#I COULD GO ON ABOUT THIS LITERALLY FOREVER. the nuances of games as a medium are so near and dear to me and infinitely fascinating. AAGHHHH

[decamarks]

The fake game anomalies post is amazing, how did you get the videos to look so convincing as working video games?

AHHH thank you so much!!! ^u^ I think a lot of it comes down to just knowing and keeping the way video games work in mind while animating, as well as being aware of what limitations the 'game' would have.

The games in my post were meant to resemble games with graphics somewhere between the PSX and original Xbox (Playstation 1.5, essentially), so I tried to keep poly counts close to what you'd expect for something of that era, used subdivision sparingly, and composited them with varying levels of pixelation effects to resemble game engine aliasing. Since these nonexistent games are for nonexistent consoles, I didn't try to adhere to what the actual technology would/wouldn't allow, and instead focused on what you might expect to see. Game-like lighting in particular is tricky to nail down and I definitely could've made it more 'accurate' with further adjustments, but overall I thought it was okay. As long as you think it looks visually appealing, I think it's fine. (Also it's kind of hard to be accurate to something that doesn't actually exist, LOL)

That's more about the technical side though, and like I said, you can fudge a lot of that stuff since, y'know—it's not an actual game. I think what really makes something like this more convincing is simply conveying aspects of how the game is played or being played; stuff like seemingly functional UI elements, or a player's actions appearing to influence the game in some way.

Interactivity is what distinguishes games as a medium, so this is the key component to keep in mind. Most media doesn't tend to involve active influence from its observers because the medium simply can't accommodate such a thing; printed ink and paper isn't as infinitely malleable as pixels and bytes. So things should be designed as if they are able to be altered or interacted with, even if an actual 'player' is absent. You don't need to build the engine—you just need to imply that it exists, and operates.

In my little clips, I tried to pay special attention to the supposed 'player' as well. You can't see them directly, but rather through proxy of the character or cursor they're controlling. In the first clip, the player character quickly stutters in movement, shown as a sudden stop and start in their walk cycle. You would never have a character move like this in a normal animation because it's unnatural and nonsensical on its own. But in the context of a video game, this movement is instantly recognizable. The player is pausing, tilting, and flicking the analog stick to get a better look at something—or to get away from it.

The character isn't programmed to stop and squint, and the camera isn't programmed to cut to a shot of their shocked face. The character is only a puppet for the player to interface with the game's world, and the unpredictability of a player cannot be accounted for in a preprogrammed narrative. These movements appear nonsensical and unnatural because they represent something not entirely intended. This is only one manifestation of the infinite movement possibilities within a game engine.

It's something trying to be expressed by someone that does not have the direct means to do so. But even indirectly, you can tell what is being expressed, because nothing would move like this by itself. It implies the existence of certain things beyond what is directly observable: a controller and constraints—the player, and the programming.

I think the moment you assume a player exists is the moment it becomes a game.

[maxwell-grant]

Charlie Chan. Who is fascinating, because he was created explictly to be an anti-Yellow Peril character. Unlike most Chinese characters of the time, he's both intelligent, physically capable, and unambiguously heroic. In the novels, he's simultaneously proud of being Chinese AND proud of being an American citizen. He gives orders and instructions to white people, and the narrative treats this as perfectly normal and acceptable. There's a bit in the first book, when an attempt to trap the..(1/2)

(cont'd)There's a bit in the first book where an attempt to trap the protagonist fails, because a message supposedly from Charlie clearly isn't because Charlie's English isn't broken, it's like poetry. Etc. The movies made him more stereotypical, & played by white actors in yellowface, but still, he's a heroic Chinese man, who is as capable and patriotic as any white man. Nowadays, he's thought of as racist caricature. Which he is, but still, it makes one think.

I'm not nearly as acquainted with Charlie Chan as you are (and I definitely suspected he was less racist in the original books because that's nearly always the norm when it comes to pulp characters) but yeah, that "Which he is" is forever going to be the most unfortunate and saddest part of it all when it comes to Charlie Chan. For all the virtues that can be bestowed on Charlie Chan, for everything great that the character had going for him and inspired, the fact that the least offensive image of the character I could find to put here for illustration's sake is from the Hanna-Barbera cartoon kinda exemplifies the big elephant in the room when it comes to Charlie.

Charlie Chan is a great example of two things: One is the way progress is never a fixed quantity and often what was progressive and forward-thinking in it's time can become something outdated and backwards and downright offensive given enough time, and the 2nd is my constant stressing that this is all the more incentive to reclaim the pulps and either highlight or fix aspects of them, instead of dismissing every aspect of them based on the preconception that everything about it's history is unforgivably bigoted and must be handled with the nuance of a sledgehammer.

I stress time and time again the need to highlight and understand the prejudices that went into pulps, because either ignoring them or wielding them as a weapon to attack them does no favors to anyone. The pulps weren't exceptionally bigoted - look at literally any medium in it's time period and you'll find bigotry and prejudice and hatred - and they were exceptional in the number of POC heroes and heroines. Pulps were a medium of experimentation and cheap entertainment that gave way to much, much more varied kinds of protagonists than were permitted in films, serials, novels, comics and radio serials of the day. Imagine if no one was allowed to bring up and discuss superheroes without mentioning the Superman Slap-a-Jap posters or the Captain Marvel story so horrifingly racist it was recounted by an American ambassador after it deeply offended a friend's son and a major influence on the 1950s anti-comic trials. "Pulp fiction had deeply, unforgivingly racist depictions that deserve intense scrutiny and cannot be ignored" and "Pulp fiction was significantly ahead of every other medium at the time in regards to authors and editors striving to publish stories about heroic POCs, this cannot be dismissed and is something that needs to be perpetuated" are not exclusive facts. "A product of it's time" is not an excuse and never was, but it's a fact nevertheless.

Every time someone speaks favorably of Charlie Chan in any capacity, they have to start with a long preface of everything positive that the character had going for him. Yes, he's a deliberate subversion of the Yellow Peril, he's a heroic protagonist, he's plump and good-natured and humorous but far from a joke, he's friendly and pleasant and well-educated and wise, he's a good dad and family man and a terrifically sharp detective who's so good at his job he gets called to solve crimes all over the world, and none of these traits are apparent to people who have to google the character and repeteadly see a white man in awful make-up into every single image of the character, who watch the movies and cringe at the broken English. It's hardly relevant in the face of all the Asian-American critics who acknowledge the character's virtues but rightfully point out that this fortune-cookie spouting caricature, acting subservient to whites and whose virtues are based around his proximity to a white American ideal, doesn't represent them and they shouldn't pretend it does.

Which isn't to say that to like Charlie Chan is "wrong", a lot of East Asians love Charlie and the character's obviously got fans in Asian Americans. It's a complicated subject and I obviously cannot begin to vouch in a subject so heavily based around perceptions I cannot experience. And I deeply detest the idea of speaking for others on their particular experiences on this kind of matter, which is something Americans do a lot everytime they talk about representation in media.

So instead, I'm going to tackle this on a roundabout manner by going on an unrelated tangent to bring up an example of representation that isn't quite representative of what it's supposed to be, has a lot of issues that have been dissected by critics among the people it was supposed to represent, and none of that stopped the character from being popular and beloved and from being claimed anyway. And it's a Brazilian fighting game character, which means it's completely within my ballpark.

Yeah, obviously Blanka doesn't look like anyone who lives in Brazil (whatever resemblance he bears to redheaded jungle protectors of Brazilian folklore is purely accidental). Obviously neither Jimmy nor Blanka are Brazilian names or even exist in the Portuguese lexicon. Obviously there are issues in Street Fighter's approach to representation across the board, sure, and I'd actually say Laura is much worse than Blanka in that regard (again, my opinion, obviously not universal), but the fact remains that Blanka is and has always been pretty controversial. Obviously there's Brazilians who took offense to Blanka and they weren't wrong to do so, and I obviously do not speak for everyone here, that goes without saying.

Obviously the idea that Brazil's major representative in a global cast of characters, the first big name Brazilian character in videogames, is going to be a freakish jungle monster who roars and bites faces has problems, as is the fact that all the others get to be regular people representing fighting styles from their countries while Blanka doesn't. None of the Brazilian SF characters represent Capoeira, which is kinda shitty to be honest. And there's a whole stereotype of Brazil as a backwards land of beasts and savages that Blanka's creation played into. There's no shortage of ground to criticize Blanka's representation and Ono actually apologized in an interview once, but then he learned one teensy little thing:

Street Fighter is very popular on Brazil. Would you like to leave a message to the fans from there?

"Ono: Yes, I'm aware. At the time of Street Fighter II a lot of the arcade machines produced went there, so I knew we had lots of fans there. A message to Brazilians, well, I'd like to apologize. I know Blanka's a weird character and I don't want any Brazilian to feel uncomfortable with that.

When Blanka was conceived, we knew there were forests in Brazil, and so we thought he could look like that. I was actually kinda nervous knowing I'd meet Brazilian journalists. Still, this is the first Street Fighter in ten years, so we'd like all fans to play, including Brazilians, which are many.

Thanks. Well, but you should know that Brazilians love Blanka

"Ono: Ah, good! I was scared of getting beat up if I ever went to São Paulo! (laughs)"

(That's from a 2012 tv special called The Greatest Brazilian of All Time where over a million viewers voted to elect whoever they wanted, and Blanka was going to win. He was polling ahead of Aryton Senna and PELÉ, fucking Pelé, yes this happened. He wasn't even disqualified for being a cartoon character, it was an open poll, he was disqualified due to canon stating he had been born in Thailand, which I think may have been retconned since then. Again, A MILLION BRAZILLIANS voted for this contest, and Blanka was going to win.)

Blanka is great and sweet and lovable, he made the best out of the incredible shitty hands fate dealt him and became a cool and strong green man who shoots lightning and flies, a self-taught warrior who rides whales and planes to fighting tournaments, and he loves his mom and friends and kicks ass and after he's done he dances in joy and gives the kids of his village piggyback rides, and Brazil loves him. He doesn't represent any existing person or fighting style, he's rooted in a negative stereotype and incorrect assumptions, he's not even really Brazilian, and he's our boy and nobody can take him away from us.

No criticism of Blanka, no matter how in-depth or even right it is, is ever going to affect that, because regardless of what was wrong or misguided and offensive about him, we claimed him and loved him so throughly that Capcom kept playing up Brazilian representation in every subsequent game post Alpha, and because of Blanka's impact and reception in such a big game, Brazilian characters have become a staple of fighting games, and that's how we got much more diverse representatives in those games. Fighting games have more Brazilian representation than LITERALLY ANYTHING ELSE on media not produced here. It started as BAD representation, with way less thought put into it than Charlie Chan, and it still mattered to a lot of Brazilians who reclaimed it and made it better than it was ever intended to be, and as a response to it, it gradually became better. 

Progress is not a fixed quantity, it's an uphill battle, and it's not unwinnable. Everything's gotta start somewhere.

The Good Asian is a ongoing comic that I think does the best job I've seen yet of handling an Asian American detective protagonist, which is not really a high bar in the first place, and more to the point, The Good Asian illustrates the 2nd part: the reclaiming. The Good Asian deals a lot with the realities that a 1930s Asian-American detective would run into, the strained circumstances and relationships between said character and the world around him, because it's born from an author who took a look at Charlie Chan and Mr Moto and the like and recognized the potential in those stories that could not be fulfilled in it's time period by the people writing said stories. 

The Good Asian pays little reverence to Charlie Chan, but it acknowledges that it cannot exist without Charlie Chan, and it reclaims the Charlie Chan premise at the hands of someone more adequately equipped to tell a gripping story that goes places none of Charlie's contemporaries would ever go. Regardless of how good or bad of representation Charlie Chan was, Charlie Chan mattered and was beloved and inspired a better example for others to improve on or rebel against.

I desperately wish that I could google Charlie Chan without having to look at a guy in yellowface, and the ONLY way that's going to happen is if the character ever gets meaningfully brought back and reclaimed for good by people who can meaningfully tackle the character and present him as he should have always been presented.

And then, I imagine it would be a lot easier to show people on how swell Charlie really is. A true, positive role model and hero, who no longer has to look like a gross cartoon to be able to exist at all. Who can finally be what he was always meant to be, and always was deep down.

[lovenliterature]

evermore thoughts

willow

I wasn’t sold on this on first listen but I really liked it on second listen with more attention to lyrics

video is also really lovely, big fan of that

really really like the difference in melody for the diff appearances of “life was a willow and it bent right to your wind”

favourite lyric: “I come back stronger than a 90s trend” - the look she does at the camera cemented this as my fave line even more

champagne problems

down as one of my faves from the start

love love love the narrative

proper late night with cider, melancholy vibe

kind of like a grown up/worse feeling august in terms of vibes?? as in like the experience described feels like a more intense heartbreaking august in a way

really like the conclusion too

favourite lyric: I really struggled to pick here but: “you booked the night train for a reason/so you could sit there in this hurt” for sheer visceral emotion, “dom perignon you brought it” for the way its sung, “How evergreen, our group of friends/Don't think we'll say that word again” and “she’ll patch up your tapestry that I shred” for lyricism

gold rush

again, one i wasn’t super sold on the first listen, music and the vibe didn’t really interest me

first notes made me think of epiphany

but then i listened to it watching the lyric video and holy shit

now v appreciative of the melody and bass and the pace of the lyrics

really really like her embracing talking about jealousy

love love love the ending and beginning being the same holy shit

favourite lyrics: “at dinner parties, I call you out on your contrarian shit” and the way she sings “with your hair falling into place like dominoes”

‘tis the damn season

again preferred on second listen, wasn’t on the list of early faves

the best xmas late night walks vibe, walking through frosty streets at home between houses, embracing the only time you get to think, losing yourself in music and nighttime with freezing hands and cloudy breath

would’ve fit my 2019 xmas vibe too

melancholy and nostalgia

favourite lyrics: “sleep in half the day/just for old time’s sake” and “and the heart I know I’m breakin’ is my own”

tolerate it

god girl you deserve better

kinda like a sad last great american dynasty in terms of searching for approval

naive innocence taken advantage of

drunk in my garden walking round to try and forget my life kinda vibe

favourite lyrics: “i know my love should be celebrated/but you tolerate it” and “now I’m begging for footnotes in the story of your life” 

no body no crime

holy shit did i sleep on this at first but oh my god its so good

start gives me show of hands vibes which is great

her husbands acting different and it smells like infidelity - just the way she sings this is so so fucking good

this is the easiest song to listen to and holy shit its just great

favourite lyric: “she said “that ain’t my merlot on his mouth/that ain’t my jewellery on our joint account”

happiness

“all the years I’ve given/is just shit we’re dividin’ up” - v v true, you have to rebuild your life after every relationship and taking it all apart is so much more sudden than building it up

like an alternative to the 1 which I LOVE

but also some parallels to this is me trying: “I hope she’ll be a beautiful fool..... sorry I didn’t mean that” vs “my words shoot to kill when I’m mad”

the whole bridge is iconic - “I can’t make it go away by making you a villain” - in the short term, anger at an ex can help, but eventually you have to move on, and its easier to accept that there was good in the relationship after a while, and it makes looking back on it better

“no one teaches you what to do/when a good man hurts you/and you know you hurt him too” - blame on both sides is much harder to take and grieve and its hard to know how to cope with that. it also makes advice more complicated because there isn’t much you can say to help

favourite lyric: “both of these things can be true” - always love duality and nuance in literature and its nice to hear it acknowledged in a climate of binary oppositions and no shades of grey

dorothea

nostalgia for the future

now prob my most listened, gets stuck in my head and one of the few i do listen to in isolation - like august

Reminds me so much of Ella - each other’s history, not each other’s whole future but in there somewhere

again sapphic vibes, real strong esp because of the ella vibes its the whole in between romantic and platonic affection

“hey dorothea, do you ever stop and think about me” - that’s the way I think of people I love esp ella and people from that era of my life, and anyone where its kinda open ended or just grown apart

favourite lyric: “and damn dorothea, they all wanna be ya”

coney island

instant fave - marked down from first listen and probably still one i actively look forward to 

much like with exile, the male vocals GOT me

“did I shatter you” that line broke my goddamn heart

favourite lyrics: both for the sheer feelings of the vocals and the lyricism “were you standing in the hallway/with a big cake, happy birthday/did I paint your skies the darkest grey” and “and when I got into the accident/the sight that flashed before me was your face”

ivy

the way she sings goddamn could be the whole fucking song its so beautiful

“my pain fits in the palm of your freezing hand/taking mine, but it’s promised to another” - the passive here is great

“he wants what’s only yours”

the trilogy of these lyrics “what would he do if he found us out?”, “he’s gonna burn this house to the ground”, “and drink my husband’s wine”, the recklessness, the drinking his wine like a secret defiance

“my house of stone/your ivy grows/and now i’m covered in you” - fucking hell this is the best imagery - even with the strongest walls and foundations, the love crept through and grew inside her til she was covered in it

favourite lyric: quite literally just the words “oh, goddamn”

cowboy like me

“dancin’ is a dangerous game” - hell yeah I get so many feelings from this, it just reminds me of the intimacy of dancing and the feeling of swaying in someone’s arms

“and the skeletons in both our closets/plotted hard to fuck this up” - both like active interference of exes or just simply trauma, unresolved issues

“forever is the sweetest con” - believing hurts and everything ends but its worth it for the time you have

favourite lyrics: “now you hang from my lips/like the gardens of Babylon”

long story short

first notes make me think of between the saltmarsh and the sea even though its SO different but also a bit like august idk why

“if the shoe fits walk in it/til your high heels break” - i just love the imagery of this line

“fell down the rabbit hole” - living for this line and the wonderland vibe

“but if someone comes at us, this time i’m ready” - the vibe of like not looking for a fight but defending what you love

favourite lyric: “past me/I wanna tell you not to get lost in these petty things” - YES BITCH also the energy I give to past me and future me gives to me now or “long story short I survived”

marjorie

another song I come back to on its own

this is the exact wistful vibe i look for in calm ish songs, can be sad, can be happy depending on a mood and this is perfect

the video is incredible and marjorie providing the backing vocals made me cry also it being in the same place on the record as epiphany was on folklore

“never be so polite/you forget your power/never wield such power/you forget to be polite” - love the use of wield, it also feels like the medium women try to find between being a “bad bitch” and being ladylike, but not a medium society will accept bc fuck that, the exact way THEY wanna do it instead

really the song i needed after the year of so much grief, and i know it’s gonna bring me comfort when grandma goes, especially the line “what died didn’t stay dead”

favourite lyric: “watched as you signed your name: marjorie” - the way this is sung will literally stay with me forever, its like a legacy in one line

closure

again, instant fave

the vibe of you don’t owe someone shit just bc they feel guilty is so good

“yes I got your letter/yes I’m doing better” “I know that it’s over” - I’ve moved on and I don’t need your permission for that or your well wishes thanks

Moving on doesn’t mean forgiveness

I just love the melody so much and its such a good song agh

favourite lyric: “I know I’m just a wrinkle in your new life/staying friends would iron it out so nice”

evermore

“grey november/I’ve been down since July” - most explicit pandemicy vibes i get, I was home and it was almost possible to just regard it as a normalish summer, looking after the dog and living at home and now its coming up to Christmas and I’m living away from home, our family is split across 5 homes in 4 cities and its fucking hard (not even sure if its that type of down but that’s how it made me feel)

“writing letters/addressed to the fire” - literally just picked up on this lyric and has kinda a dual meaning for me. 1 -feeling shit about things you create, putting in effort, just to throw it away. 2 - tactic for tackling anxiety, just getting rid of thoughts and releasing them from my brain

“Cannot think of all the cost/And the things that will be lost/Oh, can we just get a pause?” - again, v pandemicy and so relevant to the fam’s 2018-2019, we just needed a pause, we had to keep going and not process what we’d lost or we’d never carry on

such a good depression song

favourite lyric: “staring out an open window/catching my death”

[olderthannetfic]

Fuck branding and consistency: For my precious Miami Vice, we’re going full 80s!

Miami Vice is a cop show from the 80s that helped usher in an era of neo noir and radically altered how television is cut and scored. It is both an ensemble crime show and a buddy cop show. The central duo are Sonny Crockett (Don Johnson, center) and Ricardo Tubbs (Philip Michael Thomas, on the left). They start out pointing guns at each other and end up best friends... with a detour through amnesia and attempted murder along the way.

Their boss, Martin Castillo, is played by Edward James Olmos, who has had the exact same death glare for his entire career as you can see above. Rounding out the main ensemble were two comic relief guys, Switek and Zito, and two women, Trudy Joplin and Gina Calabrese.

Yes, they’re super hot, and I ship them too, along with the very obvious Crockett/Tubbs, but that is... not what the fandom shipped. More on that later.

MV had only a medium size fanfic fandom. As a source of annoying middle aged men who own that speedboat and still don’t wear socks, however, it is unparalleled. It was a mega-hit in its day but is largely ignored now.

As far as I can tell, the height of the slash fandom was just after the show ended, around the time Escapade was getting going. It was something that was in the air (hah) at the time but not popular enough to make it onto the program much. There were a scattering of vids and panels in that era, including:

1992 - Miami Vice (cops and music, right, well, maybe there's a little more here...)

Indeed there was, but you won’t find that out from most people! The cultural osmosis version of this show is deeply offensive to me, far worse than “womanizer Kirk” and its ilk.

I. How I got into the fandom

Miami Vice is a brilliant show, so far ahead of its time that it instantly dated itself and has been a subject of constant mockery by people who only know it vaguely from cultural osmosis during the 90s. Its revolutionary editing is what inspired me to go back to film school. Its cinematography is equally iconic. The soundtrack literally changed television forever. And no, children, synthesizer is not automatically a bad or cheesy instrument. Jesus.

I got into MV in 2010. I’d been reading about it in the first Film Noir Reader and had been intrigued by the black and white stills. I looked it up and found that it was a rare DVD release that secured all of the music rights, unlike the butchery of Wiseguy and too many other shows. I bought it on the spot.

It was a religious experience.

By 2010, even the little Yahoo Groups fandom it had eventually grown was long gone. The zine fandom certainly was. I started buying all of the used zines I could get my hands on. One thing stood out to me over and over: Rico, my favorite character, does have great fic, but it’s all gen and het. The slash zines treated him with absolute contempt. The only fan from the 90s slash fandom who had any clue how to write him was @flamingoslim​.

So I did what any fan would do: I got into her current fandom, Starsky & Hutch, and stalked her to her S&H con.

What?

II. Why didn’t fandom love Rico?

So why were the slash zines like that? Yes, okay, the answer is racism.

But the more zines I read and the more oldschool fans I’ve talked to, the more apparent it is that the way it played out is specific and interesting, not some generic “he’s not hot” thing. The big problem was that the slash zines came from a tiny handful of publishers, with the more popular ones coming from a single publisher. Looking at their editorials in the front of volumes, I see cartoons of the two of them dressed as their ship, Crockett/Castillo. I’m getting full on otherkin vibes from how they talk about that ship.

This was very clearly a case of hating the other man who got in the way of the OTP. Even so, the particular way Rico was written in many of the stories in those zines is incredibly racist. Flamingo writes him as a supportive best friend to Crockett. This was... not the norm.

This wouldn’t be such a big problem except that this was not an era when you just go on AO3 or even FFN and post whatever you want. Getting a zine together is hard. It takes money. It means finding a printer that is willing to print gay shit--something that can still be an issue in 2020. It means having a job and a lifestyle where being outed as a publisher of gay shit will not fuck you over. They were the only game in town, and their bad takes ruled the fandom.

Contrast to the gen/het zines: Rico wasn’t specifically more popular than other characters, but he wasn’t in the way of somebody’s OTP, so he shows up pretty often as a major character, written similarly to how he is in canon.

The gen/het zines are also just plain well written, making all of the characters more nuanced and interesting than in a lot of the slash fic. That’s what happens when you’re dealing with tiny fandoms and tiny numbers of writers: one or two great talents shape the whole feeling.

The other answer to why people weren’t super into Rico is simple: Castillo.

MV is a show full of buddy duos. And then there is the boss, a mysterious lone wolf whose identity only goes back a handful of years. He is aggressively moral and incorruptible, yet also executes a counter-revolutionary in cold blood rather than let the CIA take him back to South America to continue his reign of terror.

What, you think Castillo isn’t a murderer?

Hate to break it to you, but not only is he, but Rico is the one who found out and never reported him. It’s one of the most interesting moments between them.

I’m not surprised fandom wanted to ship Castillo with someone. I just wish people hadn’t only ever reached for Crockett/Castillo when Castillo/Tubbs has just as much great material. But if I get started on my ship manifesto for that, we’ll be here all day!

Suffice it to say that MV suffers from what lots of old fandoms do: people only rewatch certain parts, and it’s hard to remember which bits are fanon.

I’ve heard people say that Rico didn’t seem like he really cared about Sonny on the same level that the oldschool slash juggernauts did. I think this is a combo of not rewatching the episodes more heavily focused on him and of fandom liking a particular kind of woobie/enabler ship. Rico usually caved in the end, but he set boundaries in a way some of these ships never did. He was also portrayed with a particular kind of bragging confidence that is way more common in black characters. I think it reads wrong to some people, though in fact, he’s just as much of a ride-or-die bestie as the usual slash duos from back in the day.

The same thing happens with a lot of specific moments fic does heavily reference. Many significant Crockett/Castillo moments involve Crockett being the only one who can get through to Castillo, yet in those actual scenes, it’s Tubbs who does or it’s both Crockett and Tubbs.

Yes, friends who I will be seeing at Escapade, even that scene and also that one. You are just flat out wrong.

III. The Fanworks

First, my eternal rec. It’s het with an OFC. No, no, come back! MV was one of those fandoms where this was sometimes the best fic, and all the more so since the ship is with Castillo, he of the mysterious past and not enough personal connections.

Dark Side of the Moon by @dejlah​

I also really love Temper of Revenge by Mary Van Deusen. It’s one of three she did to the same song and it’s about the dark, dark ending for the comedy relief duo. If you’ve heard Francesca Coppa talk about vidding history, you’ll have heard of this vid. (No, we’re still not the same person.)

I’m also a big fan of MVD’s Crockett/Castillo vid, Ready for the Times. It manages to perfectly capture the dominant fanon take on the ship. I can’t even put into words exactly why, but it brought back all that fic powerfully.

This fan-made trailer does a good job of showing the kinds of twisty episodes he got:

My first vid I ever sent to Vividcon was a Gina/Trudy one that gives a good sense of the awesome costumes and also how often they had to go undercover as hookers. (AO3)

And finally, for those of you who don’t want to watch five whole seasons of 80s TV, I vidded that arc. (AO3)

Wow, this is only like 15 screens. Practically a haiku when it comes to me talking about Miami Vice!

[coll2mitts]

#65 Beauty and the Beast (2017)

I’m burning through my Disney+ subscription, and instead of this forever cursing my drafts section until I work my way through the other lower movies on this list, you’re getting this one now.

Beauty and the Beast was my favorite Disney movie as a child.  Belle was smart, she read a lot, and she was a bit of an outcast, which were my only identifiers as a wee lass (other than being obnoxious and constantly having tangled hair).  I'm going to bet that this movie is the reason so many girls my age went through a Paris phase in their tween years.  I did take 3 years of high school French that I have almost no memory of.  

The original's animation is gorgeous, the songs by Alan Menken and Howard Ashman are iconic, and the romance between two people who learn how to trust and support each other... it's probably the reason why I've stayed in terrible relationships for way too long.  My father took me to see this movie in theaters when I was 6, and it is the first movie I remember crying during out of sadness.  There I was, while the Beast was dying, trying to hide the fact tears were streaming down my face because I didn't want my dad to see I was crying and not take me to see another movie again.  When they adapted it for Broadway, I listened to that soundtrack over and over...  "Home" was my favorite song, and the end still makes me cry like a 6-year-old.  It's perfect.

I had attempted to watch this remake once before.  I hated it so much I started drinking, and then peaced out so hard when Lumiere started moving that I had to watch Moana to normalize myself.  Visually, this movie is what happens when the Uncanny Valley turns into the fucking Grand Canyon.  Little did I know that this movie gets worse... much worse... as it goes on, and that Stephen Chbosky, the author and director of The Perks of Being a Wallflower made it this way.  A man who wrote one of my most beloved novels and movie adaptations helped in creating this narrative monstrosity, and that, out of all of this, was the deepest cut of all.

I'm not rehashing the plot, because I have too much to say about why this remake shouldn't exist, and I’m going to guess you’ve either seen the movie or are familiar with this almost 300-year-old story.  It took the source material and just murdered it in its attempts to update it.  I'm going to start positive and work toward the biggest issue I had with it, because I'm currently writing angry and that never turns out well for me.

Things I liked:

This may be controversial, but I did like Josh Gad's performance as LeFou.  I'm not saying what LeFou did made any sense (he suddenly was upset Gaston was making things up again?), but as an actor, Josh Gad was working with what he had, and I think he owned it.

Chip's introduction to Maurice - I actually paused the movie because I was laughing so hard.

The piano playing the funeral march when it tackled LeFou.

When Mrs. Potts said Chip smelled good when he turned back into a little boy.  It was a cute little detail.

The guillotine joke in "Be Our Guest" and the Les Miserables barricade reference.

I actually thought Cogsworth was adorable for being a CGI nightmare.  I don't know how much of my opinion of this was influenced by the voice of Ian McKellan.

I really liked the costumes, except for Belle's gown, which was definitely a downgrade.  Micarah articulated the issues with it perfectly.

Celine Dion singing the credits song was a nice homage to her cover of "Beauty and the Beast", although it sucks she's associated with this nightmare of a remake.

Little quibbles:

Whatever they did to Emma Watson’s voice made her sound like a robot.

Almost all the CGI, especially the Beast, was completely unsettling.  The wardrobe was the worst of it, holy shit.

They went out of their way to explain plot holes like "Why don't the villagers remember the castle?" or “Why is it snowing when it looks like the middle of summer in the village?” or "How did Belle get the Beast up on that horse?" when none of that really matters to the overall narrative.

The reaction to Belle teaching a little girl how to read was unbelievably eye-roll inducing.  Lindsay Ellis' video on this is so fucking good, watch it now - You don't have to read the rest of my ramblings if you do. #beastforshe

Ariana Grande slurring her way through "Beauty and the Beast".

It was nice to see Maurice updated from a manic inventor to a level-headed, sweet, competent, reserved man who treats his daughter like an equal.  Clock-maker Maurice that actually takes care of Belle reads better to me, and I like how they had him wander into the garden to get a rose for her - it's a nice callback to the original story.  The problem with doing this, however, is it negates the "crazy old Maurice" narrative that plays heavily into why the villagers don't believe his tale of the Beast in the first place.  If Kevin Kline, a put-together man (up until this point), wandered into the tavern looking disheveled and conveying a story about his daughter being kidnapped, I'd be like, "Shit, Maurice, what did you see?!".  But instead, the story goes out of its way to put him at the mercy of Gaston, and shoehorn in an attempted murder plot to really turn everyone against him - it's bizarre.

Medium quibbles:

Gaston went from being a well-liked, athletically inclined dude to a literal predator and murderer.  Belle was a beautiful status symbol in the original movie, but she becomes literal game to Gaston in the remake, as he refers to her as prey, or something to be hunted.  When Maurice gets in-between him and Belle, Gaston punches him in the face and leaves him out in the forest to be eaten by wolves?!  What does this add to the story?!  Gaston wasn't right for Belle because he wasn't kind and didn't intellectually stimulate her, but that nuance is wasted on the remake, turning him into a full-blown vengeful villain that will literally kill Belle's family to get what he wants.

The first time Belle is brought to her room, there is this long panning shot showing off how nice it is, and she comments, in wonder, how she thinks its beautiful.  They had the fucking nerve to play “Home” in the background of this scene, completely ignoring the original context of the song is sadness and despair.  But go off, I guess...

The Big Enchilada:

This is where my notes went from eh????? to WHAT THE FUCK, so be prepared.  How someone with enough emotional maturity to write Perks can make the Beast into such an abusive asshole is so fucking beyond me, I'm still trying to process it.

Beauty and the Beast is a romance at heart, which you would never know by watching this movie, as Belle and the Beast have so little chemistry it's painful.  This might be because the Beast is abusive to Belle at every turn in the beginning, making the pivot from enemies to lovers so completely unbelievable it's shocking.  The remake is already at a deficit as the CGI Beast is terrifying, in contrast with the cartoon, which has the ability to make the Beast cuddly with big eyes and an expressive face.  But they still decide to take all of the Beast's inner conflict out of the remake, remove his agency completely out of the relationship with Belle, and make him supremely unlikable in every interaction they have together.

There are a few scenes that illustrate this, starting with the dinner invitation scene:

In the original, the Beast sees the pain he's inflicted by pulling Belle away from her father, and offers her a tour of the castle and a bedroom instead of a prison cell.  He also invites her to dine with him, although he could have gone about it wayyyy better.  He confides in his staff that she is beautiful, and he realizes she can break the spell, but he doesn't know how to appeal to her.  His staff give him tips on how to be charming and not so intimidating.  He is receptive, but overwhelmed, because he hasn't had to interact with any other human in years.  When he discovers she doesn't plan on eating with him, his anger takes over because she refused his hospitality, and he's a king, so how dare she?  The staff try to help him appear genteel, cause again, HE expressed interest in being appealing to her.  When this doesn't immediately work, he throws a massive tantrum and tells them not to feed her.  When he looks at Belle later in the mirror, he hears the direct result of his actions as Belle is ranting to the wardrobe.  He laments she'll never see him as a human because his actions have pushed her away.

In the remake, it's not the Beast’s idea to give Belle a room, or to invite her to dinner - it is his staff's intervening that puts him in that situation in the first place.  He doesn't even want to get to know her because she's a daughter of a thief, and that's somehow below his current social status of recluse animal/human hybrid.  His staff persuade him to give Belle a chance as they're all invested in breaking the spell because they'll turn into furniture if they don't!  They give him tips to manipulate her into opening the door, he tries it, it fails spectacularly, he gets angry and he leaves - but not before calling his staff idiots...  I appreciate he's not as physically violent in this version, but he just acts like he couldn’t be bothered with Belle.  He does spy on her from the mirror, but she looks bewildered.  He doesn't know if she's lonely, or missing her father, or what...  There's no indication that how he treated her in that moment has pushed her further away.  Then he just stares at the rose like, "Well, shit, this ticking time bomb is still ticking!".  It's completely self-focused.

Oh, and then Mrs. Potts tries to handwave the Beast’s behavior away with, "People say a lot of things in anger.  It is our choice whether or not to listen," which, excuse me, WHAT THE EVERLOVING FUCK DOES THAT MEAN?!  You are in charge of how to interpret someone's actions, and you could just choose to ignore when they are being abusive??  I CAN'T.  She also tries to gaslight Belle into seeing how great the Beast is when Belle has had zero positive interactions with the dude since she's been there.  The wardrobe brings it up in the original, but this is after he's offered Belle a room and invited her to dinner himself, not by his staff...

The west wing scene and the Beast turning into less of a dick:

In the original, the Beast himself tells Belle not to go to the west wing.  Her curiosity brings her there, because she wants to understand more about him and what he is hiding.  She's invading his space knowing full well that she is invading his space.  When she is discovered, she's about to fuck around with something that is literally tied with the Beast's livelihood.  His anger is disproportionate, but justified, and you see that he immediately regrets his reaction after she runs away from him.  That’s why he goes after her.  Belle watches him risk his life to save her even though she broke a promise to him, so she decides to repay the favor by bringing him back.  They fight while she's trying to clean his wound, and they're both right in their perspectives, but the Beast acknowledges that yes, his temper got the best of him - he realized that the moment she bolted.  Belle then rewards his selfless act by thanking him, which sets his entire transformation in motion.  

He gives her the library because he expresses interest in doing something to make her happy, and he vocalizes he's falling in love with her.  He's delighted by her reaction.  During the ballroom scene, the way he looks at her, you can see he absolutely adores her.  He asks, "Are you happy here with me?" because he loves her, and her well-being is the most important thing.

In the remake, the staff tell Belle not to got to the west wing because it's a storage area.  She wanders over there anyway, for whatever fucking reason, and takes a glance at the rose behind the glass.  The Beast finds her looking at it and gets mad at her, even though he never told her not to visit him in the west wing, and she didn't fuck around with the rose.  When she runs away, he doesn't even look like he cares.  There is no reason for him to go after her, and there is no reason for her to help him back to the castle other than the plot told them to do it.  She doesn't help him with his wounds, and the staff are the ones to thank her for returning him.  She even asks the staff why the fuck they care about him, because he's such an asshole.  They justify his behavior because he had a cruel father, and damn themselves to his fate because they didn't stop a literal monarch from raising his son.  Belle continues to take care of him because she pities him?  He repays her kindness by insulting her taste in literature.

He doesn't even show her the library because he knows she likes books, he does it because he wants her to read "better" books.  Then he makes one joke about not reading Greek and THAT IS WHAT MAKES BELLE SWOON.  THE FUCKING GREEK BOOK JOKE.  I mean, I sort of get it, I fell in love with my ex because he made a bread pun, but he hadn't been continually abusive to me up until that point.  Belle starts to read out loud to him, and that's supposed to be the event that incentives the Beast to be better?  Even while Belle is singing about how much he's changed (he hasn't), he throws a boulder of snow in her face. The cherry on top of this sundae is his stoic question after they dance, "It's foolish, I suppose, for a creature like me to hope that one day he might earn your affection?" which not only sounds like complement fishing, it is primarily motivated by breaking the curse!  Only after she gives an indifferent answer does he ask if she'd be happy at the castle.

Oh god, and the death scene is cut off in the middle because we have to watch 2 minutes of the staff members permanently turning into furniture, which, like, I wouldn't think they'd want to castrate the emotional climax of the movie, but this whole thing is an exercise on how to fuck something already good up.

This movie fails so spectacularly at this basic love story, I can't begin to justify its existence.  I wouldn't recommend this to anybody.  If you want to watch new Alan Menkin content, watch Galavant, because this movie just pissed me off.

It was bold of Disney to end it with a beastiality joke, though.

[ringtomb]

Ranking narrative artistic mediums Part 2

Ok where we left off was explaining how narrative can exist within an artistic medium, so I might as well say other artistic mediums that will not be on this ranked list. Painting, sculpture, fashion, photography, papercraft, cooking, and graphic design are a few that come to mind. Now lets keep going

LITERATURE

I think this being so low might be a bit disingenuous, because I really haven’t read that many books. But I feel I have seen enough from wildly different genres to comment on how the medium fails for me. The biggest problem is that there are way too many fucking books.

That may sound like a strange thing to say, but I want to lay down another point that compounds the issue I have presented. Most authors are inspired by previous books, so they write books that appeal to thier specific interest. Therefore you get books spawned from extremely incestious ideas and most of the time fail to appeal to larger demographics. I was reading a book called Wonderstruck and all I could think was “This person only reads fantasy children's novels” because there is barely a plot and a shit ton of setting description, a factor very prominent in fantasy children’s novels.

Another issue is the way that literature is treated by the academic system, which aggrandizes thematic purpose over narrative strength. Shit like Fahrenheit 451 and Lord of the flies that are terrible books without any appealing aspects outside of the ability to write high school book reports on them. This is why I think most people are turned off from reading, because were tasked with writing about them in a way that can defeat the fun of reading for most people.

There are books that I do enjoy, I’ve read the opening to Swann’s Way over 5 times because it’s so good, but also because it so hard to grasp on first read through, which sucks cause this is a book with about 1.2 million words so it’s gonna take a while to finish. And books like Madame Bovary understand how to describe a setting without being uninteresting. The problem with the medium is that anyone can be a writer, and most are not good at it, which makes me scared to pick up any book at all cause the quality is never immediately apparent.

MOVIE/THEATRE

I would say that this is significantly higher than literature because it’s mostly because I have a much more adept understanding of this medium. With that said I think a good movie is only strong in it’s ability to immerse you in it’s world. I was going to separate animated movies and live action movies, but with the technological advancement in CG greenscreen effects, the 2 are not so different anymore, at least with the financially backing of any of the modern blockbuster publishers today.

I will say that good movies are able to have quippy writing conveying simple ideas, and change which occurs in the character is often too rushed to my liking. That’s why the best movies focus on spectacle, cause what else are you going to do with that money.

I’m going to use Miyazaki for this example, cause for the most part I find a good number of his movies to be kind of boring. And I get there is an exceeding amount of craft that goes into each on of his films, which is outlined incredibly in Digibro’s  “How Hayao Miyazaki Maps A Setting”. But too me, none of what was being presented was saying anything of worth, and if the worth is in it’s existence then I guess I will forever remain untapped by his genius.

That doesn’t mean that I don’t find visually stunning moments engaging, but to imply that there is meaning in it outside of spectacle is ludicrous to me. I will say though that well written movies are something else to behold, because the run time elicits a much shorter margin of error when it comes to dialogue, which can make the times it’s pulled off like The Incredibles and The Good, The Bad, and The Ugly that much more special. But again with literature, it’s mostly few and far between, but at least it’s more my fault this time.

VIDEOGAMES

Dude I love videogames, I have had some of the most fun playing Pokemon, or pulling off team wipes in Overwatch, or exploring the maze like catacombs of Hollow Knight are some of the most fun I’ve ever had. But do they make for good narratives? Kind of, and to that I’m going to bring up a scale which have two games at each end.

To the left we have Minecraft, and to the right we have Muv-Luv. Both to many are considered masterpiece games, each appealing for different reasons, but the factor that the scale determines is the amount of choice the player has.

In Minecraft you can literally do whatever you want, and the appeal is to literally be immersed by having your actions effect what happens in the game. It’s atmosphere cranked up to the maximum, and it’s a major factor in why Minecraft is one of the most critical and commercially beloved games ever.

Now we have Muv-Luv. Muv-Luv is a really long visual novel where the amount of actions a player can make that would actually effect the experience are few and far between. And even when a playthrough splits, most people seek out the routes they have missed to get the full story. It’s fully dedicated to it’s narrative, which most people find fantastic. And on both ends of the spectrum I am not satisfied.

Minecraft can be fun, but it only feels as much of an extension of me as it is me within the videogame, there’s nothing nuanced or contemplative about it, it’s just you but in the block world. And of course most games like this literally don’t have a story in mind at all, and I can’t fault it for not trying to have one. But in going to Muv-Luv you meet another issue.

Visual novels are usually portrayed in the first person, and this frankly confuses me. Most narratives are told in the 3rd person, and this works 99% of the time. We don’t have to be the characters to get invested in them, rather we understand thier circumstances and sympathize with thier struggles and celebrate in thier successes. So when you are thrown into the first person, you literally have to connect with what the character is saying, and this fails most of the time. If I’m supposed to be Takeru, and he says something I don’t think I would say, my suspension of disbelief is lowered that much and it frankly reminds me that I am indeed playing a videogame, and that’s something a videogame should never do.

So of course there are ways around this, Pokemon literally makes the main character never speak which is kinda lame. But in the realm of RPGs, I think games like Persona do the right approach and literally have the character you play as be it’s own character (showed in the 3rd person) and just allow you to move when the game needs to go from plot point to plot point. It retains the appeal of a videogame while having the ability to be a narrative, and that is where I live.

Videogames are higher here only because I do enjoy games just for game feel, but they do have the ability to pull off strong narratives as well, which is well appreciated.

Continued in the finale

[negrek]

Negrek Finishes Gates to Infinity

Okay, so a while back I started playing through Pokémon Mystery Dungeon: Gates to Infinity after @phoenixkratos generously loaned it to me.

Overall, I'd say this is probably the clunkiest entry in the PMD series, but it doesn't deserve the hate it gets. It's clearly rushed and in the ugly-duck stage of transitioning from 2D sprites to full 3D, but there are the seeds of a great game here. I actually finished the main storyline quite a while back, up to the point where the protagonist inevitably returns to the human world and the credits roll; just recently I picked it up to finish things up to the point where the protagonist inevitably returns to the world of pokémon. Full, spoiler-y thoughts under the cut. (Apologies for weird typos, my keyboard's inexplicably sticky all of a sudden.)

I'll start with the story, since I think that's what most people play the PMD series for, and I think they definitely took things in an interesting direction with this game. As usual, there's some cataclysmic world-ending event about to go down, courtesy legendary pokémon, but the source of the trouble this time around is very different than in previous PMD titles. Rather than being some external force, like a meteorite or out-of-control legendary pokémon, the culprit here is in a sense the common pokémon themselves: their despair and cynicism has manifested as the world-destroying bittercold that threatens to plunge everything into darkness forever. As the bittercold grows, its influence feeds into the very feelings that first spawned it, causing pokémon to distrust one another and grow ever more disconnected and sorrowful

At least, well, that's what the story wants to sell you on. My biggest criticism of the game is that the supposed dissolution of pokémon society just isn't actually there in the way the game plays out. The pokémon of Post Town are generally friendly, hospitable types, and despite having supposedly given up hope, they put an awful lot of faith in an overenthusiastic pikachu and his best bud.

Things start off great with an introductory mission where you confront Gurrdurr, who was injured in an accident, became unable to work, and turned to crime out of bitterness and desperation. Like, that's actually a really mature and nuanced plotline for a pokémon game, or most video games, period? Way better than fighting some generic evil-just-because bandits, and it plays right into the game's theme of pokémon having given up and turned their backs on one another out of despair.

The issue is... that's the only mission you actually get like that. The rest are pretty standard adventure fare, with rescues and treasures and explorations to be had. And it would have been easy to make things feel more genuinely cynical. For example, what if instead of taking Umbreon in and healing him up, he'd instead come to the town begging for help, and the townsfolk had turned him away, being distrustful of outsiders, and the player/partner had had to go out and rescue him and Espeon despite their disapproval? What if they rejected the whole notion of the Entercards and refused to help the players/eeveelutions with their quest, on the basis of it being pointless, with only a couple exceptions? Ultimately, Post Town as presented in the game is just too supportive and welcoming a place for me to buy that pokémon society is in any way fallen apart. I mean, they're complaining about their literal happiness rainbows disappearing. And I mean, that's sad and all, but really, now. If Chunsoft had really committed to the narrative the games were trying to pitch, it could have been soooo gooood. But they weren't willing to go all the way, and as a result I think it just doesn't work.

I also didn't care for the heel-face turn of the villains towards the end of the series. Again, if you're going to have me buy that munna and company were really devoted to each other and had decided that the world was too sick to go on, but at least they could all face the end together, you need to actually have some scenes with the villains cackling at each other and chasing the player character down and acting generically evil. Like, even just something like the heros manage to . And again, if they actually could have SHOWN the dynamic between munna and her companions at work instead of just mentioning it when the villains needed redeeming, it would have been soooo gooood. I honestly think a fanfic following the basic plot of the game but actually making all the informed attributes visible in the narrative could be really, really good.

I was also a little disappointed by the fact that we never got much of an explanation of what the partner's deal was. There were some hints that his past wasn't very happy at all, and that he was kind of clinging to the whole "paradise" idea as a way of coping with that, but iirc that never actually went anywhere. And I don't think it needed to, necessarily--I think little hints here and there could paint a really sad picture without wallowing in "and then his twelve brothers and sisters were left destitute on the streets and three of them died horribly of pneumonia" or whatever. (Alternatively this was resolved somehow and I just completely forgot about it, which probably means it didn't have the impact I presume the writers would have wanted it to have.)

I mean, I know, looking for subtlety or nuance in a pokémon game storyline, but they were so close! Come on, guys, you could totally have pulled this one off!

Also, a small thing that bugged me was the whole "Hydreigon as spirit of life" or whatever that was. It seemed out of place for a pokémon game, like I don't think we've previously seen any sort of direct evidence for mystical, god-like forces outside legendary pokémon. I don't know why this guy couldn't have just been an ordinary hydreigon who happens to know about the connection between the human and pokémon worlds.

I did find the route they took with the player character's role interesting; very meta. Like, the player is only one of many humans in the world, and they're also LITERALLY YOU, not some character who's turned into a pokémon for reasons, but literally a person interacting with the pokémon world through the medium of the 3DS. The fourth-wall-breaking in the epilogue kind of weirded me out, but it just unsettles me in general when game characters turn and stare directly at you through the screen, aaaa. (Ghost Trick being the game that most freaks me out with this, of course.) But this was the first PMD game to try and address things like, doesn't the player miss their friends and family back in the human world? And overall I think it was well done.

On the mechanics side, I found this game to be incredibly easy. However, my team was also axew/pikachu, and I'm made to understand that axew is easy mode par excellence. Low-level dragon dance and dual chop is absolutely absurd, and beating Kyurem in two attacks was a little anticlimactic. But assuming the difficulty is more reasonable if you choose something like oshawott or snivy, then that's fine--although I like the personality quiz, having a sort of easily accessible "selectable difficulty" option is a good thing, although it would be nice if it were more clear which were the hard vs easy picks. (Okay, I know, I know, dragon, but still.)

I'm of two minds about the fact that inactive party members gain experience along with the active party. On the one hand, the total lack of grinding is pretty cool. On the other, it means that once any of your team gets too high-leveled for a certain level of dungeon/mission, then there's never going to be any challenge in playing that kind of mission again, because all of your pokémon will completely curbstomp it with no problem. And although they did a good job of speeding up the EXP-gain process once an underleveled pokémon actually gets to a dungeon, it's still a pain to have to click through party members learning eight new moves and evolving at the start of an expedition. On the whole I think it's a good thing, but it did irritate me at times.

The speed-up inside dungeons is mostly welcome, too, but combined with the changed field of view it often resulted in my last partner cheerfully wandering off to die and me not noticing until I'm all the way across the map because my character's dashing like a maniac. This became much less of a problem once I discovered reunion scarves and the fact that even equipping them from the other side of the dungeon will zap a wayward party member back to their rightful place, but for a while there I was rather stressed about keeping track of my party members at all times.

One common complaint I saw about the game was that there wasn't much pokémon variety. I didn't think this would bother me much, personally, but I actually found it very noticeable. Although there's a pretty large absolute number of species available (around 100, I think), when you consider how many different species are necessary to round out a dungeon, and then how many dungeons you'll go through over the course of the game, the lack of variety really does become noticeable. This was especially an issue for me at the beginning of the game, where a couple particularly irritating species (looking at you, litwick and klink) were EVERYWHERE. It meant that different dungeons felt same-y, even if the environment tiles were quite different. It didn't help that the pokémon are very heavy on Unovan lines, which by and large aren't my favorites.

Also the text speed... there is no effing excuse for the slow, fixed text speed. Same deal as with SuMo there. The cutscenes did not need to be longer!

But all in all I think the mechanics were an improvement over previous incarnations, and even the storyline, to some extent. It was just the blatant unfinished nature of the game and a couple seriously irritating elements that got introduced as a result that stopped it from being a top-tier entry in the series. It's disappointing, really, because I think they were trying to do something different and cool with this one, and just couldn't commit enough time and attention to make it work.