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talenlee · 1 year

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How To Be: Inu-Yasha

In How To Be we’re going to look at a variety of characters from Not D&D and conceptualise how you might go about making a version of that character in the form of D&D that matters on this blog, D&D 4th Edition. Our guidelines are as follows:

This is going to be a brief rundown of ways to make a character that ‘feels’ like the source character

This isn’t meant to be comprehensive or authoritative but as a creative exercise

While not every character can work immediately out of the box, the aim is to make sure they have a character ‘feel’ as soon as possible

The character has to have the ‘feeling’ of the character by at least midway through Heroic

When building characters in 4th Edition it’s worth remembering that there are a lot of different ways to do the same basic thing. This isn’t going to be comprehensive, or even particularly fleshed out, and instead give you some places to start when you want to make something.

Another thing to remember is that 4e characters tend to be more about collected interactions of groups of things – it’s not that you get a build with specific rules about what you have to take, and when, and why, like you’re lockpicking your way through a design in the hopes of getting an overlap eventually. Character building is about packages, not programs, and we’ll talk about some packages and reference them going forwards.

Smooch month has rolled around and that means it’s time to, once again, break out the rulebooks and try to find a way to make another Ranma 1/2 character in 4th edition D&D.

Understanding Inu-Yasha

You know, considering that the guy’s a dog half-demon, there’d be all sorts of powers or complicated special abilities to cover. Funny thing is, not really! Inu-Yasha is a character whose powers can almost all be summarised as ‘stuff a human can do, but way better.’ He can run, but faster than a human. He can jump, but further than a human. He can bite, fight, heal, and punch, and all of those things he can do more than a human. The one distinctive special ability he has that’s obviously not a human thing is the way he can turn his blood into projectiles to fling at people.

The funny thing is, essentially, Inu-Yasha is a character who is monstrous and demonic in things he is not in things he does. It isn’t like he has the ability to like, eat people, or has to turn the stars into constellations to blast people, he is just a Human, but Moreso, and, you may not be surprised, that’s a thing the game already represents pretty well!

Inu-Yasha has a single distinctive weakness, which plays into his monstrous aspect. See, once a month, on the night of the New Moon, Inu-Yasha becomes wholly human, and loses access to all of the special physical prowess he has. No claws, no funky blood, no fangs, he’s just a normal human. Believe it or not, this is not a thing to just discard, you can use this for something, depending on your GM.

He’s very physically adept — he can leap, jump, and climb so he’s very mobile, and he hits things with his hands and weapons.

There’s not a lot (I said not a lot) of stuff he does that looks like ‘magic’ or spells.

He can attack at range by throwing blood at people, which is a theme you can attach to a lot of ranged attacks.

He’s extremely tough and can recover from being beaten up or falling over very easily.

His magical clothing is tough enough to be either heavy armour or light armour, depending on how you want to theme it.

Inu-Yasha is kind of monstery; he has a fine sense of smell and humans can obviously tell that he’s not a human.

The Basics

More than other characters I consider here, Inu-Yasha feels like a collection of packages. Normally when I build a character from a piece of media, I look for things that the character does that are necessary for the fantasy of that character, and then I find build options that can deliver on that. That typically works out where there’s a single central thing that all the builds use, then each specific build that develops those central ideas.

Inu-Yasha, on the other hand, is made up of some really basic components, and then the question isn’t so much ‘how do I make sure I can do the specific thing he does’ and it’s instead ‘what are my goals with this character, and which do I think is important?’ Just as an example we’ll get to later, Inu-Yasha fights with his claws, his blood, and his sword, but I don’t think I’d consider any one of them as ‘the important’ way he fights than the others. That’s not to say that any of the specific weapons or special abilities he uses them for are ‘unimportant,’ it’s just that if you ran around fighting with claws, it wouldn’t be the kind of jarring problem that makes people go ‘wait, why, that’s not how Inu-Yasha fights.’ With that in mind, what I’m going to do is instead address the broad strokes of what choices I’d make to hit the targets for Inu-Yasha’s general build.

There is one thing that unifies all the builds, which is the weakness, based on the phases of the moon. This is a great narrative weakness, something that can come up exactly when the author needs it to and never when she doesn’t, but it doesn’t really work in the tactical, turn-based space of moment-to-moment weakness of Dungeons & Dragons.

What I’d recommend doing is talking to your GM about this as a thing to bring up when they want to ensure you engage with a skill challenge or negotiation as something other than combat. This kind of thing can be a useful tool for helping players do what they want when the character wouldn’t; when the GM has a sequence set up where they don’t want you to just fight through it, talk to them and say ‘oh, it’s the New Moon tonight,’ and you can just use that as your excuse for why you’re not kicking in faces.

Don’t try and force it! You want this to come up so it’s part of your story, but again, think of it in terms of playing along with the story with the GM. And you might think ‘but me being unable to use my powers just makes me sit out of combat, not my friends, and that just makes me waste my time.’ But remember! You’re suddenly a normal human and your friends aren’t complete assholes, so they might avoid combat too, because you’re not able to fight and that puts you in danger. This can be a real tension point for the story while the other characters protect you (in a way you might not want to discuss).

Glossary Note: Conventionally, the term used in D&D for this mechanical package is race. This is the typical term, and in most conversations about this game system, the term you’re going to wind up using is race. For backwards compatibility and searchability, I am including this passage here. The term I use for this player option is heritage.

Heritage options

At a baseline, Inu-Yasha needs to feel monstery but not inhuman, and whatever class he takes is probably going to be strength-based, melee based, and physical. There’s a lot of choices there, for heritages that are monstery, with examples like the classic Tiefling (the second best heritage at everything), but that’s not going to feed well into a lot of strength-based classes. Still, keep it in mind and talk to your GM about the specific flavours of monstery heritages you like.

What I’d recommend is a heritage that doesn’t make demands of you for support. Eladrin, for example, are really strong, but when you make an Eladrin you need to build on the teleport power and its feats to make the most of them. Particularly, I’d recommend considering the Vryloka, which benefit from very obviously being like humans, and benefit from good stat modifiers for something like Inu-Yasha, the Longtooth Shifter, which again, benefits from being like a human and getting into physical fights, and the Mul, which can claim a human heritage to get access to human powers, but also just brings a useful, general positive package of inhuman toughness.

Class options

The good news here is that Inu-Yasha probably doesn’t do anything with serious magic, and the game has a lot of options for if your primary approach to things is get close and hit things. It’s easier here to instead start by knocking out what things probably don’t match with Inu-Yasha’s special abilities. I don’t think, for example, that Inu-Yasha feels very divine, but that’s because the magical powers presented to divine characters, with the idea of an external power source, doesn’t quite work for me for his character. I can definitely see him working with Martial and Arcane power sources, maybe Psionic, and … I dunno, Primal doesn’t quite feel right!

The other thing to look for is role. If you want to make a defender (like, say, a great big hitter with a big powerful weapon), you might wind up deciding the divine magic works out well! I know that if I had to think of defender options that work well for Inu-Yasha, my first two thoughts are the Paladin (which can have a great big weapon and hit very hard) or the Fighter (which can grab people with clawed gloves). But that’s just one role — I might even try use the Vampire for a Striker Inu-Yasha, because of its strange relationship to monster behaviour and its ability to make ranged attacks and melee attacks with hands and blood. The Ardent gets to feel its feelings very hard and loud, but it’s not as physically powerful, so there’s another point to make a choice.

It’s the question of what Inu-Yasha definitely isn’t. I don’t think you’d ever pick a wizard for Inu-Yasha. You wouldn’t want to be an Artificer. If you had to push him into a support role, like a Warlord, you would naturally gravitate away from healers like Clerics, because even though they can be strength-based, there’s a radiant, light-based aesthetic, and a reliance on wisdom, an ability that seems inappropriate for Inu-Yasha. The Warden has big chunky nature effects like roots and barbs. The druid shapeshifts. When you’re working for a character like this, look at what definitely doesn’t work for what you want to do.

Themes

And this is one where I found myself challenged, because to my surprise, it wasn’t an easy simple one.

The obvious options of Werewolf and Werebear need to work with specific classes to be good. They work well with a class that care about making basic attacks, like the Skald or Knight, but by default on their own, you wouldn’t want to attach them to another class because they stop those classes’ powers from working. Still, if you find yourself favouring the Knight or Cavalier, you might just want the Werebear to add to your marking options.

The Guardian is another good option – even if you’re a striker – because it lets you do more attacks and that means more damage, and Inu-Yasha absolutely eats dirt in a lot of stories. Getting in the way of an attack whether or not you can take that hit is entirely appropriate to this kind of character.

Also, third place is the Fey Beast Tamer. And now you may think I’m just going ‘well, what of the two best themes works,’ but this is important, because the Fey Beast Tamer lets Inu-Yasha run around with his own little Shippou. You could make a blink dog or baby owlbear play the role of Shippou – a smaller character who hangs around you, doesn’t talk well to other people, and lets you do tricky things in combat while mostly just being opportunistic!

Inu-Yasha is a really interesting character to build, because of how he’s not complicated. When the character you’re aiming at is defined mostly by what he doesn’t do, not what he can’t do, you’re left looking at a lot of possibility space. In that case, you have to make sure you’re making choices between things that work reasonably well and don’t present problems with one another, rather than trying to refine a single, excellent thread through them.

Check it out on PRESS.exe to see it with images and links!

#DungeonsDragons #Games #DnD4E #HowToBe

#DnD 4e #How to Be

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stacktanner8 · 2 years

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formspruce33 · 2 years

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How Long Does An Exhaust System Hanger Last?

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clairiere · 3 years

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SFX interview with Pedro Pascal

The latest issue (Jan. 2021) of SFX magazine carries a 2-page interview, which took place after the S2 premiere (technically right after The Passenger). It’s pretty good, and insightful given what took place.

This Charming Mando

Shortly after the launch of the second episode of season two, SFX caught up with the Mandalorian himself, Pedro Pascal, speaking from Budapest.

words: Adam Tanswell

There are tons of fun and interesting ways that The Mandalorian ties into Star Wars canon. Are you aware of all the Easter eggs when you’re working on the show?

There’s plenty that are pointed out to me and there’s plenty that are obvious, but I think it would be impossible for me to remember them all. On top of the Easter eggs, what I love the most is the reference to very speciﬁc genres of cinema.

Can you give us an example of that from the second season?

For season two, the set of the second episode [“The Passenger”] was the ﬁrst set that I walked on to. It was this shipwrecked Razor Crest on this snowy set, and I’d seen the illustrations of the spiders that were so incredible. The spiders hatching out of those eggs were right out of Alien. Working on the show ﬁres off all of these references to me. And then, of course, there are the speciﬁc references to the Star Wars past as well. It’s impossible to keep up with everything, but it’s endlessly fascinating.

What did you enjoy the most about working on the ﬁrst episode of season two, “The Marshal”?

Working with Timothy Olyphant and being on Tatooine with Jon Favreau was incredible. I don’t know if I’m allowed to say this, but you wouldn’t believe the kind of rehearsal that the three of us had early on for that episode, in order to understand and block a sequence. You know the scene where we’re in the bar and then we step out to the main square of the town to see the Krayt Dragon? We had to rehearse it virtually ﬁrst. We put on these mechanisms [VR headsets] with remote controls where we were literally able to be in a virtual world. We were actually able to rehearse it all before getting on the set. We were able to physically block the scene, which was crazy to me.

How would you describe the relationship between the Mandalorian and the Child in season two?

Through all of the action, adventure and special effects of the show, the core of it is this relationship between the Mandalorian and the Child. In spite of, and within, the largeness of it all, their story gets more intimate and deeper, which is the ultimate risk for somebody like the Mandalorian. It’s a huge risk to be vulnerable and to develop attachments, so it’s a very special relationship that we see unfold this year.

How does it feel to share the spotlight with the Child?

Honestly, it’s been an amazing experience because you get to witness a very, very unique show come to life. This isn’t my diplomatic answer; I mean this sincerely. To be part of a project like this is a unique experience for everyone, but I don’t think it’s appropriate for me to take the position as the central star because it’s not just me. There’s the Child and many, many others involved. There’s the incredible Industrial Light & Magic people, who have created this character of the Child that everyone has fallen in love with. Plus, there’s the production design team and every single department that’s involved in creating this experience, along with Jon Favreau and Dave Filoni, who are the ultimate parents of this show.

Talking of whom, what’s it like to work with Jon Favreau and Dave Filoni at the helm on a day to day basis?

The success of the show is because of their storytelling skills, as well as their fascination and their very, very, very pure love of Star Wars. It’s funny, because I have to ﬁgure out to the best of my abilities where I can contribute to achieve the success of it in every way. I saw images for the show when they were ﬁrst talking to me about the project. Back then, I saw illustrations of the Child and it was the reason why I said yes to the project.

Have there been any changes to your iconic costume in season two to make it more comfortable for you?

The costume actually got a little heavier in season two. We ended the ﬁrst season with him upgrading his armour. In order to have a more cinematic shine on the breastplate, it meant that some pieces were a little heavier than last year’s version

What are the themes and underlying messages of the second season that resonate with you the most?

These are very classic tales of good and evil, and how it all exists inside of us. It’s also about the journey towards the light, if that makes any sense. With my character speciﬁcally, I love that there’s this ruthless person whose physical identity is kept from the world around him – and possibly a psychological identity that’s kept from himself – but he starts to discover himself through this relationship with a vulnerable but very powerful creature. He follows his heart and does the right thing, no matter how it is against one’s practice or creed or what’s convenient. For me, that would be the prevailing message. It’s a much more intimate message than the broad strokes that can be painted onto the story as a whole. On a basic level, it’s about ﬁghting for good.

It’s a huge deal to be such an iconic part of the Star Wars universe. Were you ready for the fame and attention that comes along with a project like this?

To be honest, I think it would be challenging for any human being. I’ve certainly been navigating how to honour being part of something as iconic as this to the best of my ability. It’s deﬁnitely a challenging, intimidating and exciting experience. It’s all of those things.

You play an iconic hero in The Mandalorian, but who were your heroes when you were growing up?

I had so many heroes. I would have to say my parents are my obvious heroes for ushering in the introduction of so many heroes, either through cinema or literature. And I continue to add more and more people to the list. As a child, Indiana Jones was deﬁnitely my personal hero. And as I got older, I remember the writer James Baldwin really, really inﬂuenced my mind and my life. I introduced myself to his writing when I was around 19 years old and he has deﬁnitely been a hero to me.

How does it feel to be a Star Wars hero?

I think it’s a beautiful thing because I can see the effect of a show like this on the children of my friends. It isn’t anything like I’ve experienced before. I love to see the look on their face if their parents tell them, “This is the Mandalorian”. There’s usually some confusion at ﬁrst, because there isn’t a lot of association to this face as far as the role is concerned – but they seem to understand that somebody needs to be behind the mask. It’s somebody’s voice and it’s somebody’s limbs. It’s a magical feeling to see children’s eyes light up like that. If only I could carry around the Child everywhere, then I would really be winning!

Would definitely recommend buying the issue if you can, print or digital (via Zinio or any other platform), to show your support.

#pedro pascal #the mandalorian #interviews #behind the scenes

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thiswaycomessomethingwicked · 3 years

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Was Napoleon a tyrant? I don't necessarily think he was: at least, I believe he was a better alternative to the absolute monarchs he was fighting. But there are those who disagree. What are your thoughts on the subject?

This is a can of worms to be sure.

I mean....how are we defining the word tyrant? All monarchs are tyrants to someone. Monarchy, by its very nature, is tyrannical in one way, shape, or form, no matter who is at its head. Even in the more neutered forms we see now days with the British. The Queen still exerts a ridiculous amount of power, all things considered.

Napoleon was no better or worse than any other monarch in Europe at that time. Indeed, better than some, worse than others. Because you know, he was human!

This got VERY long. SO LONG. Choice excerpts from below the cut:

"'Power was encroaching with large strides behind the words order and stability,' as Thibaudeau put it."

"(And I suspect he was concerned about seeming too eager for power/setting up a monarchical system. Fouche: You're about as subtle as a canon going off right next door. Napoleon: Hush.)"

"Theeeeeen the little bastard (affectionate) became Emperor."

"Napoleon Vs. Jeff Bezos: fight! fight! fight! (I'm putting my money on Napoleon.)"

tl;dr: a more or less benevolent emperor who had his faults and who was intimately aware, for better or worse, more than most monarchs, that the head is only tenuously attached to the body. (Skim to the bottom for my thoughts on the personal things i.e. how I interpret Napoleon's actions and brain)

But, more seriously, as with most absolute statements, I am opposed to calling him a tyrant because it is reductive and serves no purpose except to make broad sweeping political statements that I believe are far more about the person making the statement exemplifying their modern political, republican position (as in, actual republican-I-support-the-existence-of-republics not the gop) rather than expressing any sort of truth about the past. (wHaT iS tRuTh.)

For historical purposes, it can over-simplify the situation and lead to skewed interpretations of events because you're coming in with this word that has a lot of modern, 20th and 21st century baggage to it.

And, because these people are coming in with this big, bad word of tyrant as a label for Napoleon, it doesn't allow them to engage with the nuance and complexities of his reign.

Anyway.

Napoleon, as emperor, supported centralized power held in his own hands, with support from other governing bodies (senate, council of state etc.). However, Napoleon had a lot of influence in the structuring of these governing bodies and the subsequent appointments as a means to exert control over entities that would otherwise be able to act somewhat independent from him and impinge his power.

We see this consolidation of power beginning, obviously, under the consulate. 'Power was encroaching with large strides behind the words order and stability,' as Thibaudeau put it.

There was the whole theatre around the Tribunate offering to extend Napoleon's tenure as First Consul for another ten years as a means of thanks/showing gratitude for all he did for France (Fouche was like: fuck that, let's just make a statue of the guy). Napoleon played the part of Humble Servant of the Public and refused both statue and the ten year extension. (Very Julius Caesar: You all did see that on the Lupercal, I thrice presented him a kingly crown, which he did thrice refuse. Was this ambition?)

In actuality, though, he was pissed because he wanted it extended for life.

This resulted in the Council of State deciding "independently" (i.e. Napoleon wasn't present but he sure as hell influenced that Council session) to hold a plebiscite in order to ask The People two key questions: 'Should Napoleon Bonaparte be consul for life?' and 'Should he have the right to designate his successor?'

Napoleon nixed the second question saying to Cambaceres, 'The testament of Louis XIV was not respected, so why should mine be? A dead man has nothing to say.' Which is to say, he knew people would vote for him to be Consul for life, but the prospect of him choosing a successor, a la the Roman Empire, and having that choice be without input from the people and respected upon his death? Less clear.

(And, I suspect he was concerned about seeming too eager for power/setting up a monarchical system.

Fouche: You're about as subtle as a canon going off right next door.

Napoleon: Hush.)

For the Plebiscite, there were around 3.56 million votes for Yes to the question of Napoleon as consul for life and only around 8,300 for No.

The turnout rate was 60% which is uhh...impressive! (To be fair, there was no real evidence of tampering with the vote. Unlike in subsequent Plebiscites, such as the results for Do We Make Him Emperor, which were absolutely doctored. But, considering the highest turnout ever seen in the French Revolution was around 30/35%, double that is certainly something.)

Lafayette was pissed with this. He kicked up a fuss in the Senate and wrote to Napoleon saying that his 'restorative dictatorship' had been well and fine for now but has Napoleon thought about restoring liberty? and that he was certain Napoleon, of all people, wouldn't want an 'arbitrary regime' to be installed!

Napoleon: Bold of you to assume that, Lafayette.

There were, at this time, some mumblings and grumblings about tyranny from the liberals and those still wanting to continue the experiment of the French Republic, to be sure. They increased as time went on and Napoleon's power continued to consolidate.

Theeeeeen the little bastard (affectionate) became Emperor.

Lafayette: WhAt Is tHiS??

Napoleon: Look into my face and tell me honestly that you are shocked.

His government, as Consul and as Emperor, was centralized and very top-down in how it operated. Little was done without Napoleon's input.

The seemingly democratic institutions that had propped him up into power were retained and Napoleon used them as a means to facilitate his rule. As noted earlier, Napoleon had a heavy hand in appointments and the processes in place to fill various offices. Nothing was really...independent of him and his influence.

Though, in terms of Image Building of Empire, Napoleon worked hard to try and maintain the façade of impartiality as emperor. That he was head of state, sure, but all state apparatuses operated independent of him.

(Why is Napoleon's hat so big? because it is full of lies supporting the imperial image making machine.)

That said, when it came to filling those offices, Napoleon focused on merit more than anything as he wanted his governing officials to be capable, hardworking and, above all else, loyal.

(A good quote from Napoleon in one of his more Eat the Rich moments of the consulate: 'One cannot treat wealth as a title of nobility. A rich man is often a layabout without merit. A rich merchant is often only so by virtue of the art of selling expensively or stealing.'

Napoleon Vs. Jeff Bezos: fight! fight! fight!

(I'm putting my money on Napoleon.) )

This is getting really long and I feel that I've not addressed anything in a useful manner, but am I going to stop? No.

Napoleon, himself, at least in 1803, did express some conflicted views about assuming an imperial title. To Roederer he said, 'So many great things have been achieved over the past three years under the title of consul. It should be kept.'

Cambaceres said to Napoleon that upon assuming an imperial title 'your position changes and places you at odds with yourself.' No longer are you merely a public servant, an upholder of the Republic's ideals. Now you are a man wearing a crown, trying to be the upholder of the Republic's ideals.

(nb: I feel that duality is something Napoleon never fully got a handle on. He would veer strongly into authoritarian monarch then have moments of Rousseau-ian Idealism.)

Napoleon was insistent that his rule be a parliamentary monarchy (keeping the governance framework implemented in the Constitution of Year VIII, if I am not mistaken. But don't quote me on that.) and that the French were not his subjects but his people.

So, the imperial government worked thus with the Legislative process divided between four bodies:

Council of State which would draw up legislative proposals,

Tribunate which could debate on legislation but not vote on it,

a legislative body which could vote on legislation but not discuss it, and

Senate which would consider whether the proposed legislation conformed to the Constitution.

The Senate and the Legislative body could, theoretically, curtail Napoleon’s freedom/power. However, considering the fact that he was involved in the appointment process of these offices, and the general rhythm of daily governance, how much power they were able to exert over him was limited.

(This is at his height! Of course, towards the end we see a shift in that. But that's largely tied up in his military defeats and the British banging the door knocker demanding to be let in. Also they brought with them some friends. You might have heard of them? Bourbons?)

The initial terms the Senate brought to Napoleon with their offer of accepting him as a hereditary monarch included, but weren't limited to:

liberty cannot be infringed

equality cannot be jeopardized

sovereignty of the people must be maintained

the laws of the nation are inviolable

all institutions were to be free from undue imperial influence (e.g. the press)

the nation should never be put into a position where it needs to behead the head of state. Again.

Napoleon was uh. Not best pleased with this and had a new version drafted up that included acknowledgement of the sovereignty of the people, but a lot of the other things (e.g. freedom of the press) were cut out.

Yet, Napoleon maintained certain parts of the French Revolution's values which were reflected more in the 1804 Code Napoleon and other legislative and legal pieces than in the initial terms of Senatorial acceptance of his imperial title.

Some of the things enshrined in the Code that were carry-over from the Revolution include, but aren't limited to, the abolition of feudalism, equality before the law, freedom of conscience (to practice their own religion), gave fixed title to those who had bought church and émigré lands during the 1790s, and the equality of taxation was maintained (tax those aristos and the church). Also, there was affirmation of the idea of careers being "open to talent" rather than an accident of birth (as touched on above).

The Freedom of Conscience clause in the Code was a further formalization of several Articles Napoleon amended onto the Concordat in 1802. The Articles guaranteed the principle of religious toleration and made the Protestant and Jewish churches similarly subject to state authority (alongside the Catholic).

These are just a brief summary of some of the more liberal/revolution-informed aspects of Napoleon's governing.

The non-liberal ones I believe we're all pretty familiar with: suppression of the free press, roll-back of rights for women (women are for babies!), reinstatement of slavery (which he later reversed circa 1810/12-ish), top-down Emperor-has-final-word approach to ruling (Napoleon was all about Authority From Above, Trust From Below) etc. etc.

At the end of this, I would say Napoleon's empire falls into that "benevolent monarch" situation. For a given value of "benevolent." As stated at the start, he was like most other monarchs in Europe at the time. Better than some, not as great about certain things as others.

Really, it all ties back to Order and Stability.

Napoleon's assent, and his approach to strong, centralized ruling, was a result of uncertainty and constant government change over ten years of revolution alongside the growing belief, by 1803, that a republic like the Romans or Greeks was not going to happen any time soon. Not without constant warfare and the forever looming threat of a Bourbon restoration.

In addition, Napoleon was doing imperial drag. (If that makes sense.) He was dialing the notch of Emperor up to 11 - being the most emperor of all emperors. So, state control was absolute because he couldn't show any signs of weakness - either in his own body, his familial body, or the body of state. The court protocols were intense and over-the-top at times because he had to prove he was not just a second son of a parvenu lawyer from the sticks. No! he was worthy of this pomp. He was worthy of imperial majesty. He was worthy of the crown and scepter.

Napoleon was not raised to be anything other than a military officer and a middle-class head of a family (would have been a MASTER at doing Sunday Dad Puttering About the House). When he dawned the mantel of power, particularly that of empire, he had to make it up as he went along. For such a self-conscious and proud man, this was difficult. He never wanted to misstep and be embarrassed - on a personal level, political or military.

At the same time, he was reared on Rousseau and Revolution so still had those values and ideals imbedded in him, and those fears and memories. Napoleon knew as well as any Frenchman that a monarch's head is easily removable should it become necessary. Therefore, he sometimes ran roughshod over the liberty to ensure security. For better or worse, that was the choice he made.

Napoleon was a flawed leader with a complex approach to governing that was focused on a centralization of power within him while, at the same time, trying to be the Successor of the Revolution, the Roman Republic and the Roman Empire. Layers! Like an onion.

His approach as emperor really was within the realm of normal-for-the-times when compared to most other monarchs on the European stage in 1800. He also granted liberties to his people that were unheard of in other countries.

I feel like all my Napoleonic ramblings end with the same message: Dude was nuanced. Dude was complex. Dude did good things and bad things. Dude helped people and hurt people. Dude contained multitudes. Because he was simply human, at the end of the day.

ANNNNNNND we are done.

Gods bless all y'all who made it this far.

Have my favourite picture of Napoleon at Tuileries as a prize.

hmm that beautiful heavy, handed symbolism.

#napoleon #napoleon bonaparte #ask #reply #napoleonic #history #19th century #imperial myth making #napoleonic identity

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felassan · 3 years

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Mass Effect development insights and highlights from Bioware: Stories and Secrets from 25 Years of Game Development

This is the Mass Effect version of this post.

[In case you can’t read it the subtitle in the bottom left logo above is “Guardians of the Citadel”]

Note: Drug use is mentioned.

Cut for length.

Mass Effect 1

ME began its life in a vision document in fall 2003

Codenamed “SFX”

Conceived of by Casey Hudson and a core team from KotOR. Its genesis was the intention to create an epic sci-fi RPG in an original setting that BioWare owned (so they could have full creative control), and in a setting that was conceived of first and foremost as a video game

Initially players could control any squadmate, but they wanted it to be about Shep and for players to be focused on Shep being a battlefield commander, rather than on switching bodies

By the start of 2004 its story was shaping up. Initially humans landed on Mars in 2250 and discovered evidence of an ancient alien race and a powerful substance, Black Sand, which rapidly advanced tech to the point that FTL travel was possible. (My note: obviously now the Prothean artifacts on Mars & associated mass effect force tech enabled this in the final canon, but I wonder if aspects of the ‘Black Sand’ naming-type & powerful substance stuff was rolled into red sand from final canon) Humans were suddenly capable of travel to multiple star systems and made contact with a multitude of other species. At the start of the first game, these species together with humans had a fragile peace, with focus placed on the political center of the galaxy, a hub known as Star City, later renamed the Citadel

Multiplayer was a vision for the series as far back as 2003. The plan was for ME1, an Xbox exclusive at launch, to take advantage of the platform’s online components. Early designs saw players meeting in one of the central hubs to interact and trade items in their otherwise SP adventures

By 2006 it had the name ME and the story was more specific, with the theme of conflict between organic and synthetic lifeforms. The story’s scope now stretched across 3 games and included scope for full co-op MP

They tried to do MP in every game, discussing it from the get-go, but it always just fell by the wayside. “When you’re trying to build something that is a new IP, on a new platform, with a new engine, you’ve got to really focus on the core elements of the game.”

The conversation system prototype was made in Jade Empire, and some of ME’s earliest writing was done in an old JE build. At first there was no conversation wheel. Paragon was “Friendly” and Renegade “Hostile”. In the prototype Shep was a silent unnamed Spectre. Many conversations in the prototype about the player’s choice in smuggling a weapon through Noveria made it into the game

In said prototype a merchant referred to themselves as “this one”, though the word hanar never appeared. The PC in it also had the option to end a conversation with “I should go”. In the prototype also, Harkin was voiced by Mark Meer

An early version of the Mako got used as the krogan truck in ME2

Early concepts of the Citadel were drawn in pencil by CH. A piece of concept art of its final design was painted based on a photo of a sculpture near Aswan, Egypt

As with any new IP naming it was a struggle. They put out a call to all staff for ideas, did polls, made a name generator that combined words that they liked in random ways and made pretend logos of ones they liked in Photoshop to see if they could make themselves love the name or find visual potential in it. (Some of these names are in the pic at the top of this post.) CH liked “Unearthed” as it was a reference to Prothean ruins dug up on Mars and humanity’s ascendance going away from Earth. They knew the game would have a central space station featuring prominently so some of the ideas were based on that - “The Citadel”, “The Optigon”, “The Oculon”. “Element” was another one they had in mind due to the rare substance in the game

CH: “I was a big fan of John Harris’ book Mass, which had epic-scaled sci-fi ideas, so that was a word that came up often. Many of the names came from the idea that the IP featured a fifth fundamental physical force (in addition to the known four of gravitational, electromagnetic, strong nuclear and weak nuclear) so the word ‘effect’ came up pretty often.” Ultimately none of the ideas really felt right. One Monday morning they were going over the names and Greg Zeschuk said he had an idea on the weekend: “Mass Effect!” CH: “I said, ‘I don’t hate it’, which in the naming process is a high compliment. And it stuck!”

CH on Shep’s Prothean vision from the beacon: “It was hard to imagine how we would do this. CG was - and is - really expensive. Instead I wanted to try doing it through photography and video editing. So I went to a local grocery store and bought a few packages of the weirdest looking meat that I could find. Then I set up a little photoshoot in my basement, complete with some electronics parts and some red wine for juicyness.” He used these props to create a video sequence where the photos were rapidly cycled and blurred, along with production paintings, to create the scary vision an organic/machine experiment on the Protheans. These mashups were also used as inspiration for concept artists and level designers who were working on these themes

Tali used to be called Talsi

On the licensing side they often joke that they’re licensing N7 not “Mass Effect” due to N7′s popularity

There was a confidential internal guide to the IP in 2007 to help devs along and summarize/synthesize the vision etc. Some excerpts from it are shown in the book and this is the first time the public have ever seen them

Early versions of Asari had hair

Asari were designed as a nod to classic TV sci-fi (with human actors wearing obvious makeup and prosthetics to play aliens)

The turian design guideline was “we want them to be birds of prey”. They also wanted a range of alien types, some close to human like Asari, while others were to be a lot further away, like turians

BioWare patented the conversation wheel, which was a first for them. CH had been frustrated with reviews of Jade Empire that said that the actioncentric game was too wordy [with its list dialogue]. “I’m like, story is words. [...] What is it about our games that is making people feel like they’re wordy?” Then he thought “In a game you kind of need to feel like you’re continuing to play it. Maybe you should continue feeling like you’re playing it actively into the dialogue.” “[The wheel] kind of gave a new experience with dialogue when you did start to react based on emotion, and that’s ultimately what we’re trying to bring out in our games”

The original krogan concept was based on a bat “with a really wide squidgy face. We just used its face on top of this weird body and it kinda worked”

Geth musculature was based on fiber-optic cables, with flexible plates of armor attached

The vision for the IP was 80s sci-fi inspired space opera

The concept art of Saren lifting Shep by the throat inspired a similar scene in-game. The staging wasn’t planned til designers saw that art

A squadmate with Shepard on the way to meet Ash in an old storyboard was called Carter. Early name of Kaidan or Jenkins?

Bono from U2 was kinda instrumental in bringing us ME lol

Finding the right cover art for ME1 was notably tricky

Matt Rhodes got his start drawing helmets for ME1, including one which would become Shep’s “second face”. He estimates he drew between 250-270 different ones

Some of the sounds in-game were people smashing watermelons with sledgehammers and sticking fists into various goos

The audio team had fun trying to slip the iconic main theme into unexpected places throughout the MET. “We were very aware of how powerful that track was for the fans and it was tempting to overuse it for any moment we wanted to make really emotional”.

The theme was creatively repurposed in ME3: slowed down and reworked as the ambient sound for the SR-2. “If you listen to it for a really long time, just stand in the Normandy and listen, you’ll actually hear the notes change slowly. It doesn’t sound like music, it sounds like a background ambiance, but it’s there.” (My note: Well no wonder the Normandy feels so much like home?? 😭 sneaky..)

Bug report: “Mako Tornado”. There wasn’t enough friction between the tires and the ground, causing testers to lose control of the vehicle and send it spinning into the air like a tornado. “As it turns, the front end comes up, and then it starts spinning and spinning and spinning and spinning faster and faster and faster until it just flies up in the sky” (My note: Sounds like a regular day in the Mako to me)

Cerberus originally had a bigger role in this game. It was cut but they had a whole explorable outpost. “I called it Misery,” says Mac Walters, “It was this planet with a little outpost that said ‘Welcome to Misery’”. Everything on the outpost was shit - dirty worn stuff, no windows, no kitchen, the vehicle bay was open to the elements etc

The Reaper sound is literal garbage. Some audio designers went on a recording trip to a national park. One of them got fixated on a garbage can, “a metal bear-proof receptacle with a heavy lid that creaked horribly when opened”. “It was like, ominous, spooky, tonal and almost musical. I decided to throw a mic into the garbage and record it moving. I didn’t know what it was going to be until later”

They were making lots of noises to record like throwing logs and rocks around. An old couple peered at them through the window of their camper van in the woods and must have called the cops because then the cops showed up, pulled them over and told them to stop. The cops towed their car (the driver’s plates were Cali plates and expired), drove them to Edmonton outskirts and then the audio producer Shauna got a call and had to go pick them up “like three little boys”. “We got a stern talking to”. Once back they were playing around with the garbage sound, editing it etc. Casey heard it and proclaimed “That’s the sound of the Reapers”

Preston Watamaniuk: “There are things I could have done to Mass 1 to make it an infinitely better game with better UIs” and some simple cuts and changes. “But when you’re living with it, it’s very hard to see those things”

BioWare Labs

As social media and smartphone games exploded, BioWare dedicated a small team dedicated to exploring opportunities here - BioWare Labs

Mass Effect: Galaxy used a unique graphic art style and static visual presentation common in visual novels. It has the distinction of being the only iOS game BW have made during their first 25 years

Scrapped ideas were a 3rd person space shooter called Mass Effect: Corsair and 2 DA titles - a strategy game and a top-down dungeon crawler starring young Wynne. (My note: Maybe the corsairs stuff was rolled into Jacob’s backstory in 2, the Alliance Corsairs)

Corsair was a very short-lived project that never got its feet under it. It was a spin-off on Nintendo DS featuring a behind-the-ship perspective and branching dialogue. At one point it had MP. The idea behind it was basically “ME: Freelancer” - fly your ship around, do missions, get credits. It had a limited branching story but was a gameplay-centered experience intended to fill the gap between ME1 and 2. That gap ended up being filled by Galaxy

Galaxy and Corsair’s smaller screen allowed concept artists to use bold colors and a simplistic character design style to help those games stand out from Shep’s story

Nick Thornborrow did some art for Corsair but was worried his art style didn’t fit ME. He moved to DA where he feels his art style fits better

Lots of BioWare VAs and even a lead writer and the VO director are drawn from Edmonton’s local community theater scene, which is vibrant. Think this is how Mark Meer got involved

Mass Effect 2

Player choices carrying over was a first for BW

Dirty Dozen-inspired plot

Its plot is a web of conditionals (see Suicide Mission)

Was more of a shooter than anything BW had made since Shattered Steel

There was 2 camps on the team, those who wanted to push combat and systems forward and redefine the ME experience and those who wanted to make a true sequel, with the same gameplay and systems but a new story. Karin Weekes: “I think it ended up being a good push-pull. It felt like a pretty healthy creative conflict”

“ME2 was a game you could hold up to someone who argues that games aren’t a serious medium and go ‘Oh yeah, then why is Martin Sheen in this?’” Sheen was their first pick for TIM

The idea for TIM came from a mash-up of concepts CH had collected over the years. The name “Illusive” originally came from his pitch for naming DAO’s Eclipse engine, a word inspired by Obi-Wan’s line “It’s not about the mission, Master. It’s something... elsewhere. Elusive”. “I thought, what if we called our next engine 'Elusive', but used an ‘I’, and then it’s like ‘Illusion’. [...] I still really like the word with an ‘I’ and what it conjures”

When ME1 DLC was in production, CH had been watching a lot of CNN, specifically Anderson Cooper. “How is one guy travelling to all these places and never looking tired and always being able to speak with clarity?” CH says it seemed almost superhuman. “What if there was someone who is the absolute maximum of the things you would aspire to be, but also the worst of humanity?” Cooper, though not evil, became an inspiration for TIM down to the gray hair and piercing blue eyes

Inspiration for TIM’s behind-the-scenes role pulling political strings came from Jack Bauer’s brother Graem in 24. Graem “can call up the president and tell him what to do and hang up, because he’s so connected and so influential”. Sheen had played a president and his performance brought gravitas and wisdom to the role. He had quit smoking, but the character smokes. He didn’t want to fake it, but he also didn’t want to smoke, “so he actually asked for a cigarette” to hold so he could stop his words to take drags with natural cadence

Writing was still pushing to write and revise lines hours before VO started. A series of problems like injury and some writers leaving for other opportunities left it so that Karin, Lukas Kristjanson and editor Cookie Everman hand to land the story safely, with PW helping where they could. Lukas: “We took over the writing bug and task list, and I can’t stress enough how much [Karin and Cookie] did to get ME2 out the door. There’s no part of that thing we didn’t touch”. Karin: “That was the most dramatic 2 weeks of my life”

Initial fan reaction when they started promo-ing ME2 was very negative because people didn’t want to know about new chars like Jack and Mordin. “[fans were like] ‘Get them out of here. We want our characters from the first game’. But then when they played them, those became some of the most popular chars [of the series]”

Concept art of Thane has an idea annotation saying “Face can shapeshift?”

At one point when designing Thane concept artists sent multiple variations of him to the team asking them to vote on which was the most attractive

Most of the Normandy crew was written by lead level designer Dusty Everman. Lukas gave him advice in the evenings between bugs

BioWare Montreal made ME2 and 3 cinematics

CC for Shep was based on tools used by char designers to create in-game chars. Under the hood similar tools existed to create aliens

Aliens were much easier to animate than humans. When something is human it’s very difficult to make it look realistic and you can see all the mistakes and everything

Over the holiday period in 2007 CH worked out a diagram on a single piece of paper that would define the entire scope and structure of the game. The diagram is included in the book

Bug report: “I shot a krogan so hard that his textures fell off”. At one point shotgun blast damage was applied to each of the pellets fired, and shot enemies ended up with just the default checkerboard Unreal texture on them after their textures got blown off

Blasto was meant to be 1 step above an Easter egg but his fan popularity prompted them to bring him back in ME3

They rewrote chunks of Jack 2 days before she went to VO. She was the only one they could change because all the other NPCs were recorded. They redesigned her mission by juggling locked NPC lines and changing Shep’s reactions by rewriting text paraphrases to change the context of the already-recorded VO

Lukas snuck obscure nods ito ME2′s distress calls. In the general distress call for the Hugo Gernsback, there’s BW’s initial’s and Edmonton’s phone number backwards. In a fault in a beacon protocol there’s the initials and backward phone number from Tommy Tutone’s “Jenny”. In 2 other general distress calls there’s initials and numbers from Glenn Miller Orchestra’s “Pennsylvania 6-5000″ and initials and numbers from Geddy Lee and Rush’s “2112″ respectively

Mass Effect 3

“The end of an era marks the beginning of another”

ME3 “marked the end of Shep’s story”

Saying bye to Shep was as difficult for devs as it was for players

JHale’s final VO session included Anderson’s death and romanced Garrus’ goodbye. “We were in the session and we both just started crying”, Caroline says. “I couldn’t come on the line to give her notes because I was crying, and she was crying. And so there was just this minute-long pause of like, nothing, nothing, nothing - just silence through the airwaves. And then I came on and just told her that I was crying and she said ‘I’m crying!’” They talked about these anecdotes also here on the N7 Day reunion panel

The Microsoft Kinect voice support required devs to teach Kinect hundreds of commands in a variety of accents across multiple languages. The result was useful but made for some awkward moments. Numerous players accidentally said “geth” or “quarian” while making a particular decision and accidentally killed Tali

MP chars were voiced by cops and military people

The helmet on one of the MP chars was originally designed for cancelled project Revolver

The payload device at the end needed to attach to the Citadel while essentially serving as a giant trigger. “It ended up becoming quite the engineering feet just to visualize how this thing would move and connect to the Citadel”

Concept artists explored creating an anti-team, where Kai Leng was almost an anti-Shepard essentially, with an elite squad to counteract your team. This idea never went beyond concept phase

ME3 Special Edition was released on Nintendo Wii U exclusively. This exclusive version of the game includes Genesis 2 (a sequel to the original Genesis comic) and unique gameplay features that took advantage of the touchscreen GamePad. For years Sonic Chronicles: Dark Brotherhood had had the honor of being BW’s only game made for a Nintendo console

FemShep regrettably didn’t feature in major ME marketing til ME3. Later releases like DAI, MEA and Anthem have taken increasing care not to gender their protagonists in cover art

To capture combat sounds they took a trip to CFB Wainwright, a military base southeast of Edmonton. They got a big tour of it and were allowed to record anything they could find. The tour ended with them getting to drive and shoot tanks (real shells). The force of doing that sent waves through Joel Green, he felt his whole chest compress when it went off; the perfect sound for the Black Widow! After the trip the soldiers let him keep the shell he fired and it’s been passed on like a torch to various devs since

Kakliosaurs began life as a joke in the writers’ room after John Dombrow placed a Grunt figure on a t-rex toy he had on his desk. Lore was brainstormed to justify the mash-up before someone asked, “Why don’t we put this in the game?” They loved it so much Karin had custom coffee mugs made

Bug report: For a while Tali’s final romance scene would fire when she was supposed to be dead

“Balancing combat: how designers in ME3 entered an ‘arms race’” - the solution to players feeling OP vs players feeling frustrated by really strong enemies is to find a good middle ground, but for designers Corey Gaspur and Brenon Holmes, it was war. Brenon designed enemies, Corey designed guns. Corey “was obsessed with bigger, heavier guns. We had this sort of informal competition where he’d make this crazy overturned gun that would just murder all the enemies, and then I tuned some stuff up to compensate”

Brenon had to invent new ways to “stop Corey” and this led to the Phantoms. Corey had in turn designed consumable rockets that could wipe out entire waves of enemies. He must’ve figured this would make short work of Brenon’s space ninjas, but Brenon had other plans: “I had just added the ability for her to cut rockets [when Corey was playing MP and he was watching]. She cut the rocket in half... Corey just turns and looks at me and is like: ‘Really dude? I just shot a rocket at this Phantom and she’s fine? Not even damaged? Zero damage?’”

This friendly rivalry helped elevate ME3′s gameplay. Corey had a knack for making a gun feel so good to fire it had his fellow designers scrambling to keep up. It was his version of balancing. Before Corey sadly passed away he mentored Boldwin Li in all things weapon design and the arms race continued

Corey designed the Arc Pistol. It was causing problems for enemies because it was too powerful. It seemed hell bent on staying that way, Boldwin would tune down all its stats and it was still doing 3x the damage it should have been doing. “I was like ‘What the hell?’, and then I looked closer. It secretly fired 3 bullets for every pull of the trigger! Corey, you sneaky jerk”

The day it launched there were midnight launch parties across North America including one near the BW building. Numerous devs sat at long tables greeting fans and signing autographs as the fans picked up preorders. When midnight struck the line was long enough that it took several hours for some fans to get their game. One particular fan is remembered: “It was 3am. Some guy drove up from Calgary with his friends. He was like one of the last people in line. I think he was sort of tired-drunk. He threw himself across the tables, pulled up his shirt and shouted ‘Guys, sign my abs!’ And like I did, because he waited so long. It felt impolite not to. So I hope he enjoyed his copy of ME3″

For designing Protheans concept artists had free reign to design something that read as ancient

Before the concept art team had the story of the game to work toward, they explored wild ideas of their own including an image of the crew stealing back the Normandy to go after the Reapers

Jen Cheverie was testing scenes and was initially excited to be testing Mordin scenes, til she saw she was testing the Renegade version of his death. “This is even before like all of the audio and everything was in, so you didn’t even have the sad music. I remember sitting at my desk and my hands just went to my face when I saw that the gun Shep pulls on Mordin is the gun he gives Shep in ME2. I burst into tears and was crying for the rest of the day. People are waving to me as they walk by and I’m like, ‘It’s ok, I’m just killing my best friend’”

There’s a segment called “Shepard’s story ends”. Casey on the ending: “There’s a whole bunch of things that come together to make it incredibly tense and emotional for players. I think the biggest one was the sense of finality, that whatever it was that happened in that very last moment... was it.”

Wrapping up the story was a massive feat. In a way all of ME3 is an ending. Its final moments were the players’ last with a char they’d been with all the way from Eden Prime

“And while the critical reception of the game was extremely positive, many fans were unsatisfied with the ending, which became one of the most controversial in the history of games.” CH: “We were, on one hand, at the end of a marathon trying to finish the game and the series. But as devs we also knew that there would be more. We knew that we would continue to tell the story. In retrospect, we didn’t fully appreciate the tremendous sense of finality that it would have for people”. He envisioned an ending that posed new questions, something in the tradition of high sci-fi that left players dreaming about what that particular galaxy’s future could hold. “Frankly, there’s a lot more that we could have and should have done to honor the work players put in, to give them a stronger sense of reward and closure”

AAA games are massive undertakings with a million moving parts. Somehow they come together but even the best-planned projects don’t turn out quite like devs hope. From start to end video game production is a series of compromises. It’s rare if not impossible for devs to ship a game they’re entirely happy with. “I think that people imagine that when you finish a game, it’s exactly the way you wanted it to be. But whether people end up loving or hating the final result, we work hard to finish it the best we can, knowing that there’s a lot we would have wanted to do better. I think that’s true of any creative work”

As the dust settled after the initial reaction to the ending and later its epilogue, meant to show the wide-reaching ripple effects of Shep’s final choice, “players emerged mostly asking for one thing”. CH: “Now, most of what we hear, after both ME3 and MEA, is ‘Hey, just go make more Mass Effect’. And that to me is the most important thing. Knowing that players want to return to the ME universe is what inspires us to press on and imagine what comes next”

Mass Effect: Andromeda

By creating a new ME in a new galaxy the team was challenged to put their own visual stamp on the game while keeping it true to the franchise

Being the first ME game on a new gen of consoles meant for more detail

“Massive transport ships called arks populated with salarians, turians, humans, asari and quarians” made the risky jump to the Cluster

MEA was the first time BW had truly codeveloped across 3 studios: Edmonton, Montreal and Austin. The bulk of the work especially early on was done in Montreal, which was composed of a handful of Edmonton expats and heaps of experienced devs who joined from elsewhere specifically to bring a new ME experience to life. Series vets in Edmonton then came on to contribute writing, cinematics, design and QA, along with leadership from creative director Mac Walters and the core Production team. Austin writers and level designers also joined the fray

“It took a new team to take ME beyond the Milky Way”

Mac: “A lot of people in Montreal joined BW as fans of the franchise, so they just had this passion, and it felt like it was more like the days of Jade Empire, where a smaller younger team gets to do something for the first time. Even though it wasn’t necessarily a new IP for me, it felt fresh and new because of that. The team was just super excited to be working on it”

Early plans had the player exploring hundreds of worlds, procedurally generated, allowing for a nearly infinite variety of experiences. But as development wore on, it became clear that the game narrative required more specific, hand-touched level design on each world to keep the story focused and the experience engaging. “The plan was to give players numerous uncharted worlds to explore. Designers worked hard to come up with procedural elements that would make such planets special. Eventually the team made the difficult decision to abandon procedural planets in favor of more memorable hand-touched alien worlds, each with a specific story to tell”

One challenge was defining what ME meant without Shep. Care was given to include many of the MET’s key species. “Ryder recruited turian, asari, krogan and salarian followers”. Like Shep Ryder represents humanity’s hope for a peaceful coexistence among aliens who had long operated without human contact

Beginning with MEA the team decided that with few exceptions vehicles in ME have 6 wheels. Early Nomad concepts were bulkier. Later ones focused on its ability to move over its ability to protect itself from hostile fire, underlining the themes of exploration

German concept designer and auto-motive futurist Daniel Simon was contracted to create the Nomad and Tempest. The Tempest’s final design took inspo from the Concorde

Concepts for angaran fighter ships have the following notes: “Two doors swing open, wings rotate down to function as landing struts, the landing struts split open. It has a spinning turbine engine

Despite being set a galaxy away and some 600 years after Mordin’s death, there was a time when he had a cameo. It wasn’t cut due to running out of time however, it was cut due to drug references. John Dombrow explains: “One day I had to write a small quest for Kadara. I thought it’d be amusing if these 2 guys living way out on the fringes in a shack were growing plants for uh, medicinal purposes, and needed Ryder’s help with it. It occurred to me, wouldn’t it be amusing if Ryder had the option of actually trying ‘the medicine’ to see what would happen? And I thought, what if it turned into some hallucination that somehow involved SAM - like maybe SAM would sing? But why? How could I motivate that? Then it hit me. Who else in the ME game sings unexpectedly? MORDIN. As a nod to him I wrote SAM singing Modern Major-General. It got even better when our cine designer John Ebenger wanted to take it even further. Bless him, he came in on a Saturday to do a special hallucination showing Mordin himself. It was great. Til the fateful day we were told MEA had already been submitted to the ratings board. That’s when you declare things like drug references in your game. Mordin fell under that category which meant it was a no-go. We were too late”

Ryder’s white AI armor contrasts Shep’s iconic dark armor (intentional design)

Concept art for Ryder involved experiments with cloth (cloaks, ponchos, capes - “Pull here to release cloak”) and asymmetrical design elements

For alien design, there’s a few exceptions but humanoid figures are the ME standard and this persisted into MEA

Kett and angara concepts explored striking lines and textures

– From Bioware: Stories and Secrets from 25 Years of Game Development

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rococospade · 3 years

Text

Regarding my characterisation of Laurence, the First Vicar

Okay so anyone who’s had to talk with me for more than five minutes knows I have *a lot of feelings* on the First Vicar and while I’m going to try and keep this to stuff I can support via lore, that will almost certainly bleed over in here and I apologise in advance. I’ll try to stick to things I can support from canon.

Other notes: I will be referencing deleted content for this, and it is a long post because I have a lot of thoughts. So post under the cut, beware of spoilers, so on.

(As an aside, if you read my fics, dear god does this post have spoilers for those too, since a lot of my fic world building is me trying to piece lore together!)

@fishbowlcarnage thanks for getting me to write this. It’s incomplete and unfinished, and I’ll definitely want to add to it as I play through DS3 and the Fishing Hamlet in BB, but I hope it’s enjoyable as it is. Also thanks to Marie for gently pushing back on my assertions so I have to find a basis for them, and to every lovely person who’s chatted with me about lore and this strange and beloved game.

General notes:

Most of this is predicated on a handful of things:

Laurence was probably a Choir member. He stole the Choir from Byrgenwerth, and it’s noted that the church uniforms are based on Byrgenwerth’s. And if you look at it, what does it most closely resemble? Willem’s clothes. So either Willem had disciples’ outfits designed to look like less fancy versions of his, or else Laurence chose an outfit that visually conveyed “I’m taking your job” for himself and his own minions.

Laurence was not from Yharnum: it comes up in deleted lines that the person who founded the Healing Church was a foreigner. While that line was cut, we do still hear the huntsmen blaming foreigners for their plight, and while I will admit that nationalism and xenophobia are a big part of Bloodborne it would make an… interesting sort of sense if the Healing Church was actually headed by one. Also, Laurence and Willem have different accents to the rest of Yharnum, at least to my ear. I’m also a filthy American, so feedback on this point is very welcome.

Laurence was probably a combatant: this is probably my hardest argument to make because it relies on the most abstract points. Laurence is found with the Gentle Beast’s Embrace rune. That’s a combat rune. Even if he’s trying to heal the scourge, if we operate on the presumption that he did want to help people, and he found a rune that seemed to safely turn him into a stronger bestial form, don’t you think he’d take up arms if he hadn’t already? Aside from that, the clerics use a lot of blood. Now, @msoftserved has pointed out to me that that was probably a religious thing as much as a functional one, but I’m still fascinated at the idea that the clerics could somehow take enough blood to over a long enough period to become giant beasts without also being hunters (since hunters are noted for their extreme willpower, and being able to do things like force themselves to stay awake under the effects of blue elixir). I also suspect the clerics fought, since it’s noted that the Hunters of the Healing Church made the Hunter’s Workshop redundant, and the hunters we see from the Church are dressed like… clergy. I may add to this section later, as my brain is currently refusing to articulate my thoughts in any sort of useful manner.

Actually! Coming back to this, with something a little less tenuous: the Vicar’s Pendant has a blood gem inside for hunting beasts. Why would they have that if they weren’t actively hunting beasts themselves? It’s not on display, you have to break the amulet to get at it. So… if it were purely decorative, you’d expect it to be visible. And if it weren’t, one would expect them to have something support based. But no, it’s an attack up specific to beasts. Which to me implies two things: the amulet could be used for offensive casting/spells, and the owner of the amulet was expected (at least some of the time) to fight.

In addition to this, Gehrman also refers to the Clerics of the Healing Church as “the guardians” of Hunters, and cries out for Laurence to help him in his sleep. Even if Laurence was not a combatant, I found that to be a really interesting detail; it speaks to Gehrman’s belief in Laurence’s competence. Especially once you finish the game. He’s not crying out for a god to save him. He’s crying out for Laurence, and Willem.

About Laurence’s personality:

I think it’s fair to argue he was probably charismatic. He managed to repeatedly amass a following; first at Byrgenwerth, where he stole Willem’s best students from under his nose (including Micolash, someone who seems to fundamentally disagree with Laurence on how to ascend humanity? Which is pretty wild in and of itself) but also convinced several major characters to help him, including Gehrman (who seems to have had heroic intentions, though he’s of course Not Okay because this is a Soulsborne game) and freakin’ Ludwig (first Church Hunter! First man to organise the hunts instead of having everyone do whatever with 0 coordination! And canonically stated to be from a long line of knights, which implies Ludwig was probably a noble or at least a member of the gentry, but signed on to work with this foreigner.

Laurence was likely either ostentatious, or found the appearance of being so valuable: dude has a weird skull elevator and I’ve never been able to forget it. I thought it was weird when I found it but wrote it off as typical Bloodborne… until I read “fool me”, which pointed out that the elevator was probably, in fact, something Laurence either designed or commissioned. It was definitely way more expensive than just installing a ladder or stairs… But organisations thrive on symbols. And the Healing Church is rife with symbolic imagery, from the architecture to the decorations to the uniforms. There’s really no functional reason to have the members dress like they do, which means it was likely a case of needing to present a certain image or be immediately recognisable to the public. (On a loosely related note, the Church Giants wearing items from the Black Church Set is… kind of cute in a weird way. Who made the clothes? Who dressed them up? These questions haunt me.)

Laurence may have been capable of miracles or pyromancy: this one is a big stretch, but I’m going to bring it up anyway. Laurence’s attacks in his Cleric Beast form (specifically the ones that leave lava in their wake) resemble a pyromancy from the Dark Souls series. We also see patients from the Research Hall that cast miracles in the Hunter’s Nightmare. Seems like a jump to attribute miracles to Laurence from there, right? Well… the Vicar’s Pendant that Amelia uses to heal herself is noted to have been passed down amongst the Vicars of the Healing Church. Presuming she’s using the ‘heal’ miracle, then the pendant is apparently her talisman. She had to have learned the technique somewhere, and talismans in the Souls series aren’t unique to one caster — anyone with sufficient faith can utilise a talisman to cast miracles. So it stands to reason that if Laurence had the necessary faith, he could have wielded the amulet in the same way.

Misc notes:

Willem was doing some horrifying stuff at Byrgenwerth. I’m kind of surprised more people don’t seem to address that? Byrgenwerth is the only area with the garden of eyes enemy in the main game. Those things are wearing patient gowns. “What we need… is more eyes” seems rather chilling in the light of that particular enemy, and its official name.

In addition to that, at least two of his prized students turned out to be… you know… insanely charismatic cult leaders. I’m talking about Micolash and Laurence, of course. What are the chances he collected two dangerous twinks that would betray him entirely on accident? Oh, but two’s a coincidence, right? Except… Gehrman. You know, the First Hunter. He was apparently rather attached to Willem too, since he calls him ‘Master’… so that’s… three students of Willem’s that decided, actually, let’s do this extremely morally dubious thing in pursuit of knowledge/power/good of mankind? Oh! And Gehrman amassed a following too, actually. The original Hunter’s Workshop. That’s… That’s definitely a pattern by now.

The Gentle Beast’s Embrace rune grants reduced fall damage. I ran with the idea from there that cleric beasts (probably beasts in general) have an instinct common to both canines and felines — get the high ground. Now. This is also supported (as much as anything is supported) by where you find Cleric Beasts — the first one is sitting atop a roof over the great bridge, essentially the highest suitable platform in central Yharnum, while Laurence the first Vicar is sprawled dramatically in the arms of a statue over his altar in the Hunter’s Nightmare. So I tend to depict him perching in high places when left on his own, especially once he’s begun falling to beasthood.

#bloodborne lore #bloodborne lore discussion #laurence the first vicar #long post #note to self #character discussion #character headcanons

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heniareth · 2 years

Note

🌳🌺oc ask game for ilanlas!

Question 🌺 has been answered for Ilanlas here in this other post

Off to question 🌳!

🌳 What is your OC’s favourite way to relax after a stressful day? Do they have a favourite book to curl up with? A hobby? Or do they have a nice bubble bath and have an early night to bed?

He likes to just sit still and observing things as they happen around him. It's not exactly meditation, but it is very grounding. He might watch birds build a nest, waves lap against the shores of a lake, the wind flitter through the leaves, whatever is happening where he's currently sitting

What he sees depends very much on where he is at the moment. Ferelden is big, and clan Sabrae might even leave it from time to time? He especially likes the Brecilian Forest because it feels like something that is theirs and there's always something happening there, and the Frostback Mountains, because tall

The important thing here is not only the watching, however. The listening is just as important. Sometimes, when he's very tired, that's all he does: sit very still with his eyes closed and just let the world go on around him

Praying is a big thing for him as well. He uses short, one-sentence exhortations whenever he feels the need to, such as when he's letting loose an arrow, is caught in the middle of battle, preparing a meal or skinning a prey, having to navigate the countryside, when he's exasperated, homesick, etc. These phrases remind him that the Creators, even if they're trapped in the Fade, still exist at the very least (small disclaimer here bc I don't actually know a lot of lore about the Creators or the Dalish)

That said, he does feel special attachment to Elgar'nan, since he chose the vallaslin that designate him (and Ashalle has them as well). As the god of vengeance, Elgar'nan takes on an even greater importance for him after Tamlen's death; Ilanlas basically takes up an oath if vengeance against the darkspawn after this. Becoming a Grey Warden is, after that decision, a very good path forwards. But I'm digressing

One thing he definitely does to find down and finish the day is go over the day's events with the Vir Tanadhal and the person of Elgar'nan in mind. The Vir Tanadhal is his guide and vengeance his quest. Assessing where he is with regards to both puts him at ease; the Vir Tanadhal for one is central to his identity as a Dalish hunter. As for considering his quest, he likes feeling like he's making progress on something, or, if that's not the case, if he feels like he's taking steps back instead, having a plan gives him a sense of purpose and direction. It makes him feel more solid, if that makes sense

While he does like to keep to himself to relax, he also joins his companions when they are sitting around the campfire. Community is important to him, even when most of the people available are a bunch of shems (although they're nice enough, he concedes).

He's more of a listener than a talker most of the time, except when the conversation evolves into a debate. He enjoys verbal sparring as much as the physical equivalent, if the opponents are worth their salt. Talking about hypotheticals, "should"s and "could"s takes his mind off things going on in real life

(When Surana joins the group, there are So Many conversations about magic, the Creators, and their differing worldviews. Ilanlas isn't interested in educating, but Surana has studied a lot of Circle-sanctioned readings about the Dalish and some things are just plain wrong. Ilanlas can't stand that and sets out to correct them with the same zeal he uses to fight darkspawn. It's possible that Surana riles him up on purpose)

Finally, although he really doesn't like sharing it, Ilanlas likes to do woodworking. It keeps his hands occupied and provides a creative counterbalance to the hunting and the killing. He mostly gathers bits of wood with interesting shapes and follows it, bringing the sculpture hiding within the piece to life. Sometimes it's animals, people or little objects. Other times the shapes ask for a more abstract interpretation. Some few pieces of wood don't even get to feel his knife, because he feels like there's nothing more he could add to them

Sometimes he also paints them. He roughly knows which minerals and plants give which pigments, and he grinds them up and mixes them himself. He definitely knows how to make varnish and uses it to protect his carvings from the elements

His creations usually end up guarding the campsite after they've left. There's no point in weighing himself down, and Ilanlas likes the idea that maybe another Dalish elf might pass through the area and find this unexpected trace of their people. He only keeps or gifts very very few select pieces, often created with the express purpose to keep or give away

And this is what Ilanlas does after a long day of hunting darkspawn and listening to Morrigan and Alistair's bickering. Thank you very much for this question!! I had a lot of fun answering it XD XD

These questions come from this ask game

#ilanlas mahariel #warden mahariel #dao #dragon age #my ocs #ask game #for fun #long post

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biletdoux · 3 years

Text

waiting: physical therapy | d.sc

Rating: G (in this part)

Genre + Tropes: non-idol!au, romance (angst, slice of life)

Warnings: mentions of a car accident

Length: 1.2k+

Summary: Sicheng is a creature of habit.

Note: it’s a little late, but i’m back!! i swear i’m working on my other works as well, i’ve just been a little caught up with school and work ;; this one is for @odentist and @adamfoolcry bc ilysm!! i know i’ve been absent, but you guys are in my thoughts always. thank you for putting up with me!!! it means a lot and i’ll work on being better at keeping in contact<3 also, i know not many people read my works, but i’m always super grateful toward the people who do <333

Masterlist // [Previous | Next]

part iv: physical therapy

Sicheng has physical therapy every Monday, Wednesday, and Friday morning from 09:00 to 11:00. He arrives at each session exactly 15 minutes early every time and although the receptionist who registers him varies depending on the day, Minho is always there to greet him with a bright smile. Sicheng would then set his stuff aside in a designated locker for the day and he’d start off the morning with some light stretches before the actual session started. This has been his routine for the past few months now.

Today is no different.

“Sicheng,” Minho grins with a tap of his electronic watch. “Eight forty-five on the dot as usual.”

Sicheng shoots a small smile with an acknowledging nod of the head in reply as he rolls his wrists and starts loosening his ankles. His joints ache and creak in ways that bother him more than it should and his stiff muscles hiss in protest. Sicheng understands he should be grateful that he could at least walk and stretch on his own, but he can’t help but become bitter when he remembers his old lithe self. Minho is oblivious to Sicheng’s inner machinations as he mirrors him and does his own set of stretches.

Sicheng is a dancer. Was. Is. Sicheng will be a dancer again. One day. Yes, one day. Definitely. Hopefully.

While at heart, Sicheng will always be a dancer, his body is broken and won’t move in ways that it once did. Minho helps build him back up two hours at a time, three days a week, but Sicheng knows his body will never go back to the way it used to be prior to the accident.

Sicheng remembers waking up with a hazy mind and heavy limbs. The bleak whiteness of his room and bed sheets blinded him as he struggled to register his surroundings. The plastic nasal cannula delivered heated high flow oxygen through his body and the wires attached to his body alerted the nearby nurses of his rousing. They came in and took a set of vitals before talking to him sweetly, as to not alarm him too much, but his head ached and Sicheng still can’t recall much of what happened the first few days he came to.

The doctors said a lot of things, but Sicheng extracted that he was lucky.

Among other things, the impact left him with two broken ribs and a punctured lung. They told him he was transported to a nearby hospital just in time before his left lung completely collapsed, but his spleen had ruptured, requiring emergency surgery to prevent further internal bleeding. There was moderate trauma to his head, resulting in cerebral contusions and swelling, but they determined his central nervous system came out unscathed. Sicheng’s mind and recollection was still foggy and tattered, but they assured him that it would return. Perhaps in pieces, but one by one it should come back.

Sicheng was bedridden for over a month and required an additional month of intensive in-patient hospital rehabilitation from his injuries and deconditioning before he was even cleared for discharge and out-patient rehabilitation. The doctors were surprised by his progress and had a positive outlook on his prospect, but Sicheng knows.

Things will never be the same.

Sicheng enrolled in the best out-patient rehabilitation his insurance provided for him and that was how he met Minho, a ray of sunshine and the epitome of positivity. Minho’s relentless encouragement lapped at Sicheng’s bitterness and eventually wore him down. Now Sicheng finds himself looking forward to their sessions together, despite having to face he’s no longer who he was.

“Are you ready?” Minho asks. “We’re going to work on strengthening today.”

During his first session with Minho, Sicheng still wobbled on his feet. The hospital sent him home with a walker and pair of crutches, but Sicheng found it insulting when pirouettes and grand jetés used to come as second nature. Minho introduced himself with a fervor that had Sicheng wincing. He didn’t want to be here, especially when it meant entrusting his recovery with some happy-go-lucky sap.

Sicheng gave Minho the cold shoulder the entire session and completely ignored any suggestions or advice. This went on for a few more times until Sicheng almost collapsed one day from pushing himself too hard despite Minho’s warnings. His legs were cramping and his lungs felt like they were going to burst. Sicheng nearly toppled over had it not been for Minho there ready to steady him at a moment's notice. Minho said nothing as Sicheng heaved in long and heavy breaths as his skin glistened with a light sheen of sweat.

Minho was quiet and didn’t say much. Sicheng appreciated him for not rubbing too much salt in his wounds.

During the last twenty minutes of that session where Minho was helping Sicheng with stretches, he broke their strained silence.

“Sicheng, you have to be kind to yourself and allow yourself time and patience. I know it’s tough, but things will come back. The mind may forget, but the body always remembers.”

Sicheng didn’t say anything back, but he couldn’t find it in himself to scoff back like he would at any other tacky saying and ever since then, he grew to have a quiet respect and even tentative friendship with his physical therapist.

Sicheng looks forward to Friday sessions the most. Usually they do strengthening most of the time and today is no different. It’s harder on his body than other sessions, but he enjoys the steady ache of his muscles afterward. He views it as a sign of progress and Sicheng takes in greedy gulps.

Sicheng finishes today’s sessions on autopilot, barely noticing the minutes that flew by until it was time to stretch. Minho helps push and hold positions when Sicheng can’t and he’s grateful.

“Hey what’s up with you today?”

“Hm?” Sicheng is flat on his back and Minho is supporting his right knee to Sicheng’s chest. “What are you talking about?”

“Dunno,” Minho hums thoughtfully as he switches to stretch Sicheng’s left leg. “You just seem tired.”

“Oh. I’ve been having trouble sleeping I guess.”

“Will talking about it help?”

Sicheng ponders his offer for a minute before a soft grunt escapes his lips. His left leg is always stiffer than his right and Minho is pushing it today. “No, I don’t think so, but I’ll be fine. Thanks.”

“Okay, I’ll take your word for it. Try to get good rest though, it’s crucial for recovery.”

Minho understands Sicheng enough to know exactly when and where to push, physically and personally. A comfortable quiet settles between them until the session is over.

Sicheng cools down in the locker room before heading out and waving goodbye to Minho and the receptionist of the day.

By 11:20, the sun is out and the streets are busy. Sicheng has to block out rays of light from his eyes as he looks up to see the buildings to decide what the next move for the day will be. Maybe some lunch?

He ponders quietly to himself before noticing a tap on his shoulder and turns to see a girl.

“Sicheng, is that you?”

Note: oooof, this one isn’t as whimsical and fluffy as the other cause it has lots of exposition, but finally mores stuff is revealed about sicheng!!

#nctcreations #cznnet #neowritingsnet #NCTmentary.net #winwin scenario #winwin fanfic #winwin angst #nct scenario #nct fanfic #nct angst #wayv scenario #wayv fanfic #wayv angst

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midnightactual · 3 years

Text

Yoruichi, Kūkaku, Kisuke and the Soul Society Arc

The relationship between Yoruichi, Kūkaku, and Kisuke isn’t explored much at all in canon, despite the fact we’re expected to take away that they’re friends (if not best friends). However, I think this relationship explains a lot of what happens within the early Soul Society arc. We know from chapter 175 that:

Aizen states he knew the Ryoka would be coming from West Rukongai. Why? Well, the only reasonable answer is Kūkaku. While it seems extremely evident that Yoruichi can enter Soul Society undetected in her cat form, using the Senkaimon, and has done so to remodel the Study Chamber’s annex, her going back and forth constantly is likely undesirable, and also probably didn’t happen, as chapter 78 indicates:

Kūkaku’s repeated emphasis of it having been a long time since she and Yoruichi have met suggests they haven’t done so since she went into exile. This is corroborated by the implication that Yoruichi does not know Ganju:

Her reaction to him introducing himself is the same as everyone else’s. You might say this is just a comedy moment, but think about it. How many people are there in Rukongai named Ganju? How many of them know some kind of strange earth magic? Yoruichi did not attach any importance to Ganju’s appearance in chapter 76 and 77, regarding him as a waste of time... when she’d literally just determined to find Kūkaku. If she knew Ganju was a Shiba and they already wanted to find Kūkaku, the sensible thing would’ve been to demand Ganju take them to her, not wander around using a map the next day. We also know from chapter 83 that:

Ganju was just a child when Kaien died, which happened sometime after 1952. (We know Hisana died “50 years ago” in 1951, Byakuya found Rukia the next year and brought her into the Gotei 13, and Rukia presumably spent at least a few years with Kaien.) This makes it likely (though by no means guaranteed, given the example of Nanao, but Ganju describes himself as “just a child” which Nanao likely wouldn’t have) that he was born after Yoruichi’s departure in 1901. They are likely to have never met before. (This also implies that Kaien, Kūkaku, and Ganju’s parents were alive until very recently, or may still be!)

So we can say 1. Yoruichi has been back to Soul Society and set up the the Study Chamber as a supply depot, and 2. she has likely not interacted with Kūkaku since leaving initially. Why the second? Well, pretty obviously, because meeting with Kūkaku would put her at risk and make things rather obvious. So, what does this have to do with Aizen? Well, that touches on another mystery: how does Kisuke get products from Soul Society?

We know from chapter 70 that Kisuke cannot go through his own Senkaimon. It follows that the same is true of Tessai. We know Yoruichi can as a cat, but likely can’t in her proper form. (Since she also comes back from Soul Society as a cat too, which is her last canonical use of the form.) We also know Kisuke’s Senkaimon can only stay open for four minutes:

We also know that transit through the Senkaimon is perilous. So, does it make much sense that Yoruichi run through the Dangai as a cat, hauling potentially heavy cargo which might get snared in the restrictive current and lost? Nope, especially when it’s likely that Yoruichi is not often at the Shōten (as Ururu and Jinta don’t know her and they’ve likely grown like normal humans). So what is the solution then?

Kisuke opens his Senkaimon above Kūkaku’s Flower Crane Cannon and she fires cargo shells through it containing his required items. Aizen noticed this and deduced how they were operating.

Kisuke’s Senkaimon opens in the air for some reason, almost as though to accommodate the height of the cannon:

Kūkaku launches crew with Method Two and the jolt isn’t so bad. (What’s Method One for then?)

The projectiles can also make sharp turns and accelerate after launch with no visible propulsion:

So, this presents a very obvious method of safely and securely getting cargo through the Dangai without risk to anyone. It is, however, conspicuous, and it also requires a method of communication.

Kūkaku moves around a lot, but appears to stick to West Rukongai. There may be some association between the Shiba and West Rukongai (as CFYOW tells us the Shiba lived in Rukongai even when they were a Great Noble Clan) which results in Kūkaku having an association with Jidanbō, which lets her easily enter the Seireitei even when she shouldn’t be able to (per CFYOW), or maybe she stays in West Rukongai for easy access to the Seireitei through him. Maybe both.

(We never hear what Yoruichi’s original plan for infiltrating the Seireitei was, but it appears to not have involved Kūkaku. My personal bet is that the canals under the Seireitei that 4th Division use empty out somewhere, as the water has to go someplace, and Hanatarō is wrong that only 4th Division knows them: it would make perfect sense that the Onmitsukidō know them too. But that’s a different piece of meta.)

It’s also very evident that Ichigo’s use of the Spirit Core in chapter 81 is what tips off Aizen that they’re coming. His use of it is extremely obvious, with Kūkaku noticing his reiatsu from the surface:

This flare is probably similar in output to the one he emits in chapter 116, which Jūshirō says could “only belong to a Captain”, making it likely readily obvious to Aizen’s surveillance (and Kūkaku also seems very surprised at the magnitude of it). Right after Ichigo stops using the Spirit Core, an intruder alert interrupts the meeting Yamamoto is holding to discuss Gin’s punishment, and all the Shinigami are kept up all night patrolling even though the Ryoka will not actually arrive until the next morning. This was very clearly orchestrated by Aizen, from within Central 46, in order to tire out and agitate the Gotei 13 so the Ryoka would be more successful at evading capture.

(This also means that the Aizen who attended the meeting, who Tōshirō saw exchange words with Gin, was not actually Aizen. That Aizen notably sweatdrops beforehand and behaves rather weirdly during the meeting and alert. It’s Substitute-san, nervous that the show’s started, delivering rehearsed lines with Gin. Probably a different guy than the one in TBTP since this once is much better at acting. Whatever happened to him anyway?)

In other words, Aizen observed that Kisuke’s Senkaimon only operated in West Rukongai (although his assertion that it only can operate there seems to be conjecture) and posted surveillance which detected Ichigo’s reiatsu emission, thus cluing him into the Ryoka preparing to move, just as he said.

That this pattern had long ago been made was probably predictable from Kisuke’s end, and he likely deliberately played into it to encourage Aizen’s arrogance, leaving Yoruichi to improvise on the ground.

As for how Yoruichi or Kisuke could communicate with Kūkaku during this time so as to place orders for equipment without visiting her, that’s a little more complicated. It’s obviously impossible to establish a hardline connection, and any kind of emitted signaling could be intercepted. Kisuke can’t run messages through his Senkaimon without sending someone on a perilous journey or building his own launching device. But there is an easy, expedient, covert, and disposable system: couriers.

There are plenty of souls left wandering around by Shinigami on Earth: you simply give them an encoded message and tell them to find Kūkaku once they arrive in Rukongai. While where they’re sent is random, if you do this a fair number of times, one of them should be able to make it to her. (Their reward is that given she always seems to live near the Seireitei, they wind up in a pretty safe district.) As for how Kūkaku would decode such a message, a cipher could’ve been left by Yoruichi as a dead drop during one of her rare visits.

If you wanted a darker but more “express” option, you would find someone fairly tough and violent (say, Yakuza enforcers), use a memory replacer to give them a memory of the message (it seems likely that Kisuke has iterated on the standard Gotei 13 Kikanshinki, given Yoruichi mentions a Kikanshinki Deluxe in CFYOW), and then kill them and give them soul burial. Such individuals would be far more likely to survive making it to Kūkaku regardless of where they were sent. (Depending on what they were guilty of, you could encode that into the message too and let her deal with them as she might.)

Anyway, I think it’s very obvious that Kūkaku is Yoruichi and Kisuke’s main point of contact in Soul Society. Jūshirō may also be involved, given his interest in Earth (vis-à-vis Ginjō and the Fullbringers) and how unlikely it is that nobody in the 13th Division ever noticed Kisuke, an infamous criminal (both Isshin and Ikkaku immediately recognized his name), was operating openly in Karakura. Indeed, Jūshirō may be directly involved. When the Ryoka are coming down over the Seireitei, we see that it has a radial design:

The four gates create four quadrants, each of which is divided into three. This makes for twelve slices. We know 1st Division occupies the center, so the most obvious orientation for the divisions’ physical territory is that each is simply a slice. If that’s the case, it is entirely possible that 13th Division is one of the two slices along the road coming from the West Gate, which would make it very easy for Kūkaku or her retainers to reach the Study Chamber at Sōkyoku Hill, gather supplies, and leave, or to augment them directly from 13th Division’s stocks.

#Out Of Character #Long Post #Meta #Headcanons

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cosplayinamerica · 3 years

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Spiderman from Marvel 1602 // Cosplayer: kammospark

Tell us about Spiderman1602, I’ve seen many versions of Spiderman but thiis is a new one to me! What led you to this concept of this version of Spiderman?

Well I've always had an appreciation for lesser know outfits of popular heroes. Looking through many wardrobes and outfits, the obscure ones always stood out to me, "Wow, I've never seen this one before!" I'd think to myself, and I figured others who know the characters well would love to see them brought to life too, or even people curious about the stories of them would enjoy seeing it. I feel everyone has a love for Spider-Man; he's such an iconic superhero and has so many suits, and even though they can be quite diverse, they still feel recognizable as one of the Web-slinger's costumes.

While I was looking at different Spiderverse characters for inspiration on a new Spider-Man cosplay, I saw Marvel 1602 and it immediately caught my attention; I thought it was such a fun looking design. Definitely away from a modern or futuristic look, it's charm won me over, and I had to put it together. And as a fan of the fantasy genre in general, thanks to many years as a GM from D&D as well as other media, I also enjoy Ren-faires and wanted something to wear to show my love for Superheroes and Renaissance.

When you wore it out to conventions, what was the response? Obviously they knew you were Spiderman because of the mask but were they confused about the rest of your outfit? What were some of their guesses?

Oh people certainly get a kick out of seeing the outfit. Some people have called Me 'Lord Spider-Man', 'Ren-Spidey', 'William Spider-Speare', a lot of creative names for it that never fail to make me smile as much as it does for them. Whenever I wear a Spider-Man cosplay, I always want to try and take pics with as many Spider-Men as I can find, and most of the time it's the other Spiderman cosplayers that recognize who the character really is. I love having people laugh and get excited over the character, it's part of that Con Magic where people just can't help but feel like a kid when they see something that fills them with joy; its my favorite part of this fun hobby, just making someone's day memorable, even for a moment.

Besides conventions , I see you wore the costume to a Renaissance Fair. What was responses there? Was it different from conventions?

Ren-faires in general are a great time! And when I started this costume, I was excited just thinking of the reactions from people and how happy they may be. I've taken 1602 to quite a few Ren-faires: Central Coast Ren Faire, NorCal Ren Faire, and Kingsburg Renaissance of Kings.

The first place I ever debuted it was as CCRF, and I was stopped by about 20 people before I could make it past the first 3 booths. It really does feel like a different environment going to faires. D

uring them, I'd be a bit more 'theatrical' and introduce myself as Peter Parquagh, and try my best to make people smile or laugh. I've gotten the opportunity to meet many wonderful people and people with stunning and gorgeous Renaissance outfits. Kids come walk by amazed that they actually got to see a Spider-Man at a Ren Faire.

One instance, a bard played the spider-man theme song on a lute as he traveled around me. At two different faires my presence was requested by the Queen, and I was escorted to her, one even knighted me! Everyone just has a blast role playing and getting caught up in the fun, the energy is so infectious and delightful!

Take us through how the outfit was put together?

Well, I cannot take full credit on the cosplay. My mother was actually a large part of it. Growing up, my mom was always really involved and loved making costumes for Halloween for me and my sister. And one of her favorite aesthetics is period piece era fashion and she loves Jane Austen.

As I was looking for ideas for a new cosplay and showing her, she was drawn towards 1602 and offered to do as much as she could to help create it, and she loved helping putting it together. The suit is a handmade outfit following a 14th century cavalier pattern. The design called for detachable sleeves and very baggy slops, but we decided to have the sleeves attached and slim down the slops slightly, to give it a mix of authentic and Spider-man's sleekness.

We went looking online and found this wonderful blue velvet fabric with Fleur De Lis imprinted onto it and thought it'd really help the outfit pop! We had to make sure we kept the fabric in the same direction: it has a difference in shimmer if facing a certain way, and we wanted the Fleurs facing the same way as well, so we tried to be mindful of that. We pleated the red fabric in the front and it was quite stubborn, but we tried our best to make it look similar on both sides of the torso. The back has a spider and has legs that lead unto the front; we cut out red fabric and hand-stitch embroidered on, and was quite meticulous.

Me and my mom kept an eye out online for just the right buttons we wanted for the costume. Something antique and era appropriate but also thematic, and after a while, we stumbled across a web-designed antique gold button set. We also looked for a thick ruff rather than the costumes original thin look. The original costume look also called for the mask to have open eye holes, but I opted out of that, and felt that a traditional mask look better complemented the costume. After that I acquired socks and shoes and then it was finished!

How did you discover cosplay?

As mentioned earlier, my mom loved making mine and my sister's costumes growing up. She's a seamstress as a hobby, and is so creative and artsy. Halloween was probably my favorite holiday growing up, and I was so happy I got to wear something made with much love from my family. Some of my favorite notable costumes growing up was a knight, an astronaut, and Pikachu.

As I got older, around high school, I still liked the idea of costumes, even bought a cheap Captain America outfit for The Avengers premiere night, but I mostly dropped off on dressing up. I grew up in a very small town, but eventually, after I moved out to the city, I heard about 'conventions' and I was interested and wanted to try and wear something to one. I decided to make a classic Punisher costume, and wore it for the con. It was a small venue, but even then it finally hit me, 'This is a thing people do. People love to dress up, go make friends, bring smiles and show their love for their Fandoms and interests. THIS is what Cosplay IS'. I finally understood what this little hobby of mine was, and I embraced it.

Have you discovered something about yourself through cosplay?

I've always thought of myself as a people pleaser. I'm someone who really only want others to be happy. I'm also someone who loves to share their interests and engage with others about things that we can share and discuss and geek out over.

When I was young, I often felt left out from social circles, due to my often eccentric personality. I found it really hard to make friends, and I am forever grateful for the friends that I have made and been with me for years.

Cosplay has opened up another avenue as far as friends and socializing. My first couple of cons I was initially intimidated, but I have to say that I'm so glad I got into this hobby, for I've met many people with interesting stories and wonderful personalities, and people I still talk to often. It's really helped me feel like I can make good friends and memories, and I'm sure that others have felt similarly and that's something I treasure.

What are your future cosplay goals?

As with most cosplayers I'm sure, I have way too many projects in my head with very little work on a lot of them. I suppose my current goal is to rework the headpiece of a cosplay I finished last year, my Bioshock Big Daddy Doll. The head was massive and too cumbersome so it needs to be redone.

As far as new projects, I would very much like to do a Prince Link cosplay, inspired by the creation of theLostSindar. Another idea would be to do more superhero variants and make a Blue Lantern Flash that 8ve been eyeing for a couple of years.

One thing I definitely want to get good at is working with foam. I am massively inexperienced with foamsmithing, and I strive to learn how to be good at it and learn how to make wonderful things with it. It's just like when I first went to cons; starting off can be a bit scary or even overwhelming before we really get it going, but that exposure to things we really desire is all we need to get hooked and make it our passion.

https://www.instagram.com/kammospark/

#Marvel 1602 #marvel 1602 cosplay #spiderman 1602 #spiderman 1602 cosplay #spiderman #spiderman cosplay #cosplay #cosplay interview

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phoenixfire-thewizardgoddess · 3 years

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So, I always wanted to know a bit more about Wands in the harry potter universe. Given that they are so central to life, it would be nice to have a bit more info.

The wood - we know there's like 4/5 different types of wood they choose, and they're all things they can get in region. Does that imply then that aussie wizards could have wattle, eucalyptus, or other local trees?

What about trees native to the region, JK? TELL ME

How do they choose the tree. Do they have to come from a specific place, or do wandmakers need to wander through magically inclined forests until a branch falls off into their hands, or what?

Is there like commercial plantations of these trees, to feed the constant need for all the children constantly coming into their power?

What does that look like? What are the hazards? Can the place get infested by bad magic or what? Pesticides or no?

So they find the tree, next step? Is it just like 'yes, dibs that branch' and that's it, or do they take the whole tree? What are their conservation policies?

Or do they need to do a spell, or use a ritual or something before/during/after harvesting?

Crafting... how do they know what length and shape to make for each piece of wood? Like, is it like when artists make statues and they can already see what is inside the marble/wood, etc.? Or do they just make as many randomly shaped wands as they can for each one... is there a magial equivalent of a lathe? Or is this all by hand?

How do they choose designs, assuming the wand isn't calling out to them? Like, some are delicately patterned, and the elder wand was straight up a**l beads???

Are there variations based on the shop, the wandmaker and the region?

The core - apart from the main question of how they get the core in there (drill a hole and slip it in? make it into a potion and soak the wand? lay it on the crafted wand and it disappears in a show of magic?), and if this is done before or after the wand is shaped... You have to think it's a little fucked up the way they go about it, right?

Standards are like, Unicorn hair, Phoenix Feathers (Rare) and Dragon Heartstring, right?

Well how the fuck do they get these things without unethical commerical farming? Unicorn hair is easy enough, you have a herd of them on a ranch protected from bad guys or whatever (and centaurs are lobbying against it bc what the fuck magical people) and most of the strands can be picked up from where they catch / fall out by fences, in the paddock, in the barn at night, etc

But what if they just pluck them. I mean, there are places that live-pluck birds for the feathers, which is fucked up, and we know magical people see any magical creature or half-human as lesser...

Assuming things are totally ethical, best case is that the unicorns lose a bit of mane or tail hair every so often and it is sourced from the field. Worst case, they are trapped in stalls all day every day and shaved beyond acceptable (look up horse tails, it's not all hair) to the detriment of the animals...

Ideally, but more impracticably, the wandmakers could wander through the forest and meet at a certain place with wild herds. They bring the carrots, the unicorns hand over a few strands once a year...

\I know unicorn cores are meant to be harder to turn to the dark arts but like... what if the unicorns are upset, stressed and angry? You'd think that would turn on them, right?

Phoenix Feathers... well they're rare. I think they probs have to get it willingly, or it doesn't work. Wasn't that in the books somewhere? But it wouldn't have to be. I mean, they're an immortal resource... even if you mistreat a phoenix, it cant escape in death.

You just have to wait a bit for it to regrow, and there's probs spells to help speed that up. I mean, look how the world treats chickens (caged), would it be that hard for magical society (with fewer animal oversight committiees and laws) to pull some nonsense...

The dragon cores are the ones that always used to stress me out, as a concept, as a child. Like, there's a LOT of dragon heartstring wands, its common... that implies a lot of dead dragons.

How many hearstrings does the average dragon have, in this universe? Assuming at least four... that's only four wands, maybe eight if they cut them in half and it still works.

So, are they commercially farmed? Is Charlie Weasley complicit in dragon farming with the goal of harvesting the animals for parts? What happened to the dragons from the Triwizard Tournament? Is there a first year with a Special Dragon Heartstring wand?

Also, would they need to prep them specially?

What variations are there, as well? Like these are the main 3, but other countries and places have to have others, or have tried other magical things?

Do you think there are houself ears, or Centaur tendons, or mermaid fins, or kraken tentacles, or niffler claws, or goblin teeth, or redcap blood, in their wands? And it only phased out of common production recently as new protections came in for magical races?

Is there a blackmarket trade for illegal cores and if you have enough it can be 'verified' as a legal core...? There are implications here.

So you have the core, you have the wood, you have the wandmaker who slapped it together and imbued it with magic... you have a wand. Does it do a little sparkle or something when it works?

Are there wands that get to the end of the process and just... fail to work? How do they dispose of them?

Do they put resin or a protective potion/agent on it? They have to last for years, right?

Longevity - So you have a wand your entire life, unless it breaks or it is taken for being a Bad Naughty Little WizardTM... for one, how does the wand choose the person? Even if we slap a 'magic' bandaid on it, there are still more questions about it.

Do you lose your wand if you become impaired? Like, would a magical doctor remove your wand if you got dementia and 'lost capacity'? But then, how would it control your innate magic? The stuff you can do wandless? Off topic.

So you pass away, is your wand typically buried with you? Is it given to a family member? If so, then how does that work because the info the author gave was it was one wand = one person, pick each other etc. Assuming it does bond to that other family member, who is probably young enough to not have their own wand yet... does that mean their perfect wand will never be bought?

If not, what normally occurs? Does the wand get taken by the council Dept of Births, Deaths, Marriages and Magical Incineration to be checked over and reset to 0? Does it get returned to the Wandsmith shoppe who made it, so they can check it is fine to be reused? Does your wand choose another person, who will never know how well it once fit into your hand? The atrocities you committed with it?

How does this system work? Is there magic recycling, or is it all waste...?

Are cores from animals who did not consent at greater risk of turning the bearer evil?

What if your wand breaks... like Ron's did? Like... he had an older relative's wand, so he got a proper wand that matched him. But what if your Perfect Match of a wand is damaged? Why is there no option to have the wand repaired properly...

If humans today would rather die than get a replacement roomba, you have to assume people would be pretty damn attached to their wands... maybe more than usual. Is it about profit? Or can they just not fix it? What are the limitations on fixing a wand, or is it just not considered at all?

Is there... wand insurance?

Like, it feels like there was a lot to talk about...

#things i have wondered during hours coughing and drivin #g #harry potter #the author is dead #so i turn to the fandom and people who probs thought of this first #lets make some LORE

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redantsunderneath · 4 years

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DC COMICS: Incoherence as Not-a-Bug-but-a-Feature (Spoilers for Batman 89-100)

Due to the emergence of the new Batman villain character Punchline, I wound up buying the last 12 issues of Batman and reading them in a single sitting. I’ve had trouble following DC comics for a while, constantly feeling that they were in trouble since back in the mid 2000s (with a glimmer of hope here and there). The act of reading DC comics has been a frustrating experience, where individual good stories and runs were laying around in the context of a lot of things that didn’t make sense while the company’s thrust felt chaotic and ideas not well blended. Every status quo change seemed hard to figure out the rules of enough to parse the context. We’ll get into the background of this, but my reading today of this extended stretch of comics that keeps losing the plot in favor of a fever dream of what’s happening at the moment with specific characters that refuse to cohere, it became obvious that what I had been looking at as subtext or critique was actually the text. I could see the messed up trees but was missing the the forest the universe was trying to describe.

What happens in these issues (Batman current series 89-100, I missed the beginning of the first of 2 arcs) is rolling war between the major Batman villains and the heroes (plus Harley Quinn and Catwoman), which shifts into a Joker and Joker adjacent vs. all as the Joker double crosses everyone then manages to steal Bruce Wayne’s fortune. We meet 3 new baddies – Underbroker, whose schtick is putting ill-gotten gains beyond the reach of the legal system (with an explicit line to rich globalists drawn), the Designer, who back in the day offered the four A list Batman villains plans to achieve what they most wanted, and Punchline, who is your toxic ex’s new millennial GF who really has it in for you (there is also a new good guy Clownhunter, which is a whole different thing, and a new costumed detective that predates Batman). This doesn’t convey the chaotic nature of what is happening issue to issue, but there’s more than one Batman hallucinogenic spirit quest, dead characters ostensibly walking around, a plan revolving around the Bat’s origin story that tells some version of it several times, and a no-nonsense declaration that the Joker, as the Devil of the Batman spiritual system, cannot die. The whole thing has the effect of convincing you there is no definitive sequence of events, only versions.

Alan Moore’s Killing Joke is not a favorite of mine, for a number of reasons. But the ending holds up. The Joker has done terrible things there is no antecedent for, and Batman wonders aloud if this never-ending dance they do ends in anything but both of their deaths; can they uncouple from the unhealthy duality the cycle of which simply repeats. The Joker responds, well, with a joke about two lunatics trying to escape an asylum. One jumps the roof to the next building, while the other is too scared to try. The escapee offers to hold a light while the other crosses on a beam but he says no, no you’ll just cut the light while I’m half way across. This not very funny joke nonetheless has a bunch of resonances – BM and Joker as conspiring co inmates, BM wanting to break out, a commentary about their natures (almost a reversal of the frog and scorpion story where the scorpion won’t go because he knows how this ends), but mostly it implicates BM as the one who is enabling the cycle, the reason why it won’t end. They both laugh uproariously, and the ambiguous final panels can be read as the fundamental realization of his complicity causing BM to kill J. A lethal joke indeed… except, next month, we see the both of them again. In broader context, the ceaseless cycle of the diad is reaffirmed. This has been hellaciously sticky as an idea in the Batmen universe.

My realization of what DC has been doing is pretty banal in its pieces. Marvel has “ground level” heroes while DC has a mythos, a pantheon. Their archetypal makeup is strong, the seven JLA members lining up with the pantheon of Greek gods and the Chakras weirdly closely. DC has big characters that are somewhat flat which they can use tell big bold individual stories that are cool the way legends and fables are cool. But these stories require bold strokes that a bit incompatible with each other. People get attached to these iterations. Meanwhile, Marvel trucks in soap operas where the characters give you an empathetic stand in and are narratively flexible. Marvel events are usually about the writer vs. the company, asking you to sympathize or deconstruct the creative impulse amid efforts to impose control or order. DC’s events are about editorial vs. the audience, the shapers vs. the forces of the world. It may seem obvious, given this description, that DC’s focus is on an archetypal tableau though it may be less obvious that this tableau is under extreme pressure from expectations when trying to tell ongoing tales month in, month out (or semi-monthly in some cases). The stories are constantly compared against the big stories that have gone before, and the audience’s ideas of the characters exert pressure to push them in directions that capture “the” version they believe in. This circle is not possible to square.

DC and Marvel both have a multiverse of sorts. DC used to tell “Elseworlds” stories which were later tucked into pocket universes. DC invented crossing over between “realities.” DC’s continuity is heavy baggage and they began to have “Crises” to resolve the narrative incompatibilities. These only made things worse as you can’t get rid of the past people have a relationship with – it will come back. Now you have to explain that away too. Marvel just lets it lay – forget about the iffy stories, they count, sure, just no one is ever going to talk about them unless they have an angle. Marvel continuity is all angles and amnesia. This is just easier to do with dating and rent and your ancient aunt’s medical bills than with Gods. Marvel’s multiverse is about sandboxes that you can always dump into the mainframe if they work (and never really mention the sandbox again).

There is a shift that occurred in the industry in the 2004 to 2005 era that is less remarked upon than many upheavals in comic’s history. Marvel had gone through a period of incredible new idea generation in the early 2000s after a late 90s creative cratering but had just fired the pro wrestling inflected soul of that moment (Bill Jemas). DC was coming off of a period of trying to do moderately updated versions of what they basically been doing all along. The attitude was “yeah we’re under stress from the combined history of these characters, but we got to keep telling the stories.” Geoff Johns was one voice of DC over the 99-04 period that showed potential - he seemed to get how to find the core of characters and push them into a new in sync directions if they over the years have lost a clear identity. But mostly he had internalized a basic schism between something mean that the audience wanted, and something good and wholesome about the characters themselves, and figured out how to mess around with this in a equilibrating fashion.

Interestingly, the ignition point of the main forces that were going to blow DC over the next decade and a half was a comic that had virtually nothing to do with any of those main forces. Brad Meltzer, a novelist, was hired to do a comic called Infinity Crisis, which sold extremely well and was, justifiably or not, recognized as an event. At the same time, everyone also kind of hated it because the dark desires of some DC fans were pushed forward just a bit too much for comfort and for a comic with Crisis in the name it didn’t do a whole lot other than “darken” things. Nonetheless, this lit an “event” fire at both companies. Marvel chose a shake up the status quo for a year, then do it again, pattern and was off to the races (I have written about this, and more, here) while continuing its Randian framing of beleaguered do-gooders opposed by rule making freedom haters.

As this was playing out, Dan Didio quietly took power in DC Editorial. His outlook was more Bloomian – he seemed to spark off of writers who exhibited anxiety of influence. He recognized Johns was the one person they had could be promoted into something of a universe architect, starting work on two key projects from which the rest would evolve. The first, was bringing back Hal Jordan as Green Lantern and diffracting the GL universe into its own symbolic system, with parts frisson-ing other parts, and almost a Magic the Gathering color scheme of ideas. The other was to build up to Infinite Crisis, which would become the model for most of their universe changing events until the present day.

The basic frame is this: DC heroes want to be good (in a sense of their inherent nature) but forces outside form a context that makes them fall. It’s a very gnostic universe, DC. They examine reflections of the concepts, invent scapegoats for certain tendencies (see Superboy Prime as entitled fanboy, Dr. Manhattan as editors that try and fail to mend things, etc), make characters violate principles, rehabilitate them, then show that the world if anything is more broken than before. This is kind of Johns’ thing and it fits Didio’s narrative as historicval tension fetish. But then came Scott Snyder (not to be confused with Zack) who began to work on Batman in 2011. Since then, as much as Justice League is pushed as the central title and Lex Luthor has been pimped, Batman has been the core of the universe and the Joker the core villain.

Snyder had the same continuity conflict wavelength but was significantly more meta and able to contain multitudes than Johns. He was the first to make an explicit mystery of how there could be several Jokers around at one time (who are the same but not, he posited 3 – man, Christians!) that seems prescient given the near future coexistence of filmic Jokers that are not able to be resolved. I believe he was the first to begin to tease out an idea – that different versions of things in comics are not a diffraction or filter effect, a using the set of things that work best for that story and leaving the rest, but are a matter of the archetypal system of the audience coming apart. From an in story perspective what appears to happen is that multiple versions of incompatible things exist in the collective unconscious of the continuing narrative, and this is something that the characters may become conscious of.

The run I just read is written by James Tynion IV building on the above trends. The trick seems to be going all in on the Jungian aspect (at Jung’s most religiously epiphanic). The Designer was a progenitor and adversary to Batman’s predecessor and his intellectual approach eventually defeated the detective… broke him. At some point in early Batman history, the Designer brought the top four Bat-baddies together and offered each, in turn, a plan to achieve what they most desired: the Riddler, a way to achieve an empire of the mind; the Penguin, power; and Catwoman, money. They are all elated as they await the Joker to come out. The Joker emerges with a furious Designer on his heals and promptly shoots him dead. He explains that he didn’t like his joke in the form of a fable – the devil offered four people the path to their greatest desire: the three chose earthly things, but the Joker’s wish was to be him, to become the devil. The story proceeds to suggest that the Joker just exists, he is present as a necessary component in the system. You can kill him, yet he is alive.

DC has been using physics metaphors for the nature of their reality since Flash of Two Worlds in 1963. The multiverse as a continuity concept was their idea and the holographic universe of the hypertime was a thing. It seems like since Dan Didio took over, they’ve been heading towards a concept of broad superimposition, of measurement effect being weak, of the universe being like a quantum computer with all possibilities coexisting and the story instantiating not one reality but a path through all the possible ones. By making Batman trip balls through quite a few issues and relive his origin from different angles, the story is one of its own instability and the heroic task that confronts our hero is attempting to actualize the world. The Joker is the Devil in the sense of lack of fixed meaning, of relativistic chaos, of the world not making sense because it’s unmoored nature with ultimately no knowability. Batman, in this story, functions as a postmodern knight crusading against the impossibility of epistemological grounding.

There’s more going on, sure. One plot is, literally, defund Batman. There is rioting, people brainwashed by being exposed to toxic ether, people paid to go to theaters even though they will die as a result, and questions about neoliberalism similar to that one Joker movie. Punchline has no personality yet (Tynion’s not the best at that) but she serves well as a generational foil for Harley – a rudderless ideological vacuum susceptible to Joker-as-idea-virus rather than an unfulfilled MD who felt alienated due to the structures of her life and was seeking escape into structureless possibility. The Designer stuff is both continuity play (See why they changed from goofy villains to more “realistic” ones! Look how pulp heroes informed superheroes!), a comment on the nature of a longstanding narrative (strong intentions die out as Brownian motion overwhelms momentum), and a lawful evil/chaotic evil setup of the dualism of apocalypses (overdetermined authoritarian vs. center does not hold barbarism). But the thing that ties this to the past decade and a half of DC is the sense that the reality is fluid and susceptible to change or outright s’cool incompatibility.

This is different than other flavors of meta in superhero comics. Grant Morrison believes the archetypes are stronger than the forces that seek to bend them. Alan Moore wants you to deconstruct your sacred cows and probably hates you personally. Marvel might play with self-awareness, but effortlessly resolves inconsistencies after it’s finished playing. DC, at this point, allows you to watch the waves solidfy into symbols and dissolve, and the constant confusion and lack of grounding is more of a choice then I thought this time yesterday. The conflict theory of DC reality has been in full swing but this looks to be turning towards a kind of Zen historicism, holding contradictory things in your mind at once. Warren Ellis’ JLA/Authority book is the nearest comparable text I can think of. I need to call this, but I didn’t even talk about Death Metal, DC character multiplicity as meta-psychosis event extraordinaire. Comics just keep getting weirder.

#DC comics #batman #joker #punchline

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douchebagbrainwaves · 3 years

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OK, I'LL TELL YOU YOU ABOUT LANGUAGES

Surely that's mere prudence? Good ones, anyway. Where is the man bites dog in that?1 If you can't find an actual quote to disagree with the author's tone. I can usually be found sitting in a corner somewhere with a copy of the server software running on your laptop. Refutation. Talk slowly and clearly at the audience. When so much time that it was too late to change. I'm a fairly skeptical person, and their tricks worked on me well into my thirties.2 He had all of us roaring with laughter.

A name only has one point of attachment into your head. The first was called Traf-o-data.3 It made them hate working for the acquirer. I assume it's infinite.4 Half the time I'm sitting drinking a cup of tea, or walking around the neighborhood. Never say we're passionate or our product is great. I think, is going to have to deal with stuff like patents and investors.

2 of our software, or we're never going to make my life noticeably better? I definitely didn't prefer it when the grass was long after a week of rain.5 5% an offer of 6. Having your language designed by a committee for a mainstream audience, hyped to the skies, and beloved of the DoD, happens nonetheless to be a comeuppance for the west coast has just pulled further ahead. From what little I know about Java, there seem to be a place to work. Sun runs into trouble, they could release changes instantly. Amateur was originally rather a complimentary word. The problem is, people who propose new checks almost never consider that the check itself has a cost. In this case, working code means a working description in the investor's head. When you have actual first class functions. And, like Microsoft, they're losing.6 Over and over, I've seen startups we've funded snatched by west coast investors, not so much that they lack the appetite for work, but that it will make the people who run them.7

Technology companies made money by selling their software to be good for writing server-based software you can use any language you want. It may turn out to be a good language, it will go in one investor ear and out the other. A friend of mine cured herself of a clothes buying habit by asking herself before she bought anything Am I going to wear this all the time. My guess and Microsoft's guess, it seems is that much of it is unconscious. Every thing you own takes energy away from you. But a discussion today about a battle that included citizens of one or more of the countries involved would probably degenerate into a political argument. A DH6 response could still be completely mistaken.

If employees have to be over some threshold of expertise to post comments about that.8 I can imagine an advocate of best practices saying these ought to be considered from the start. The method of ensuring quality is also the same: Darwinian. I think that would work for any kind of special training. Smart investors can see past such superficial flaws. Language designers, or at least language implementors, like to write compilers that generate fast code. Well, that's news to no one. Most people don't really enjoy being mean; they do it for free. The presentations on Rehearsal Day are often pretty rough. So I think efficiency will matter, at least the harvest of reading is not so much; but anyone who publishes online. So I think it would help to put names on the intermediate stages. Few would be willing to claim that it doesn't matter at all where a startup is—that a startup has to make something people want.

But business administration is not what I remember from it, I doubt it would amount to much more than a pretentious version of u r a fag! It was supposed to be there at certain times. DH2 statements, as in: I can't believe the author dismisses intelligent design in such a cavalier fashion. Whereas designing programming languages is like designing chairs: it's all about dealing with future investors: how much money should they take and what kind of x you've built. Viaweb on $10,000. Startups So these, I think, is which 52% they are. The most common was some combination of a blog, a calendar, a dating site, and Friendster. It would improve the average startup's prospects by more than 43% just to be able to deliver more software to users. That's to be expected. And markets are usually centralized. I was being paid for programming.

Notes

Since I now have on the side of being Turing equivalent, but he turned them down because investors don't always volunteer a lot of reasons American car companies, executives at 300 big corporations found that three quarters of them could as accurately be called unfair.

Ironically, one of the things we focus on users, you've started it, this is a down round, no one on the client? In January 2003, Yahoo released a new Mosaic. After Greylock booted founder Philip Greenspun out of the next downtick it will probably not quite as harmless as we use have a standard piece of casuistry for this situation: that the money. Most were wrong, but I took so long.

Russell was still saying the same town, unless it was. You can have a quality that feels a lot would be lost in friction.

I don't want to either.

If idea clashes got bad enough, the best high school to be something of an early funding round. Part of the startup. Deane, Phyllis, The Quotable Einstein, Princeton University Press, 2005. For sufficiently small audiences, it would have seemed a bad idea the way up.

As Paul Buchheit adds: I should do is fund medical research labs; commercializing whatever new discoveries the boffins throw off is as straightforward as building a new, much more attractive to investors.

Wisdom is useful in solving problems too, e. Microsoft concentrated on the East Coast. I'm clueless or being misleading by focusing so much control, and FreeBSD 1. If the rich have better opportunities for education.

If you're dealing with one hand they take away with dropping Java in the room, you can't do much that anyone feels when things go well. For example, willfulness clearly has two subcomponents, stubbornness and energy. This argument seems to have fun in college is much smaller commitment than a nerdy founder trying to make money. The inhabitants of early 20th century cohesion would have for endless years of bank dependence, reinforced by the fact that the usual way will prove to us.

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xfadingstarx · 4 years

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A Bleach Retrospective: In defense of Bleach

These are opinions, please respect that.

_______________________________

My Journey with Bleach (please skip if you want to go straight to the analysis):

On September the 8th, 2006 YTV’s weekend evening anime programming block (Bionix) aired the first episode of Bleach. I, unfortunately, did not catch this episode, instead, I caught the second episode on September 15th the following week. I was ten and from then on, Bleach fascinated me. It had an interesting concept, tight pacing, catchy music, a good story, and unique character designs. I also really enjoyed how Bleach lacked the same kind of emotional labour that Naruto demanded (as child who survived off of constantly seeking validation from others because of absentee parents, Naruto is way too much work).

My fascination with Bleach got me started in the fandom communities of yesteryear, for I was a child with zero internet supervision. My introduction to fanfiction was because I loved Hitsugaya Toshiro.

Bleach was my entry into poetry (poem at the start of every volume).

But alas, all good things were not meant to last and by the summer of 2009, I was officially done with Bleach. It had felt stilted for some time before then. Over the years, I would gradually revisit bits and pieces of Bleach, but I would not read it in its entirety until months after its finish, about a decade after I had first saw Bleach on my TV. Between the time I stopped reading and the series ended, I became friends with people who didn’t think highly of Bleach and I also started seeing criticism I had made about Bleach in 2011 being repeated by fans on the internet, I started to think that maybe Bleach was bad, but I knew what bad writing looked like —I started reading fanfiction through Bleach fanfiction AMVs on YouTube — and somehow Bleach didn’t sit right with me in the “bad writing category”.

I sit back now, a decade and ahalf later from when I first started and ask, “was Bleach really that bad, and if so, why do I keep coming back to it?”

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What Made Bleach So Good?

Unique story and aesthetics: When Bleach first started in 2001, it was one of the first manga series to talk about souls and death in a poetic way and with such coherence. Bleach clearly knew what it wanted to say about life and death. It also had a very unique aesthetic, very similar to that of “The World Ends With You” or “Persona 5″ — an urban Japanese take on R&B kind of vibe. Also, Bleach had the most “realistic” and minimalist art style amongst the Big 3.

Cool Music: Bleach had cool music, from very solid rock’n’roll and R&B style songs in its OPs and EDs to very funky OST music with lots of pizzazz. Many singers feature by Bleach ended up successful (to varying degrees) outside of anime, eg: Orange Range, UVERworld, YUI, sid, etc.

Versatile tone: Bleach was edgy, there’s no doubt about that. It was willing to show a lot of blood and bodily violence, especially in the manga (eg half of people blowing up and bits of bone still attached). Despite this though, it was not pretentious about its edginess — it didn’t revel in it. To contrast the edginess, there is a lot of humour in Bleach with character interactions. It was able to be laid back enough with its strong characters that it would rely on the characters’ relationships for comedic relief. The post-credit skits and the fillers really helped to add to this overall feel as well.

Maturity of the Story: Bleach was very willing to handle topics that made people think. For example, the Ulquiorra - Orihime subarc was treated with a sense of carefulness about it, as if to reflect Ulquiorra’s own cautious curiosity about the heart. A less emotionally mature story would’ve gone for the cheap rape/torture porn, but instead we are treated to determined strong Orihime, who has found strength through the heart after the death of her brother, clashing with the nihilistic hollow who wants to know if there is happiness outside of emptiness. It’s a very loaded question and one that requires both perspective and life experience to fully understand both parties. As well, Bleach always knew what it wanted to say about life and death as the final conflict of Bleach is between Ichigo, who has accepted his transient life and Yhwach, who is scared of death. And ultimately, underneath all that action, Bleach produced takes on its themes that were hard to relate to unless the reader themselves had a certain level of emotional maturity (eg: 12 year old me got nothing out of the Ulqui-Ori arc, but 20 year old me spent a good 10 mins crying after)

Strong characters: Contrary to popular belief, Bleach does have quite solid characterization. In fact, Bleach is the journey of Ichigo as a character, from grappling with his weakness and pain to finally accepting all the parts of himself and his history in order to defeat Yhwach and protect those he cares about. Even the secondary characters of Bleach receive a sizable amount of backstory and/or development. Bleach also managed to have more proactive female characters. Even the damsel in distress Orihime stands up to Ulquiorra and slaps him. As a result of these strong characters, Bleach was able to rely on them and their relationships to drive aspects of the story (eg Ichigo crying in the Fullbringer arc).

Willingness to Deal with Emotion: Given that Ichigo is an internally motivated character, it was obvious Bleach would deal with emotion at some point in time. Making Ichigo just a normal high school boy also relives the previous edginess. Bleach also clearly too the time to make its readers feel in its early years. We are treated to beautiful panelling and very real displays of strong negative emotions. Bleach is also very good at giving its characters room to breathe and be sad. Eg: moping Orihime, moping Ichigo, etc. As well, Kubo went to extraordinary lengths to break Ichigo down during the Fullbringers Arc.

Interesting Character Designs: Every character in Bleach feels vibrant and unique with their personality showing through in their designs. For example: Shunshi’s sloppily tied up hair, visible stubble, and overcoat-hidden-haori show that he is both easy going and not looking for a fight; meanwhile Byakuya’s neatly pulled back hair and neck covered by scarf show that he is both someone who likes structure and is conservative.

Poetry and Symbolism: Kubo manages to weave poetry into Bleach in the beginning of each volume. The poem was said by the character on the volume. It gave the reader insight to this character and it gave Kubo a chance to flex his poetic chops. Further proof of this is the fact that many people don’t realize that the name “Bleach” refers to the bleaching of soul that is key to the story. Kubo loves to use rain to set sad scenes. It rains when Ichigo fights Grand Fisher, Zangetsu tells Ichigo that he hates the rain, etc. Kubo also specifies that he wishes for the reader to read certain volumes on stormy, rainy nights.

Panelling: Many people like to criticize Kubo for the lack of effort with the Bleach manga, but Kubo has stated that he uses negative space (i.e., foregoing backgrounds) to focus more on his character’s expressions. This not only further proves that Bleach cares a lot about its characters, but it’s done well enough that the average reader likely doesn’t notice the lack of background on the first read through. As well, Bleach has very cinematic panelling. Kubo uses the format of manga well, utilizing the human mind’s ability to fill blanks in with clever panelling to create tone and build tension and the feeling of movement through a scene.

In fact, in finding pages for this analysis, I found myself noticing that Bleach panels very similarly to slice-of-life shoujo but with a boy MC manga like "Horimiya": focus on expression through intimate angles and use of panels and breaks to create mood and the feeling of cinema; whereas something like DBZ panels like a shounen action manga with many hard lines and action shots, instead of a focus on subtle details and emotions.

Some Examples:

Notice now in Chapter 197: The approaching danger, Kubo uses a gradual zoom to build tension and the black background to add intensity and signal to the reader that Hitsugaya is relaying important information.

Here in Chapter 234: Not Negotiation, the immediate close up to Ulquiorra’s eye from the full body shots creates a sense of intimidation and unease with its sudden intimacy. As well, the immediate zoom in from Ulquiorra’s side full body shot to his facial profile creates tension and the change from the dark background to the white face with Orihime releases this tension (very fitting with considering the line for this panel is “but not you”). (This scene also ties into Ulquiorra’s central dogma of “that which is not reflected in my eyes does not exist’.)

Again in the same chapter, this gradual zoom in on the two creates tension that is then release in the next panel and summarily cements Ulquiorra as a terrifying BAMF.

In Chapter 262: Unblendable, Kubo uses the negative space to create a feeling of isolation, similar to how Orihime is supposed to be feeling.

In the same chapter, notice how Kubo creates a sense of intimacy (not in the romance sense) with the relationship of Ulquiorra and Orihime. He creates tension gradually with the zooming into Orihime’s eye and releases it with the zoom out to Ulquiorra. Through this scene, Kubo has shown us that Ulquiorra and Orihime have a tense relationship and with the implication of eye contact through the shots and panel breaks creating both the intimacy and showing Orihime’s defiance.

(Interestingly, I’ve noticed that Ulquiorra and Orihime have a lot of these intimate zoom shot-reverse-shot eye panels)

___________________

What are the Bad Parts of Bleach?

Okay, so by now, you’re probably thinking that I’m ignoring the massive amounts of critique that Bleach gets and don’t get me wrong, while Bleach does have a very special place in my heart, I’m also not maudlin enough to pretend that Bleach was all good.

Pacing:

Pacing in the First Half of Bleach (Karakura Town - Arrancar)

When Bleach first started out the pacing was excellent. Kubo showed great mastery of pace to control the tone and highlight the emotions throughout the first two arcs. Mid-way through the Arrancar arc, the fatigue sets in and it was hard to keep up with, especially since Kubo would interrupt one exciting fight set up to go set up more plot elsewhere (eg Fake Karakura town right as Ichigo and Ulquiorra were about to battle). Whilst looking back and reading it all at once does help with the pacing, it was frustrating if you were reading/watching on a weekly basis.

Pacing in the Anime:

I don’t ascribe to a simplistic belief of “fillers bad” simply because I think that sometimes fillers can be a good thing, for example, since every chapter is ~15-20pp, some character interactions have to be cut for the sake for space, so filler is a great opportunity to add those moments back into your story. For example, a lot of early Bleach fillers are just the people of Karakura town just hanging out. That being said, Bleach does have an unfortunate amount of fillers, with some of them even interrupting tense fights (eg the Beast Sword Arc interrupts Ichigo’s battle with Ulquiorra). However, the padding that the fillers provided did wonders for the transition between Soul Society to Arrancar Arc in the anime. Ultimately, the Bleach anime adaption was a long-running anime made for syndication and that’s okay.

******* Brief Aside: many people like(d?) to point out that Bleach has a very cyclical plot structure. I used to think this way too; however, this is not the case. There are many other long running stories that repeat similar goals. The problem lies not in the idea, but the execution. The main complaint about the Orihime rescue was not that it was uninteresting, but instead that it felt a rehash of the plot of the previous arc. This is largely because the story was not given enough time to breath between similar character arcs. For example, in One Piece, Luffy and Co have to save Nami and by extension, her home village so she can join them; however, the next time a Straw Hat needs to be saved is 227 chapters (2 whole story arcs) later. In between saving Rukia and Orihime, there is only a really an arrancar encounter, a bit of training, cheering up Ichigo, and a Grimmjow encounter before Orihime goes with Ulquiorra, thus making the goal of this arc “save Orihime” in only ~59 chapters vs 227. These two similar arc goals so close to each other does indeed create the sense of repetition.

Pacing from Fullbringer to End:

This is where Bleach really lost a lot of people. If you weren’t gone after the Ulquiorra fight, you probably were by this arc.This arc went at breakneck speed, and ngl, during my first full read through I almost gave up here too. I mention earlier that Ichigo had been broken down in this arc, but it was hard to feel his despair and the weight on his shoulders because there wasn’t enough for the reader to take a beat and breathe. The Thousand Year Blood War, similarly suffered from sloppy pacing, with many readers feeling like story lines of Squad 0 and the Soul King were anti-climactic. As well, this arc started with a massacre and feature the deaths of many fan-favourite characters, and unfortunately due to the pacing, their deaths were not given a sense of gravity.

Missed Opportunities and Forgotten Story lines: Many people felt that Kubo forgot about a lot of his characters after the Aizen arc. Many thought the Fullbringer Arc was going to be a Chad/Orihime Arc. Whatever happened to Uryuu lolol? We all just collectively forgot about him for a large portion of the last half of Bleach. At one point in time, there was a rumour going around that Kubo had written out the story for Bleach and lost it. Idk if there is any credibility to it. However, in a 2017 interview, Kubo did say that he did end the series exactly the way he wanted to.

(If anyone wants to see me write an entire ass text post about Orihime and her treatment in Bleach, please let me know because I will do it)

Too mature:Even though above, I praised Bleach's mature handle on its themes, an unfortunate side effect of this is forgetting that the characters are only 15 at the beginning and for the first half of Bleach. This unfortunately, leads to some readers feeling disconnected from Bleach.

Epilogue: THE DESTROYER OF SHIPS!!! A lot of people hated this ending. Many people felt like the romance was shoe-horned in, others didn’t like the pairings, and there were some people who actually liked it. Personally, I didn’t like it too much, but it was a cute conclusion nonetheless. Since it didn't add anything to the story except for a "where are they now" look and because of that, I low-key felt like it was unnecessary, but w/e.

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Perspective

Making a long-running weekly serialized story is hard and doing it for 15 years is gruelling (obligatory “fuck capitalism” here). Like many artists of long-running manga, Kubo destroyed his health for the sake of publishing Bleach weekly. Kubo on his health after Bleach (photo from AshitanoGin on Twitter):

Given this insight, I think it’s only fair to be respectful and grateful for Kubo’s contribution to the anime-sphere. Also, through his work, Kubo seems to be a very understanding person and artist. I’m sure he knows better than anyone where Bleach went wrong, but there’s nothing that can be done now. Despite him having a twitter, he is not Joanne and doesn’t feel the need to constantly hemorrhage out word of god info about Bleach (and thank god for that).

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Final Thoughts

It’s hard to forget my happy memories when I think about Bleach. It had my first adolescent crush and first OTP. As a result, I think the best way to enjoy Bleach is to take what you want out of it. People always think that something has to be 100% without flaw for it to be good, but that is not true at all. It is totally okay to just like the parts that you like without engaging with anything else. It’s special to you for a reason, you know?

There’s no use in fretting over what Bleach could’ve been, besides, very rarely is the reality better than the fantasy in your head.

I do think though that a lot of Kubo’s issues could’ve been fixed if he planned the story better but not all of us can be “I've been planning One Piece since elementary school” Oda Eiichiro.

Other voices on this issue: here

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Wow. I can’t believe you made it this far down. Congratulations! Thanks for reading my 2:30am non-sober take on Bleach (it only took me 7 hours to write). Here's a cookie <3

#bleach #pro bleach #analysis #writing #characters #ramblings #pro orihime #orihime #ichigo #ulquiorra cifer #hot take #quarantine thoughts #late night #weebshit #criticism #critique #anime review #manga #i'm still bleach

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