with laughter, and citizens are smiling and cheering. It’s a sight to behold.*

*Caption: “In a twist of fate, laughter brings even the deepest foes together, proving that the best punchlines come from unity!”*

---

Epilogue Panel: Looking Back

*As the sun sets over D.C., the Capitol stands proudly, now adorned with colorful streamers. Kids are playing with mini Joker and Trump toys, laughing at the day’s events.*

*Caption: “In the end, the greatest joke was that humor is a bridge—one that can unite even the most divided of hearts.”*

---

The End

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ultraericthered · 2 years ago

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If you want to make a good point, don't lead with fighting words.

And this is not a bad or entirely inaccurate post, but there are points in it where I find the statements and sentiments to be a bit fallacious.

The film even introduces a facet of Magnifico’s backstory that implies he has personal experience with the grief of losing a dream (in the destruction of his home), but that thread is never touched on again.

It actually is touched on again briefly in the scene where he's tempted to open the cursed dark magic tome but his wife talks him out of doing so. The fact that he goes and opens it up later when his wife's not looking I think suggests that Magnifico's tragic past never really meant as much to him as he tried to rationalize to himself and to others that it did. Magnifico was shaped by his past, but does not really dwell on it or even on his future - only his present and how to keep its status quo upheld. He's a man who lives only in the moment and has limited perception of anything greater or worth more than what he has and always gets in his comfy, luxurious royal lifestyle.

When this request is denied and she loses the opportunity to be his apprentice, she deems Magnifico’s judgement unfair & thus begins her journey to free the dreams of Rosas’ people.

This leaves out a crucial part of what really set Magnifico off at Asha and made him act so cruel and spiteful towards her afterwards: Asha questioned his decision to keep all the wishes stored away, including those he knows damn well he will never grant, and never simply return them to the people who entrusted him with them to start with. She believed that even if not everyone can have their wishes granted by magic, everyone deserves to have wishes to try and realize on their own, without any one person being the decider of that. Since Magnifico is defined by his God Complex that permeates his inflated self-image, this questioning pissed him off and so he marked Asha as a foe rather than a friend. What followed was entirely his own fault.

He's not a good guy, but I'd argue he's not outright evil. He's just got the makings of a good villain, and those spikes of volatility do give us a foundation to work off of as he spirals, but as we’ll discuss in a bit, the foreshadowing established here isn’t used to the ends it implies.

I do agree here and believe this was the intention. I've made the Gaston comparison before and all that. And I will also agree that yes, what's established for the character in Act 1 was NOT used to the ends that were implied, and that's one of the notable weaknesses in the film and the character of King Magnifico that we ended up with.

While I was watching this film, I was sure Magnifico was going to be a redeemable villain

Because this dichotomy isn’t present, and Magnifico—who should be redeemable—isn’t, the film is so much weaker than it could’ve been.

OK, you mention Magnifico's supposed redeemability in all these sentences and I have to make this known: the filmmakers have gone on record that at no point of production and in no draft of the script was there ever any redemption set for Magnifico. He was designed specifically to be the villain through and through. The issue is that the initial vision of him was more akin to Ramses from Dreamworks' The Prince of Egypt; a sympathetic, humanized character who devolves into a proud, wrathful tyrant and ultimately an irredeemable monster who brings his tragic fate upon himself (and he also had a villainous partner in marriage like the Ramses in The Ten Commandments). But this vision changed into a more traditionally maniacal, silly, hammy, power-hungry Disney villain who, while still fairly humanized, had little to no redeemable qualities. Which is fine except for the fact that Act 1 still has signs of the sympathetic depiction of earlier drafts.

but the way Magnifico becomes the “true” villain and his motivations for doing so are strangely divorced from what we’re shown in Act I.

Unfortunately very true. Many have said it, and I cannot deny it. And had his earlier character beliefs, motivations, and relationships been better developed and executed, it would not have been the case.

I think feeling under-appreciated is actually a very strong motivation for Magnifico as a character-turning-villain, and it works very well. It’s justified based on what we’ve seen on screen so far: he feels under-appreciated (even though he’s decidedly not—the town adores him), he snaps and acts irrationally under stress (as seen with his outburst with Asha), and he’s frustrated that people seem to want more from him (again, as seen with his conversation with Asha in Act I).

And this is where the Lysandre comparisons start to come to me. Looks at others as thieves, parasites, and ingrateful brats who are bad for the place he wants to protect, but with the extremes he goes to, he becomes all of those things far more than anyone else.

But what does it stand for in the context of the narrative's structure? A quick path to power?

Yeah. It's a magical steroid or bottle of alcohol. It will empower you but also curse you and drive you into unfiltered madness with urges to do darker deeds than you might normally do, but it holds no power to do that on its own when its shut. Its user has the choice whether or not to utilize it, and Magnifico willfully makes the choice to do so.

This decision could make sense; it contains powerful magic, and if it were framed in such a way that the people of Rosas were losing faith in Magnifico’s magic, as if what he can do might not be enough anymore after what they felt from Star, going for the book that we know contains spells that go above and beyond what he can already do would be logical. Along the lines of, “If they’re not happy with what I do for them, fine. I, ever the “martyr”, will do the unthinkable for you, because you want more.” It would keeps with the idea that Magnifico believes he's still trying to help people, but his motivation has taken his self-imposed pity party and turned it into resentment and spite.

See, my thoughts on this turn was that it would make the most sense if Magnifico rationalized that he'd been too soft on his subjects for all these years and might've unwittingly spoiled them to the point of making them more entitled, demanding, and ungrateful to him. So he opens the book knowing that it will harden his heart and make him act uninhibited in addition to bestowing to him greater power, meaning any such "softness" will no longer be an impediment for him and he can get things back under control his preferred way. If at some point he'd briefly stopped singing and said aloud something along these lines, him going for the book would make more sense.

Again, it’s meant to paint him as a vain control freak, but… he hasn’t lost any power.

But he has lost the complacency of his people, which makes him fear he will lose their reverence, respect, and dependence on him next. He wants everyone in Rosas to worship him as a god among mortal men forevermore, and what he's witnessing is a direct threat to that.

It’s played for laughs, but there’s something unsettling about a character who’s clearly and explicitly under the influence of a malevolent entity being left… unsaved. If you follow the idea of Magnifico being disconnected from community being a driving force behind his arc, the end of the film sees him in a worse situation he was in at the start: truly, fully alone.

While I get this, I will also argue that not everyone who falls under an influence and then clings to that influence as they continue to make wrong decisions can be saved, especially if they explicitly don't want to be saved in the first place. Like, why do you think Hunter Biden's a thing? Or from another Disney-based fantasy, Rumpelstiltskin the Dark One: the curse ceases to be such when the afflicted wants it.

and I believe if Magnifico had been more consistent, the film would’ve greatly improved across the board.

OK, very much agreed. The film and the villain could've been truly great, but the finished product settles for just good or alright instead.

Once the audience thinks, hey, that bad guy might have a point, the protagonist has to do a little more heavy lifting to convince us they're wrong.

Not so. If the bad guy loses the valid point they had due to following through on it with irrational thinking and/or deplorable actions, then it's easy to see them as being in the wrong and want them stopped.

What do they all have in common? Their motivation is simple, their goal is clear, and they don't care who they hurt in pursuit of what they want.

I'd argue Magnifico did become that after opening the evil magic spellbook. Once he broke and absorbed a wish and at the same time saw the Star, he became motivated purely by his ravenous desire to further feed his power that he'd put to the end of subjugating the disspirited masses under his heel as he establishes a new order in Rosas where there'd be "no more hope, no more dreams, no escape, no chance to rise up, no one to tell any tales, no one to challenge him ever again!" Simple and effective enough for a fairy tale villain.

Magnifico simply doesn't fall into that category. He's motivated by the idea of losing power, which is never a clear or impactful threat. His goal at the start seems to be to protect Rosas, then it turns into protecting his own power, and then-- once he's corrupted-- he wants to capture Star. The problem is, there's no objective to put this power toward. Power for power's sake is useless. Scar craves power because he feels robbed of status. Ursula believes the throne is rightfully hers. Maleficent wanted to make a statement. Magnifico... well, I'm not really sure.

And this gets one last "unfortunately true" from me, but also that the thing about "no objective to put this power toward" is false given what I described above. Plain and simple, Magnifico wanted to feel like God, and so he'd go to whatever lengths he could to do so.

Disney's Wish

Look, Disney's Wish has been universally panned across the internet, and for good reason.

It’s just…kind of okay.

When we sit down to watch a Disney film—you know, from the company that dominated the animation industry from 1989 to (arguably) the mid 2010’s and defined the medium of animation for decades—we expect something magnificent. Now, I could sit here and tell you everything that I thought was wrong with Wish, but if you’re reading this review, then I imagine that you’ve already heard the most popular gripes from other users across the web. So, let me focus in:

The biggest problem with Wish—in fact, the only problem with Wish—is Magnifico.

Whoa, that’s crazy! There’re so many things about Wish that could’ve been better! The original concept was stronger! The music was bad--

I hear you, I do. But stay with me here, okay? Take my hand. I studied under artists from the Disney renaissance. I teach an adapted model of Disney’s story pipeline at a University level. I spent a ridiculous amount of time getting degrees in this, and I am about to dissect this character and the narrative to a stupid degree.

First, we need to understand that a good story doesn’t start and end with what we see on the screen. Characters aren’t just fictional people; when used well, characters are tools the author uses (or in this case, the director) to convey their message to the audience. Each character’s struggle should in some way engage with the story’s message, and consequently, the story’s theme. Similarly, when we look at our protagonist and our antagonist, we should see their characters and their journeys reflected in one-another.

So, what went wrong between Asha & Magnifico in terms of narrative structure?

Act I

In Wish, we’re introduced to our hero not long into the runtime—Asha. She’s ambitious, caring, and community-oriented; in fact, Asha is truly introduced to the audience through her love of Rosas (in “Welcome to Rosas”). She’s surrounded by a colorful cast of friends who act as servants in the palace, furthering her connection with the idea of community but also telling us that she’s not of status, and then she makes her way to meet Magnifico for her chance to become his next apprentice.

Quick aside: I'm not going to harp on Asha as a character in the context of Disney's overall canon. Almost every review I've seen covers her as a new addition to Disney's ever-growing repertoire of "Cute Quirky Heroines", and I think to be fair to Asha as an actor in the narrative, it serves her best to be weighed within the context of the story she's part of.

As Asha heads upstairs for her interview, we're introduced to the man of the hour: Magnifico. He lives in a tower high above the population of Rosas, immediately showing us how he differs from Asha; he’s disconnected from his community. He lives above them. He has status. While the broader context of the narrative wants us to believe that this also represents a sense of superiority, I would argue that isn’t what Magnifico’s introduction conveys; he's isolated.

Despite this distance, he does connect with Asha in “At All Costs”. For a moment, their goals and values align. In fact, they align so well that Magnifico sees Asha as someone who cares as much about Rosas as he does, and almost offers her the position.

… Until she asks him to grant Saba’s wish.

This is framed by the narrative as a misstep. The resonance between their ideals snaps immediately, and Magnifico says something along the line of “Wow. Most people wait at least a year before asking for something.”

This disappointment isn't played as coming from a place of power or superiority. He was excited by the idea of working with someone who had the same values as he did, who viewed Rosas in the same way he does, and then learns that Asha’s motivations at least partially stem from a place of personal gain.

Well, wait, is that really Asha's goal?

While it's not wholistically her goal, it's very explicitly stated & implied that getting Saba's wish granted is at least a part of it. The audience learns (through Asha's conversation with her friends before the interview) that every apprentice Magnifico has ever had gets not only their wish granted, but the wishes of their family, too! Asha doesn’t deny that this is a perk that she’s interested in, and I don't think this is a bad thing.

So, Is Asha’s commitment to Saba selfless, or selfish? I’m sure the director wanted it to seem selfless, wherein she believes her family member has waited long enough and deserves his wish granted, but we can’t ignore the broader context of Asha essentially trying to… skip the line.

Then, we get our first point of tension. Magnifico reveals his “true colors” in snapping at Asha, telling her that he “decides what people deserve”. This is supposed to be the great motivator, it’s meant to incite anger in the audience—after all, no one gets to decide what you deserve, right? But unfortunately for the integrity of the film and the audience's suspension of disbelief, at least part of Magnifico’s argument is a little too sound to ignore:

Some wishes are too vague and dangerous to grant. Now, there’s visual irony here; he says this after looking at a 100 old man playing the lute. The idea that something so innocuous could be dangerous is absurd, and the audience is meant to agree.

... But we’ve also seen plenty of other wishes that might be chaotic—flying on a rocket to space, anyone? The use of the word vague is important, too—this implies wording matters, and that a wish can be misinterpreted or evolve into something that is dangerous even if the original intent was innocuous. His reasoning for people forgetting their wish (protecting them from the sadness of being unable to attain their dreams) is much weaker, but still justifiable (in the way an antagonist’s flawed views can be justified). The film even introduces a facet of Magnifico’s backstory that implies he has personal experience with the grief of losing a dream (in the destruction of his home), but that thread is never touched on again.

What is the audience supposed to take from this encounter? If we’re looking at the director’s intent, I’d argue that we’ve been introduced to a well-meaning young girl and a king who’s locked away everyone’s greatest aspiration because he believes he deserves to have the power to decide who gets to be happy.

But what are we shown? Our heroine, backed by her friends, strives to be Magnifico’s apprentice because she loves the city but also would really like to see her family's wishes granted. When this request is denied and she loses the opportunity to be his apprentice, she deems Magnifico’s judgement unfair & thus begins her journey to free the dreams of Rosas’ people.

In fairness, Magnifico doesn’t exhibit sound judgement or kindness through this act of the film. He’s shown to be fickle, and once his composure cracks, he can be vindictive and sharp. He's not a good guy, but I'd argue he's not outright evil. He's just got the makings of a good villain, and those spikes of volatility do give us a foundation to work off of as he spirals, but as we’ll discuss in a bit, the foreshadowing established here isn’t used to the ends it implies.

While I was watching this film, I was sure Magnifico was going to be a redeemable villain. He can’t connect with people because he's sure they value what he provides more than they value him (as seen in “At All Costs” and the aftermath), and Asha’s asking for more was going to be framed as a mistake. His flaw was keeping his people too safe and never giving them the chance to sink or swim, and he's too far removed from his citizens to see that he is appreciated. Asha does identify this, and the culmination of her journey is giving people the right to choose their path, but the way Magnifico becomes the “true” villain and his motivations for doing so are strangely divorced from what we’re shown in Act I.

Act II:

His song, “This is the Thanks I Get!?” furthers the idea that Magnifico’s ire—and tipping point—is the fact that he thinks the people he’s built a kingdom for still want more. Over the course of this 3:14 song, we suddenly learn that Magnifico sends other people to help his community and doesn’t personally get involved (we never see this outside of this song), and that he’s incredibly vain/narcissistic (he's definitely a narcissist). I think feeling under-appreciated is actually a very strong motivation for Magnifico as a character-turning-villain, and it works very well. It’s justified based on what we’ve seen on screen so far: he feels under-appreciated (even though he’s decidedly not—the town adores him), he snaps and acts irrationally under stress (as seen with his outburst with Asha), and he’s frustrated that people seem to want more from him (again, as seen with his conversation with Asha in Act I).

But then… he opens the book.

Ah, the book. As an object on screen, we know that it's filled with ancient and evil magic, well-known to be cursed by every relevant character in the film, and kept well-secured under lock and key. But what does it stand for in the context of the narrative's structure? A quick path to power? We're never told that it has any redeeming qualities; Magnifico himself doesn't seem to know what he's looking for when he opens it. It feels... convenient.

I think it's also worth noting that he only turns to the book when he's alone; once again, the idea of connection and community rears it's ugly head! Earlier in the film, Amaya-- his wife-- is present and turns him away from taking that path. In her absence, he makes the wrong choice.

It would keeps with the idea that Magnifico believes he's still trying to help people, but his motivation has taken his self-imposed pity party and turned it into resentment and spite.

But, that’s not the case. Instead he talks about reversing that “light”, which has had no real negative or tangible consequences on Rosas. Everyone had a warm feeling for a few seconds. Again, it’s meant to paint him as a vain control freak, but… he hasn’t lost any power. The citizens of Rosas even assume the great showing of magic was Magnifico.

Act III

Then, we get to the consequences of opening the book (and perhaps my biggest qualm with this film). The book is established as being cursed. Magnifico knows it, Asha knows it, and Amaya—who is introduced as loyal-- knows it. The characters understand his behavior is a direct result of the book, and search for a way to save him. This is only the focus of the film for a few seconds, but if you think about it, the fact that his own wife cannot find a way to free him of the curse he’s been put under is unbelievably tragic. Worse still, upon discovering there is no way to reverse the curse, Magnifico—the king who built the city & “protected it” in his own flawed way for what seems to be centuries—is thrown out by his wife. You know, the wife who's stood loyal at his side for years?

They bring in so many opportunities for Magnifico to be sympathetic and act as a foil for Asha; he’s jaded, she’s not. He’s overly cautious (even paranoid), she’s a risk-taker. He turns to power/magic at his lowest point, Asha turns to her friends at her lowest point. Because this dichotomy isn’t present, and Magnifico—who should be redeemable—isn’t, the film is so much weaker than it could’ve been. The lack of a strong core dynamic between the protagonist and antagonist echoes through every facet of the film from the music to the characterization to the pacing, and I believe if Magnifico had been more consistent, the film would’ve greatly improved across the board.

I mean, come on! Imagine if at the end of the film, Asha—who, if you remember, did resonate with Magnifico’s values at the start of the film—recognizes that he's twisted his original ideals and urges him to see the value in the people he’s helped, in their ingenuity, in their gratitude, & that what he was able to do before was enough. Going further, asking what his wish is or was—likely something he’s never been asked— and showing empathy! We’d come full circle to the start of the film where Asha asks him to grant her wish.

Pushing that further, if Magnifico’s wish is to see Rosas flourish or to be a good/beloved king, he'd have the the opportunity to see the value in failing and how pursuing the dream is its own complex and valuable journey, and how not even he is perfect.

The curse and the book (which, for the purposes of this adjustment, would need to be established as representing the idea of stepping on others to further your own goals/the fast way to success), then serve as the final antagonist, that same curse taking root in the people of Rosas who’ve had their dreams destroyed, and Asha works with the community to quell it. Asha’s learned her lesson, so has Magnifico, and the true source of evil in the film—the book—is handled independently. Magnifico steps back from his role as King, Amaya still ends up as Queen, and Asha takes her place as the new wish-granter.

This route could even give us the true “Disney villain” everyone’s craving; giving the book sentience and having it lure Magnifico in during “This is the Thanks I Get!?” leaves it as its own chaotic evil entity.

All in all, Magnifico's introduction paved a road to redemption that the rest of the film aggressively refused to deliver on, instead doubling down on weaker motivations that seem to appear out of thin air. Once the audience thinks, hey, that bad guy might have a point, the protagonist has to do a little more heavy lifting to convince us they're wrong.

Look at the big-bad-greats from Disney's library. There isn't a point in the Lion King where we pause and think, "Wait a second, maybe Scar should be the guy who rules the Pridelands." Ursula from the Little Mermaid, though motivated by her banishment from King Triton's Seas, never seems to be the right gal for the throne. Maybe Maleficent doesn't get invited to the princess's birthday party, but we don't watch her curse a baby and think, Yeah, go curse that baby, that's a reasonable response to getting left out.

What do they all have in common? Their motivation is simple, their goal is clear, and they don't care who they hurt in pursuit of what they want.

#Disney #Wish #disney villains #King Magnifico #opinion #criticism

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linuxgamenews · 5 months ago

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Unleash the Chaos in Yield! Fall of Rome 4X Strategy

Yield! Fall of Rome turn-based 4X strategy game release is now in Early Access on Steam Deck and Linux via Windows PC. Developer Billionworlds brings their creative magic to life. Doing well on Steam with it's 79% Positive reviews. Shake off the dust of history, strap on your sandals, and get ready to storm the Roman Empire! Yield! Fall of Rome is here, bringing fast, action-packed turn-based 4X strategy straight to Early Access. No grinding, no fluff — just smart, impactful decisions that’s due to keep you hooked. Since it already comes Steam Deck Verified, and playable on Linux via Proton. Developed by Billionworlds and published by Daedalic Entertainment, while the title throws you into the chaos of Rome’s final days. Choose from eight unique factions — Huns, Britons, Franks, and more. Since each is fighting to leave their mark on history. Will you rise as a conqueror, a strategist, or the ultimate back stabber?

What Makes Yield! Fall of Rome 4x Different?

If you’ve ever sighed in frustration waiting for a scout to finish in seven turns, this release is for you. It trims out all the boring parts of 4X games and gets straight to the action.

No Waiting, Just Strategy: Every decision matters. No filler, just pure tactical gameplay.

Dynamic Campaigns: The world shifts around you—adapt or fall.

Multiplayer Mayhem: Ally, betray, and conquer. Play solo or take on rivals asynchronously.

Easy to Pick Up, Hard to Master: Whether you're a casual player or a hardcore strategist, there's plenty to sink your teeth into.

Yield! Fall of Rome 4X Early Access

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A 4X Game That Won’t Take Over Your Life

Most turn-based 4X strategy games demand hours before you even get to the good stuff, so Yield! Fall of Rome flips that script. Every turn packs in crucial choices — expand, raid, forge alliances, or burn everything to the ground. It’s inspired by Civilization and Battle for Polytopia, but instead of a history lesson, you get a bold, colorful take on Rome’s fall. It’s not about who wore the fanciest toga—it’s about brutal strategy, cunning diplomacy, and also a touch of barbarian flair.

Built for Steam Deck

Got a Steam Deck? Perfect. Yield! Fall of Rome 4x is designed to feel right at home on handhelds. The streamlined mechanics and quick-fire decision-making fit on-the-go strategy. Doing so like a well-worn pair of Roman sandals.

Rewrite History, One Turn at a Time

Lead legendary factions against the mighty Romans, while you build your empire, and carve out your destiny. With procedurally generated maps and a variety of factions, every campaign is a fresh challenge. Whether you dominate through warfare, outmaneuver with diplomacy, or outlast your foes with cunning tactics, the road to Rome’s downfall is yours to shape. So, what are you waiting for? Yield! Fall of Rome 4x is charging onto Steam Early Access already. So grab your war banner, rally your faction, and claim your place in history on Linux via Windows PC. Along with a price of $17.99 USD / £15.29 / 17,99€, including the 10% discount.

#yield! fall of rome #4X strategy #early access #linux #gaming news #billionworlds #ubuntu #steam deck #windows #pc #unity #Youtube

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tokensbossh · 7 months ago

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Who Is Venom in Spider-Man 2?

Marvel’s Spider-Man 2 has finally hit the gaming world, and one of its most thrilling twists centers around Venom, the infamous symbiote. Unlike previous adaptations where Eddie Brock is Venom’s traditional host, Spider-Man 2 for PS5 introduces a refreshing storyline that flips the script, making Harry Osborn the new Venom. This decision creates a dramatic arc, heightening the tension between Harry and Peter Parker, who are longtime friends. But what led to this twist, and why was Harry chosen as Venom this time? I'll break down everything you need to know about Venom's role, from the symbiote's origin to Harry’s transformation and the game’s storyline impact.

Who Is Venom in Spider-Man 2 (4)

Why is Harry Osborn Venom in 2024 Spider-Man 2

The Choice of Harry Osborn as Venom The decision to make Harry Osborn the host for Venom was a bold one by Insomniac Games. As explained by the developers in interviews, Harry’s transformation into Venom is rooted in his longstanding friendship with Peter Parker. This close relationship adds emotional depth to their rivalry once the symbiote takes control of Harry, transforming him into Venom. Game director Ryan Smith stated, "The idea was to make the rivalry deeply personal—Harry as Venom introduces stakes that resonate with Peter’s journey, as he’s torn between loyalty to a friend and responsibility as Spider-Man."

Why Not Eddie Brock?

One question that fans keep asking is: why not Eddie Brock, Venom’s usual host? While Eddie Brock has traditionally played Venom in comics and previous movies, the game developers wanted to bring a unique angle to the storyline. Harry Osborn’s character introduces a fresh narrative as Venom, emphasizing friendship turned bitter. This choice not only diverges from previous portrayals but also makes for an emotionally charged storyline that enhances gameplay dynamics. The Impact of Venom on Spider-Man 2’s Plot When Harry Osborn becomes Venom, the stakes for Spider-Man escalate. Not only does Venom wreak havoc across New York City, but he also targets those closest to Peter, making it personal. Venom's storyline in Spider-Man 2 explores themes of betrayal and loyalty, with Venom being one of the most relentless and intimidating villains Peter has ever faced. Venom’s bond with Harry amplifies his powers, allowing him to create symbiote nests across the city and take on powerful foes like Kraven the Hunter. Venom’s Origins: The Symbiote Meteorite A significant plot point in Spider-Man 2 is the origin of the symbiote. It’s revealed that the symbiote came from a meteorite, possibly tying into the lore of Knull, the dark god associated with symbiotes in the comics. This detail is a nod to comic fans and hints at the symbiote’s dark and otherworldly origins, further adding to its menacing presence.

Who Is Venom in Spider-Man 2 (1) Key Gameplay: Fighting Venom as Spider-Man In the game, Venom isn’t just a powerful foe; he’s also a highly strategic opponent. Since Peter initially bonded with the symbiote, Venom has insider knowledge of Spider-Man's moves, making battles uniquely challenging. Players must adapt to Venom’s ruthless combat style and navigate the symbiote-infested environments he creates. Every encounter with Venom feels personal, intense, and thrilling, keeping players on edge. External Link Suggestions: - Marvel's Official Page on Venom - GamesRadar’s Analysis of Harry Osborn as Venom

Why This Choice Matters for Spider-Man’s Storyline in 2024

Harry’s transformation into Venom not only heightens the stakes but also adds an emotional depth rarely seen in superhero games. The narrative pushes Peter to confront difficult decisions and ultimately makes players more invested in the storyline. Every battle with Venom feels personal, with the game encouraging players to reflect on the cost of power and friendship. As Venom terrorizes New York, Peter and Miles work together to take him down, but the impact of Harry’s transformation leaves a lasting scar on Spider-Man’s world. Venom’s Role in Spider-Man 2 In Spider-Man 2, Venom’s story is both thrilling and heartbreaking, transforming the game from just another superhero installment to an emotional experience. With Harry as Venom, the storyline brings Spider-Man’s most personal conflicts to the forefront, making players not just observers but participants in a story of loyalty, loss, and the dark side of friendship. This game’s version of Venom, with all its personal connections and intense battles, truly redefines what it means to be Spider-Man’s archenemy. Whether you're a die-hard Marvel fan or new to Spider-Man lore, Spider-Man 2 offers a Venom experience like never before. Read the full article

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softsan · 1 year ago

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・⊹ 🎐 ˙ ̟!! NCT MASTERLIST

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✉️ ・ 𝐓𝐈𝐌𝐄𝐒𝐓𝐀𝐌𝐏𝐒 ・ ᝰ

˚ 🌩️ ⊹ taeyong. [5:43 am] [1:58 pm] [4:09 pm] [5:26 pm] [10:58 pm] [11:56 pm]

˚ 🌩️ ⊹ johnny. [7:43 am] [2:26 pm] [3:43 pm] [5:38 pm] [8:23 pm]

˚ 🌩️ ⊹ yuta. [7:45 am] [8:55 am] [4:45 pm] [5:47 pm] [6:45 pm]

˚ 🌩️ ⊹ kun. [4:56 pm] [6:12 pm] [8:45 pm] [11:04 pm]

˚ 🌩️ ⊹ doyoung. [10:12 am] [3:14 am] [8:36 pm] [9:06 pm]

˚ 🌩️ ⊹ ten. [12:31 am] [6:13 pm]

˚ 🌩️ ⊹ jaehyun. [3:12 am] [4:51 am] [8:56 pm]

˚ 🌩️ ⊹ winwin. [5:48 am] [11:03 am] [1:39 pm]

˚ 🌩️ ⊹ jungwoo. [7:07 am] [7:43 am] [7:45 am] [5:28 pm] [7:21 pm] [11:58 pm]

˚ 🌩️ ⊹ mark. [8:12 am] [6:59 pm]

˚ 🌩️ ⊹ xiaojun. [6:02 am] [10:17 am] [4:43 pm] [5:34 pm]

˚ 🌩️ ⊹ hendery. [6:42 am] [8:54 am] [2:30 am] [6:08 am]

˚ 🌩️ ⊹ renjun. [12:03 am] [10:01 am] [3:25 pm] [6:02 pm] [11:54 pm]

˚ 🌩️ ⊹ jeno. [12:25 am] [10:12 am] [4:09 pm] [4:43 pm] [5:43 pm] [9:47 pm]

˚ 🌩️ ⊹ haechan. [11:15 am] [3:01 pm] [5:56 pm] [11:39 pm]

˚ 🌩️ ⊹ jaemin. [12:20 am] [1:06 am] [8:45 am] [11:03 am] [4:58 pm] [6:14 pm] [7:34 pm]

˚ 🌩️ ⊹ yangyang. [2:32 am] [7:45 am] [9:18 am] [2:58 pm] [10:56 pm]

˚ 🌩️ ⊹ chenle.

˚ 🌩️ ⊹ jisung.

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frontproofmedia · 1 year ago

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INTERVIEW: Radivoje 'Hot Rod' Kalajdzic: The Fight Back to Championship Contention

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Published: March 12, 2024

Exclusive Interview: Radivoje ‘Hot Rod’ Kalajdzic: The Fight Back to Championship Contention

It's been said that fighters come from the harshest environments. They are made from a crucible of circumstances that evoke a temperament for combat. However, there are also those who are natural-born fighters. Coming from any walk of life, from rich to poor, they would have found themselves standing across the ring, locking eyes with an opponent.

Light heavyweight contender Radivoje Kalajdzic (28-2, 20 KOs), better known as Hot Rod, started his journey toward boxing in a turbulent state during the Bosnian War. Kalajdzic's family moved from Bosnia to the shores of Saint Petersburg, Florida, where Kalajzdic settled down and put his roots in the community. The battles he faced outside the ring molded and prepared him for the world of boxing and the foes he would encounter inside the squared circle.

What began as an admiration for a boxer's look blossomed into a career in the sweet science. Kalajdzic has been a professional for over a decade, mainly plying his trade as a light heavyweight. The first major match of significance for Kalajdzic came against New York native Marcus Browne at the Barclays Center in Brooklyn in 2016.

After a knockdown in the first round, Hot Rod worked his way back into the fight by continually pressuring Browne. Kalajdzic ate every shot Browne landed while responding back with blows of his own. In the sixth round, he knocked Browne down, taking over the final rounds of the fight.

After eight rounds, a hometown split decision was rendered in favor of Browne. Despite not being awarded a victory, it was clear the Kalajdzic looked like the fighter with the greater upside. Browne seemed lucky to escape with the win and was fortunate that the fight was only scheduled for eight rounds.

What should have been a springboard to catapult Hot Rod into greater opportunities turned into a roadblock, stifling his career. A multitude of injuries, including avascular necrosis in his hand and issues with his knee, compounded with a variety of issues with his promotional status, led to stretches of inactivity.

An opportunity to face then-IBF and future unified light heavyweight champion Artur Beterbiev would arrive more than three years after the fight with Browne. When a chance to fight for a world title arrives, it's a risk for any fighter to turn down no matter where they are in their respective careers. Coming in a bit under-prepared, Kalajdzic gave Beterbiev all he could before ultimately being stopped in five rounds.

Now, in a new chapter in his career, with a new team behind him, including trainer Rick Caronongan and manager Ryan Rickey, Kalajdzic is making another run toward a world title. He faces former light heavyweight contender Sullivan Barrera this Wednesday, March 13, on ProBox TV live at the Whitesands Events Center in Plant City, FL.

Barrera, a Cuban amateur standout, has taken on some of the best the light heavyweight division has had to offer over the last decade. He's faced the likes of Andre Ward, Joe Smith, Jesse Hart, Gilberto Ramirez, and even current WBO light heavyweight champion Dmitry Bivol. Although Barrera has been out of the ring for more than two years, Kadajzdic won't be taking him or the opportunity lightly. An impressive victory will send a statement to the rest of the light heavyweight division, putting him in line for another world title victory.

In an exclusive interview with Frontproof Media, Kalajdzic discusses his life and career. He also talks about his experiences outside the ring, his new team, his fight with Artur Beterbiev, a dream fight with Canelo Alvarez, and his upcoming match against Sullivan Barrera.

Frontproof Media: Introduce yourself.

Hot Rod: "My name is Radivoje Kalajdzic, but I go by Hot Rod because a lot of people can't pronounce my first and last name, so Hot Rod it is."

Frontproof Media: Where are you from? Where did you grow up?

Hot Rod: "I was born in Zenica, Bosnia Herzegovled to certain cities and grew up there until I was about seven. So, I would say I was from there, but I grew up in St. Pete. I came here when I was seven and lived here my whole life. So, St. Petersburg, Florida, is where I grew up."

Frontproof Media: Did your background push you or influence you into becoming a fighter?

Hot Rod: "My background and the way I grew up didn't really push me to become a fighter. Other than the war and then us being refugees, I really had a good life. My parents took care of me. They took care of us, so I wouldn't say I had a hard life. I just wanted to be dressed as a boxer. I thought it was cool, so I went to the gym and just fell in love with the sport. A lot of fighters struggled in life. They came from the streets, this and that, so the only way out was boxing. I wasn't like that. I just thought it was cool to be a boxer, and went into the gym and fell in love. I could have taken a different route, but I chose boxing because I love it."

Frontproof Media: Were you a fan of the sport growing up?

Hot Rod: "No, I wasn't a fan of the sport like that. I was more of a fan of Mike Tyson because my dad always used to watch him and talk about him. He talked about how ferocious he was and how he always ended fights quickly. I liked to watch Mike Tyson's fights. But other than that, I was a 14-year-old kid who just liked to play around, play video games, this and that."

Frontproof Media: What are your thoughts on the current landscape for light-heavyweights?

Hot Rod: "The current landscape at light-heavyweight is good, but I don't think it was as good as three years ago because a lot of the top 10 fighters moved up. Joe Smith, Marcus Brown, Gilbert Ramirez, and I think a lot more will eventually move up, but there are still some big names. Beterbiev-Bivol, it's going to happen June 1st, and then after that fight, we'll see what happens. But it's decent. I don't think it's as good as it was."

Frontproof Media: What are your thoughts on Sullivan Barrera, your opponent?

Hot Rod: "My thoughts on Sullivan Barrera are that he's good, crafty, has a lot of amateur experience, has 400 amateur fights, fought the top 10 guys: Bivol, Gilbert Ramirez, Joe Smith, Jesse Hart, Andre Ward, and he's only been, I think, stopped once or twice, so he's durable also, but we'll see. We'll see if age plays a factor. Because he turned 42 and was out of the ring for two years, we'll see if that plays any effect in our fight, but I'm training for him as if he will be at a hundred percent.

Frontproof Media: You fought Beterbiev. What, if anything, did you learn from that fight?

Hot Rod: "I fought Beterbiev and was in his camp a few months ago. I was in his camp for four weeks, so I was able to experience that, too. When I fought him, I was new with my coach; we were only five-six months in. I don't think I was ready. I was just starstruck by everything, the bright lights, so I kind of froze. I still went out swinging on my feet, but I just wasn't ready. But that's no excuse. He won; he was a better man.

Maybe he could still beat me again, so I'm not making excuses. But now, four years later, we went to spar. I did way better. It was a different outcome, so it was just a great overall experience, and just sparring with him, again, compared to fighting, I improved a lot with everything, staying calm and picking my shots. So it was a great experience that I fought him. And then four years later, I got to spar with him, and I could gauge my skills, how far I've come, and I believe they're also going to bring me in for the Bivol fight."

Frontproof Media: Tell me a little bit about Beterbiev's power.

Hot Rod: "Beterbiev hits hard. He's strong. He's strong overall, but I wouldn't say he has that one-punch knockout power because if you see many of his fights, they don't go the distance, but he just wears you down. And most of the fighters that you see, Callum Smith, Marcus Brown, well not Joe Smith, but they kind of just quit. They don't want to get up. Over a period of time, round by round, he just beats you up, beats you up, and he just kind of makes you quit. You don't really see him knocking people out cold with one punch. He just breaks you down and just kind of takes your soul."

Frontproof Media: Tell me a little bit about your team.

Hot Rod: My coach, Rick Caronongan, has been my coach for five years. He was my coach with the first Beterbiev fight. My coach changed my style a little bit and put some things into it. I'm not as wild now. He calmed me down and told me to pick my shots. Fewer punches are better because I'm fast and hit very hard, so setups and stuff like this are better. He just changed my style and changed me into a totally different fighter.

My manager, Ryan Rickey, is one of the best in the game. In just two years in the business, he's achieved so much. He's been deep in the game for just two years. I'm impressed and proud of him. I also have my cutman, Jesse Thompson. He's new to our team and 32 years old but very knowledgeable.

Frontproof Media: Tell us your crown achievement in boxing.

Hot Rod: "My biggest achievement is where I am now. I quit boxing. I was 17. This guy brought me in a year later. He's like, "I could turn you pro, you could be on the news, you could be on the radio, the newspaper." And I quit my job. I was like, "Okay, that sounds pretty fun." So, I never dreamed of becoming a professional. I feel like I have already achieved a lot. I never planned for this. I never dreamed of this. I just stuck with the sport. I was trained and started winning fights, and here I am today.

Now, I'm going to fight with Sullivan Barrera and hopefully get another title shot soon.

Frontproof Media: Tell us about some of the setbacks you might've faced or some of the trials and tribulations you may have gone through since being in the sport.

Hot Rod: "The setbacks would be a lot of the injuries. I had avascular necrosis in my hand, which means the bone doesn't get enough blood, so I was told that I wouldn't box anymore. So I kind of quit for two years, but then I did some research and found out about stem cells, and that's the only thing that helped. So, I paid for that and started healing after a couple of months.

Then I had some other injuries with the knee, with this and that. Taking time off from boxing with injuries is one of the biggest setbacks. I was also tied with certain people, which stalled my career. That helped in the long run. It allowed me to spend more time with my new coach, get the fundamentals down, and be a better version of myself. And I'm a completely different fighter than when I fought Marcus Browne or Beterbiev."

Frontproof Media: To have a little fun, tell me who you've been in the ring with that has the best jab.

Hot Rod: The fight with the best jab I've been in the ring with would have to be Triple G's Gennadiy Golovkin. You don't see it coming. He shoots it out of nowhere and doesn't show it when he throws it. He flicks it out of nowhere, and you don't see it coming. Even with my height and reach, and obviously, I'm taller, he would still find it sometimes.

Frontproof Media: And he can punch, too, right?

Hot Rod: He can punch very hard. He picks his shots, so you don't know when they're coming. He waits, waits, waits, sets up, sets up. Then he lets them go. He doesn't just rush. So he sets things up.

If you could have one fight, who would it be?

If I could have one fight, it would be Canelo because it'll bring the most money.

Frontproof Media: How do you think you'd fare in that fight?

Hot Rod: I would do pretty well because of the size difference. There are weight classes for a reason. Bivol is 6'0 and I'm 6'3. And Bivol kept him at his bay.

I'm way bigger than him. I walk around 200, 205, 210. So I don't know. I'm not afraid of anything like that, but it'll be a different story if I get in the ring. So right now, I'm not scared or anything like that. So I don't know how it'll be when I step in the ring with him."

Frontproof Media: Is there anybody you want to give a shout-out to?

Hot Rod: I want to give a shout-out to Melvin Mendez, BodyWorks, one of my sponsors. He's like family to me. I want to thank him for everything he's done and has continued to do. Stephen, Hunger Thirst Group, is also one of the sponsors, and he does so much for me, coaching the gym and for me personally. So, I want to thank them both from the bottom of my heart and Frontproof Media. This interview wouldn't have been possible without them.

(Featured Photo: Mikey Williams/Top Rank)

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