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jikookuntold · 3 years

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Jungkook and His Cover Songs: Is “10000 Hours” about Jimin?

Disclaimer: The following post includes theories, lyric and numeric analysis, plus my personal opinions, so please don’t take anything seriously. I’m too lazy to upload photos and videos for the moments I mentioned here, but I’m sure you know about them all. Any Jikooker must know. And I’m not Korean or a Korean culture expert, I just know as much as any Stan Twitter ARMY knows about their culture.

Anyone?

Maybe one of the biggest Jikook moments of 2021 so far, is where Jimin jumped into Jungkook’s hug, in Lee Hyun’s Vlog. But the other moment on that Vlog was even more significant; Jungkook was singing “Anyone” from Justin Bieber’s new album, and Jimin was harmonizing with him while holding on his shirt. I don’t want to mention their interview moment singing “Peaches” because I know this song is super popular in South Korea right now and somehow it doesn’t count as a moment. But it’s safe to say that Jikook has something special with his songs, and JK in particular always was invested in him.

JK & JB

The reason behind Jungkook’s devotion to Justin Bieber was always a big question for me, and I got my answer not long time ago. Jungkook’s playlist for Melon Radio Station included a song from JB’s new album named “Lonely”. This is one of the most personal songs any artist can ever make, and JK recommended it to his audience. Here are the lyrics of “Lonely” by Justin Bieber:

Everybody knows my name now

But somethin' 'bout it still feels strange

Like lookin' in a mirror, tryna steady yourself

And seein' somebody else

And everything is not the same now

It feels like all our lives have changed

Maybe when I'm older, it'll all calm down

But it's killin' me now

What if you had it all, but nobody to call?

Maybe then you'd know me

'Cause I've had everything

But no one's listening

And that's just lonely

I'm so lonely, lonely

Everybody knows my past now

Like my house was always made of glass

And maybe that's the price you pay

For the money and fame at an early age

And everybody saw me sick

And it felt like no one gave

They criticized the things I did as an idiot kid

What if you had it all, but nobody to call?

Maybe then you'd know me

'Cause I've had everything

But no one's listening

And that's just lonely

These lyrics made me think of one specific thing, the thing that JK and JB have in common: They started their careers at a very young age, and their lives have been under the scrutiny of so many people. These people judged and criticized them but never tried to understand them. The lyrics are straightforward and leave no place for interpretation. By recommending this song, JK showed that he had (and probably still has) the same experiences in his life, and I think the reason he recommends or covers JB’s songs more than any other artist is that he has many things in common with him, and feels connected to his songs.

This can lead us to another theory: By covering a Justin Bieber song, Jungkook shares something about himself with us, something that he can’t express directly.

Jungkook is interested in JB’s songs, but he is not the only one. As I said earlier in this post, Jimin shares the same taste with Jungkook, and my receipt is not just that “Anyone” or “Peaches” harmonizing moments, but also Jimin’s Spotify playlists. Since 2017 (or earlier, I’m not sure about this part) he has added some JB songs to his official playlist, and even his current playlist (July 2021) has two JB songs. And also let’s not forget the fact that Jikook as a subunit started in 2014 with a JB cover. Yes, I’m talking about “Mistletoe” and as you may know, Jimin translated the lyrics of this song to Korean.

10000 Hours

Nearly 700 words and I haven’t started yet! The subject of this post was supposed to be the connections between “10000 hours” cover and Jikook but this prelude was necessary to clarify all the aspects of the topic and we find out how JB is special for JK and Jimin and how they (especially Jungkook) feel connected to him. Anyways, back to 10000 hours:

Dan + Shay and Justin Bieber released this Grammy winner song in October 2019. Here are the lyrics:

Do you love the rain, does it make you dance

When you're drunk with your friends at a party

What's your favorite song, does it make you smile

Do you think of me?

When you close your eyes, tell me, what are you dreamin'?

Everything, I wanna know it all

I'd spend ten thousand hours and ten thousand more

Oh, if that's what it takes to learn that sweet heart of yours

And I might never get there, but I'm gonna try

If it's ten thousand hours or the rest of my life

I'm gonna love you

Do you miss the road that you grew up on?

Did you get your middle name from your grandma?

When you think about your forever now, do you think of me?

When you close your eyes, tell me, what are you dreamin'?

Everything, I wanna know it all

I'd spend ten thousand hours and ten thousand more

Oh, if that's what it takes to learn that sweet heart of yours

And I might never get there, but I'm gonna try

If it's ten thousand hours or the rest of my life

I'm gonna love you

Ooh, want the good and the bad and everything in between

Ooh, gotta cure my curiosity

Ooh, yeah

I'd spend ten thousand hours and ten thousand more

Oh, if that's what it takes to learn that

Sweet heart of yours

And I might never get there, but I'm gonna try

If it's ten thousand hours or the rest of my life

I'm gonna love you

And I'm gonna love you

As you can see, the lyrics are 100% romantic, and the singers including JB, have dedicated this song to their lovers. Also, their girlfriends/wives have a cameo in the MV, which leaves no place for speculation for the context of the song: Even though the uncertainties always exist and no one knows about the future, our love is strong and will stay strong regardless of time.

The Cover and the Theories

Nearly one year later, on July 28th, 2020, Jungkook surprised ARMYs with a short video he tweeted at 11:56 AM. That video was a 49 seconds cover of 10000 hours. A few minutes later, he deleted the tweet (apparently with the advertisement excuses, because it was tweeted from an iPhone and they have a contract with Samsung). Later that night, Jungkook released the full version on Sound Cloud and tweeted the link at 11:47 PM.

Jikookers discovered numerous theories that day about the times of both tweets; if you add the digits of the time, the result is “13” for both tweets 1+1+4+7=13, 1+1+5+6=13, and as you already know “13” is Jikook’s magic number. Also, the first video he tweeted was 49 seconds and 4+9=13. But in my opinion, this theory is not strong. I know that numerology is very popular in Korean culture but still, all of this can be coincidences, but the other things I’m going to bring up are most likely not.

28th July 2020 was the 7th anniversary of the first Jikook selca posted after debut. This also might be a coincidence and to be honest, it cannot be a strong link to make a connection with Jikook, but worths sharing.

The next thing that many Jikookers also pointed out, was related to the title of the song. The lyrics say “10000 hours and 10000 more” and 20000 hours after the 28th of July is 8th November 2022. As you may know. Jikookers believe November 8th is a significant date for Jikook. I believe this can be a coincidence either, and it’s very unlikely of Jungkook to do such calculations (Koreans are interested in numbers when it comes to days and dates, but counting hours is not usual in any culture. Other than that, I’m still doubtful about the origins of the November 8th theory because we have nothing other than two tweets and G.C.F Tokyo release date and their hotel room in Tokyo which still can be coincidental). But I don’t deny these theories because even as a coincidence, it’s still very interesting.

And the next theory is connected to the “Red Moon”. On 27th July 2018, a total lunar eclipse happened all over the world, which became known as the red moon. At that time, BTS were in Malta, and on the same night, Jikook were watching the red moon on a boat. They shared plenty of photos and videos of that moment and I’m sure as a Jikooker you have seen them all and you know that night had a very romantic mood (BigHit words, not mine) for Jikook. So, a second anniversary for that night and the day after that night can be a significant date to release a very romantic cover. Is this a coincidence too? I think we had many of them already.

And last but not least is something connected to Korean culture. You probably know that 1000 days anniversaries are very important for Koreans and they celebrate them along with real anniversaries of the important dates in their lives. And guess what? 27th July 2020 is 1000 days after 31 October 2017. This day is the day Jikook’s travel to Tokyo ended and they posted their couply mirror selca on Twitter with flower bouquet emoji. Despite the one-day difference (the same case for the red moon anniversary), this is not a minor event or small coincidence. I believe Jungkook posted “10000 hour” cover for this reason and based on this, the other theories I mentioned earlier can be true either.

The lyrics hit different if you read them again, after knowing this fact. Right? I don’t want to make this post much longer but before wrapping up, I want to talk about the lyrics of “Anyone” by JB (the song Jikook were harmonizing in Lee Hyun’s Vlog):

Dance with me under the diamonds

See me like breath in the cold

Sleep with me here in the silence

Come kiss me, silver and gold

You say that I won't lose you

But you can't predict the future

So, just hold on like you will never let go

Yeah, if you ever move on without me

I need to make sure you know that

You are the only one I'll ever love

(I gotta tell ya, gotta tell ya)

Yeah, you, if it's not you, it's not anyone

(I gotta tell ya, gotta tell ya)

Looking back on my life

You're the only good I've ever done (ever done)

Yeah, you, if it's not you, it's not anyone (anyone)

Not anyone

Forever's not enough time to (oh)

Love you the way that I want (love you the way that I want)

'Cause every morning I find you (oh)

I fear the day that I don't

You say that I won't lose you

But you can't predict the future

'Cause certain things are out of our control

Yeah, if you ever move on without me

I need to make sure you know that

You are the only one I'll ever love

Only one (I gotta tell ya, gotta tell ya)

Yeah, you, if it's not you it's not anyone

(I gotta tell ya, gotta tell ya)

Looking back on my life

You're the only good I've ever done (I've ever done)

Yeah, you, if it's not you, it's not anyone

It's not anyone, not anyone

Oh, oh, oh, oh

If it's not you, it's not anyone

Oh, oh, oh, yeah, whoa

Yeah, you are the only one I'll ever love

(I gotta tell ya, gotta tell ya)

Yeah, you, if it's not you, it's not anyone

(I gotta tell ya, gotta tell ya) gotta tell ya

Looking back on my life

You're the only good I've ever done (ever done, oh, yeah)

Yeah, you, if it's not you, it's not anyone

If you read the lyrics, you will notice that the context is very similar to “10000 hours”. It talks about the uncertainties of a beautiful love or in other words: No matter what the future brings to us, this love will last forever.

This context of uncertainty and unknown future for a romance is a common concept in many of the songs Jungkook has covered and it’s not limited to the Justin Bieber covers he has done and maybe this concept can be the topic for my next analysis.

#jikook #jikookanalysis #jimin #jungkook

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sugary-sheep · 3 years

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An Analysis of How Deltarune Chapter 2′s Soundtrack Made Me Feel, Copied From My Discord Thread

Girl Next Door - a very good track for the beginning of the game. It serves to strongly establish noelle as a familiar, friendly character, since you might not have bothered learning too much about her in chapter which makes sense considering the later revealed fact that kris and noelle are chidlhood friendsIt doesn't have any strong hints of bittersweet, it's just a plain happy melody. You're just starting the game after all.

My Castle Town - this is where the first twinges of bittersweet/nostalgia come in.It's meant to bring back memories of your adventure three years ago, chapter 1. You're back "home," at least from the player's point of view, and the player is the one that all the music panders to. (which wouldn't be a thing to note if the game wasn't so meta). It isn't very strongly bittersweet though. It's a calming melody, meant to ease you into the world, and doesn't draw too much attention to itself. If Girl Next Door is a warm breeze, then My Castle Town is the pleasant chill of fall.

Queen - this song is a wacky and fun melody, borrowing both carnival rhythm and instrumentation. It has twinges of deeper emotion and all that but it's mainly just a funny clown theme for everyone's favorite clown: Queen.

A CYBER’S WORLD? - it starts off with the main melody outlined on a chiptune low-res synth, which drops into a rich collage of higher-res synths. It evokes emotions of adventure and energy and anticipation, while also being neutral enough to act as a backdrop for all the silly things you do in the cyber fields. it's a really damn good song. it doesn't tug on the heartstrings necessarily but it just. it's so nice to listen to.

A Simple Diversion - it’s. a simple diversion. chip tune rendition of the queen motif. it's good. nothing much to analyze.

Almost To The Guys , Cyber Battle , When I Get Happy I Dance Like This - (combined since basically the same instrumentation and the same motifs) god I fucking love these songs so much. they are so happy and sensitive and soft and warm. They are like the auditory version of a hug. idk what drugs toby fox put into these songs but it fucking. they fit these funny guys so perfectly. it's just a silly fun theme about these fun little dudes. it's energetic and happy and makes you wanna dance. It doesn't take itself too seriously and it's just. It solidifies that this is a Silly game with Silly things that happen and fun people that you can be friends with.

Cool Beat - too short to analyze.

When I Get Mad I Dance Like This - same as Cool Beat

Berdly’s Theme - bringing back the CLOWNS, this time without a harpsicord though. it's a synthesizer melody and emphasizes the silly gamer antagonism that berdly provides, while not painting him as a bad person. just an antagonist.

Smart Race - this is a particularly tense battle theme, playing off of the semi-betrayal and kind if indignation you feel towards berdly since like. He's a lightner like you! and he's working for queen! what the FRICK.

Faint Courage - an uplifting melody that (tries) to soothe the pain of getting a game over. The crunched nature of the synths is notable though, compared to other soothing songs on the soundtrack.

Welcome To The City - This is the first song that really starts to dip into the nostalgia. It's still an upbeat and adventurous melody, but like. Your friends just left you, and you're exploring the city alone. It has a lot of flourishes and flair that reminds you that you're in a cool exciting city, and slowly becomes more uplifting as it goes on, but still keeps the distinctly minor sound. (if it's in a major key shut up I don't care). It's also the theme for the time you spend with noelle, and like. in that context, it feels more like a friendly nostalgic melody than a bittersweet feeling. the familiarity of Girl Next Door is back, and honestly it borrows a lot of emotional cues from Girl Next Door. They are double edged and the feelings they evoke are very context sensitive. it can be a friendly warmth, or a wishing for better, older days.

Mini Studio - a return of the resistance motif. noticably lower res synthesizers but like. your funny little dudes are here :]

cool mixtape - Clown to the MAXIMUM. not in that it's the most carnival inspired but like. it's really bombastic and fun while also being built around queen's clowny and wacky motifs. The instrumentation also adds to the non-serious quality, making it sound like. well, a shittily recorded mixtape. Lol. It’s great.

Hey Every ! - This song evokes all the emotions of as corrupted seen on tv advertisements with a dash of clown. Very distinctly wacky upbeat song.

Spamton - This is where the creepy factor of spamton starts to kick in. It brings on the menacing atmosphere of being in this alleyway with an unstable puppet salesman who jumped out of the dumpster, however the silly vocals do take a LOT of the edge off the creepiness. Which is fitting for spamton. because he would more intimidating if his dialogue wasn't so ridiculous and silly, and if he wasn’t such a silly little guy.

Now's Your Chance to Be A - a very groovy and slightly menacing battle theme that makes you wanna get out of this situation, but it's not like. scary. it's just a little bit creepy. Like a haunted house. it's a really fun song though. the edge mostly serves to accentuate the wacky and fun qualities of the song, like salt enhancing the sweetness of a dessert.

Elegant Entrance - This has the same menacing/eerie quality as spamton’s battle theme, but much more genuine. it takes the formerly clowny harpsicord used with Queen’s themes, and makes it sound much more regal. It's not bittersweet though. just intimidating.

Bluebird of Misfortune - a VERY strongly minor sounding song, and while it's not a super deeply resonant sadness, it does minimize the wacky/funny factor.

Pandora Palace - the first majorly bombastic song. It's the buildup to the climax, and has a very unique blend of regal, groovy, and energetic sounds with a small sprinkle of bittersweet, mostly to build tension.

KEYGEN - really cool and gives an appropriate feeling for unlocking the door into the SECRET BOSS.

Acid Tunnel of Love - very relaxing, very happy melody. it almost dips into bittersweet at times, but is a solidly uplifting and soothing melody. It's a rest for the soul.

It's Pronounced "Rules" - Rgal in a way very different from Elegant Entrance and Pandora Palace. It's a kind of pretentious regalness, and is a big return to clowniness. Because Roulxs is a pretentious clown man.

Lost Girl - It’s. very bittersweet and nostalgic. It has solid uplifting moments to balance it out, but it's. not a super happy song. it's not a super sad one either. it's just. contemplative. emotional. it'd be a good song to cry to.

Ferris Wheel - A combination of Lost Girl and Girl Next Door, both in mood and actual motifs. It's got a lot more warmth than lost girl, and the chiptune main melody gives it the silliness it needs to take the edge off it’s bitersweetness. The upbeat and kinda whimsical harmonization helps with this too. It's a theme for two girls having an awkward but really nice and fun gay moment.

Attack of the Killer Queen - oh man.oh MAN.Such a good song. It's absolutely bombastic, fulfilling all the promises of epic finality and regal power that have been set up throughout the mansion section. It makes queen feel like a POWERFUL and intimidating villain for honestly like. the first time in the game. It also has the emotional quality, the feeling of un-rightness, once again driven by berdly being an antagonist, but the context is stronger, since you had just had the emotional connection with him and bringing him to your side.

Giga Size - this song does not let down any of the pressure from killer queen. it has all the menacing strength that you would expect from it, and takes the regal intimidation up to another level. it's supposed to make you feel like you've lost, and as far as the player knows, they have. Also it's a lot longer than you would expect??? the soundtrack is honestly filled with really short songs. but Giga Size is one of the longer ones, despite the short amount of time it actually plays. I don't remember ever being in that portion of the cutscene long enough to hear the full thing. it's worth a listen to if you haven't already.

Powers Combined - the uplifting counterbalance to Giga Size. It gets you pumped, and it has an air of finality stronger than attack of the killer queen. This is the final push. you're on the precipice of victory.

Knock You Down - This theme continues everything from Powers combined. It's less bombastic than Attack of the Killer queen, though bviously it's still very energetic and cool. It's serious in a more uplifting sense, but also quite tense. there is a lot on the line. This is the do or die moment. It both hypes you up and calms you down, and evokes a very particular emotion, especially given the context. Really good for getting in the zone.

The Dark Truth - another song that, while more emotional, doesn't hit super deep. Imo it feels like it’s going for an "exaggerated" sense of danger and sadness. Which makes sense if it's meant to instill some doubt in ralsei's credibility. it's still a very serious song, but it feels like it's trying a little too hard. (not necessarily in a bad way)

Digital Roots - a very menacing song, and probably the most truly menacing song in the soundtrack. Sets the atmosphere for the basement perfectly.

Deal Gone Wrong - This is the climax of Digital Roots and the whole process of getting the secret boss. You're in real danger now. The puppet man wants to make a deal, and he wants your soul.

BIG SHOT - woooh boy. This song carries a lot of this menace, but brings in a ton of bombastic energy and a little bit of clown as well. it's like Now's Your Chance To Be A, but more intense. The vocal editing really adds so much to this track. The motifs are very well used, and it's just an incredibly fun and dramatic song. it's groovy! it's wacky! it's intimidating! It gets you pumped! it's a very good song

A Real Boy - This one is a really nice song. it's got a very nice uplifting quality and there's a very subtle and like. almost angelic sharp pad in the background of it that you wouldn't immediately notice adds a lot to the texture of it, combined with the crunched and low res main synth. the background of that scene fits it perfectly. Childishly painted sun and sky and all that. He’s a real boy now. You freed him :). He can escape his strings now :)

dialtone - It’s like if you took one of the more emotional songs in the soundtrack and made it a little silly. Which makes sense. You're supposed to feel kinda bad for him, but he's still a weird wacky guy who just tried to kill you.

sans. - what do I need to say. it's sans's theme. it's wacky in an extremely chill way. it contrasts with basically all of deltarune's wacky characters, and that's perfectly cool. sans is a chill guy, especially in this game.

Chill Jailbreak Alarm To Study And Relax To - this one is just toby having fun. It's napstablook's theme with an alarm in the background. it's funny, it serves it's purpose as a gag. it's great.

You Can Always Come Home - this one has the nostalgic quality that I've been talking about very strongly, but the melody is just. It's so soothing and uplifting that you can't help but feel warm inside. it might be cold and snowing outside, but for now, you're home. you're with your family, you're sipping hot cocoa. Everything is right with the world, if only for a moment. You can always come home.

Until Next Time - another soothing melody, being a corrupted version of Don't Forget, and it evokes a lot of the same emotions, if a bit less strongly. It plays into the mystery of the ending, and would probably suit the snowgrave route pretty well. It's a good ending song in general though. It doesn't drown you in emotion. It lets you feel how you felt about what you just experienced.

Before the Story - really strong song. It's hard to fully analyze it given like. there isn't a lot of gameplay context. but it is a very dark and rich song. it's really good.

Berdly (Rejected Concept) - This song sucks ASS. it's like. pretentious. but also so cringe fail at the same.

#deltarune #deltarune chapter 2

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animebw · 3 years

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Short Reflection: Evangelion 1.0- You Are (Not) Alone

How does one judge a piece of media that’s almost exactly the same as another piece of media that’s come before?

Sure, the anime world is no stranger to remakes. FMA 03 vs Brotherhood, HxH 1999 vs 2011, the old and new versions of Fruits Basket, all the different interpretations of Fate/Stay Night... there are plenty of anime properties that have been made anew and reinterpreted for new generations of fans. And there’s plenty of interesting conversations to have surrounding what these different versions were going for, how well they succeeded at their goals, all that good stuff. But the first Evangelion Rebuild movie isn’t just any ordinary remake. It’s a near shot-for-shot recreation of the first six episodes of the original TV show. If you decided to start Evangelion with the Rebuilds and put this movie on, you’d get a nearly identical experience to if you decided to put on the show. Sure, I know future movies will move the story in a new direction and fully cement this series as its own unique take on Eva, and that’s where the really meaty discussions are sure to begin. For now, though, our starting point is almost entirely composed of imagery, sequences, dialogue, and ideas we’ve seen in this exact order before. How do you judge something like that on its own terms? Should I judge it on its own terms? Is it even possible? How different would my experience with this movie be if it was my introduction to Evangelion and I was experiencing all these moments for the first time.

For now, I can’t answer those questions. Perhaps my opinions will evolve the further I get into the Rebuilds. Until then, though, all I can do is talk about how this movie affected me now, reliving old memories in a slightly different context.

If I’m being honest, there’s something almost uncanny about Rebuild 1.0′s slavish devotion to recreating the first six episodes. It’s not just the scenes themselves that are the same; it’s how they’re shot, how they’re edited, which music cues are dropped when. Hell, even the animation itself feels lifted wholesale from the show at times, as if they literally just traced over the cuts from ten years ago and redid them in a new engine. That alone creates this fascinating stylistic contrast; you’ve got these very 90s keyframes and animation techniques, but now they’re in widescreen with smooth digital lighting effects and the occasional high-quality CG assistance for some of the more complex mechanical tech. This is probably the closest we’ll ever get to a 90s-style anime made with modern animation technology, and that itself is pretty cool. I’d even argue the overall effect is so seamless that it’s just as beautiful and evocative as the show. But it’s definitely weird re-experiencing an aesthetic that was very much of its time updated for modern technology. I spent so much of the first half-hour of this film experiencing what I can only describe as a reverse uncanny valley, trying to wrap my head around how well this twenty-year-old visual storytelling still conveyed its meaning in this new context. There should’ve been so much whiplash from fitting the styles of different eras together, and yet it just... works. And that was somehow more unnerving than if there had been a disconnect. What wizardry did you employ to make it so seamless, Anno?

Of course, this movie isn’t literally just the exact same shots as the show. If it were, it would be over two hours long and the pacing would make no sense. There are a few cuts, a few additions, a few re-ordered sequences to make the story flow better as a cinematic narrative. And I could honestly spend the rest of this review talking about how those minor changes affect the experience overall. Some moments I desperately love are lost to cuts, but I can understand why they needed to go; as much as I adore the end of episode 4 where Shinji and Misato stare at each other across the train tracks, that kind of emotional catharsis plopped right in the middle of this movie would slam the brakes on Shinji’s arc and ruin the power of seeing him finally stand up to his demons in the final act. Some moments I feel should’ve been left in; Kensuke and Toji’s subplot is so stripped down that they barely register as characters, which makes their big inspirational speech to Shinji near the end ring hollow unless you know them from the show. Most of the additional scenes are welcome; I like the extra time with Misato and Ritsuko’s relationship, and introducing Shinji’s mental train conversations and Lilith earlier on helps the show’s slow progression of abstract, cosmic weirdness feel more natural. And when the final battle rolls around, the animators really get to cut loose and showcase the full power that modern technology can bring to Eva-on-Angel conflicts when they’re not just reusing blueprints from a decade prior. If that’s a sign of how hard the action is gonna go once these movies come into their own, color me excited as fuck for what’s still to come.

What really hurts, though, isn’t losing any one big moment or subplot. It’s losing all the tiny, incidental moments that are peppered throughout the show. Moments like Shinji teasing Misato when they first meet, or Ristuko joining them for dinner in their cramped apartment, or Shinji finding refuge with Kensuke out in the wilderness for a brief night of comfort. As brutal a show as it was, Evangelion always contrasted that darkness against the simple, ordinary lives of its characters, the scattered moments of humor, sweetness and light that made us care about their fight against the darkness. These are the moments that make Evangelion, and I just wish so many of them hadn’t been cut from this movie. I understand the time constraints; there was no way a 100-minute film could keep every last detail from 150 minutes worth of TV. But even just five more minutes to keep some of these details in, even just one more scene in Misato’s apartment to make it feel like home, even just one more scene with Kensuke and Toji to make their big finale speech hit home, would have made a world of difference. Honestly, I think the pacing overall works really well cinematically, building to a natural climax point and shifting just a few details around to give Shinji a single continuous arc en route to that finale. But those extra five minutes could have pushed it into “This could’ve been initially conceived as a movie and I’d never know the difference” territory.

You know what, though?

More than anything, watching this movie just drove it even further home how much Evangelion fucking owns.

See, I bring up the changes and cuts and additions because talking about what’s different is the most obvious thing to talk about in a product that’s otherwise mostly the same as something you’ve already talked about. But for the 80% of the time where 1.0 is just Neon Genesis Evangelion again? Folks, it was like nothing had changed at all. There I was again, getting swept up in the drama, gasping at the brutality, biting my nails in terror for Shinji’s safety and well-being, devolving into an emotional mess over his growing connection with Rei, howling with fury at Gendo’s cruelty, marveling at the visceral way Anno directs action, even cringing at the same overt fanservice that still hasn’t grown on me after all these years. The coat of paint may have changed, and some details may have been shuffled around, but this is still the same haunting, gut-wrenching, breathtaking, extraordinarily beautiful franchise that broke the world of anime open back in 1995. Not even literally repeating itself is enough to take away its power. If anything, it just makes it even clearer timeless Evangelion is, how its storytelling and conception of humanity transcend the context of their time to speak to audiences of any era. Evangelion could’ve come out for the first time ten years ago, five years ago, yesterday, or decades into the future, and it would still hit just as hard no matter what. It’s a shining star that will never truly fade, a story that will forever remain just as jaw-dropping, just as agonizing, and just as revolutionary no matter how much time passes since it was first released.

So in the end, maybe Rebuild 1.0 is nothing more than a rehashed starting point that begins to set the stage for the real changes to come. But so what? That starting point is every bit as electrifying now as it was when I first laid eyes on it, an eternal reminder of the unmatched power of Neon Genesis Evangelion. I may not like all the little changes it made, but I will never grow tired of revisiting the beginning of anime’s undying masterpiece. So as we prepare to see how these Rebuilds will chart their own course moving forward, let’s raise one last toast to the moments that started it all... and look forward to the new heights this old foundation will take us to. With all that said, I give Evangelion Rebuild 1.0 a score of:

8.5/10

God, I’m so happy to be back with this franchise. See you next time for 2.0, where we (hopefully) get to really see why this story was worth rebuilding in the first place. See you then!

#anime #the anime binge-watcher #tabw #evangelion #neon genesis evangelion #nge #eva #neon genesis evangelion rebuild #eva rebuild

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blazehedgehog · 3 years

Note

Thoughts on this current generation of consoles (PS5 and Series X/S)? How do you feel about them having SSDs? Do you think offering two versions of a console is a good business idea (physical/digital for Sony and Physical, more powerful/digital, less powerful for Microsoft)?

I mean, I don’t have either one, yet. I did not end up getting a stimulus payment like I was told that I would, and while I’m not exactly flat broke, I’m not in a position where I can drop $600 on a game console and feel comfortable about that.

SSDs are... whatever. It worries me that these consoles are always capturing video and what that’s arguably doing to hardware with a finite number of lifetime data reads and writes. Especially because, if I remember right, the PS5 SSD isn’t user servicable. If it dies, you have to pay a repair cost to send it to Sony. That’s aggravating.

I also still don’t really know if SSDs are so magical. I have a laptop with an SSD and it’s nice being able to turn the system on and have it booted in to Windows in under a minute flat, but it’s not, like, a hard-line requirement for operations, you know? Reducing loading times aren’t really something that’s high on my priority list.

Especially considering that, like... I play a lot of Fortnite. I play on PS4, and I occasionally play with a friend who plays it on PC, where he has it installed to an SSD. His load times... aren’t really that much faster than mine. They can be, depending on the context, but in the case of an online game like Fortnite, you’re often waiting for the server to respond and send data. He loads back out to the menu way faster than I do, but when we’re connecting to a match, I think he’s only faster than I am by 2-5 seconds. Which to me is... pretty insignificant. Making it seem important feels like marketing smoke and mirrors to me, like how they kept “inventing” shaving razors with more blades.

Like, my PC doesn’t have an SSD in it yet, and does it bother me? Nope! Because I never turn my PC on and then instantly sit down at it. I wake up, turn the system on, and then go make breakfast and whatever. It takes my PC about 2-3 minutes to boot up, and it takes me a good 15-20 minutes to make breakfast, so by the time I’m ready to sit down everything’s been warmed up and ready to go for a very, very long time. Getting a faster load with an SSD isn’t going to offer a meaningful benefit to that experience.

I’m sure I’ll have friends pitching an SSD at me after reading that for other reasons, but I just feel like those people got spoiled by something they don’t actually need and now they’ve tricked themselves in to thinking they can’t live without it. I don’t even bat an eyelash at PS4 games with 20 second load times. Who cares? You aren’t going to be getting anything meaningful done in 20 seconds. “But it adds up” yeah but so does everything. You spent longer pooping than you did looking at loading screens. You’re not going to die waiting 22.8 seconds for a level to start, and it costs a lot of money to fix that minor inconvenience.

I don’t like the idea that they made the disc-based versions more expensive. That’s a very marketing way to nudge fence-sitters to adopt digital, when we’re having more and more examples of what going all-digital is going to do to our libraries of content. We lost hundreds of WiiWare titles and are about to lose hundreds (possibly even thousands) more when Sony locks down the PS3, PSP and PS Vita servers.

I get it, digital is convenient and takes up less space, but you aren’t as protected digitally. Did you know that I lost my entire library of 25+ Google Movies because of a change Google made to “Brand Accounts”?

There’s very little I can do about it. Because ten years ago Google+ made me define my personal account as a “Brand Account,” now Google gets to take away every movie and TV show I own through them. I can still technically watch them if I switch to my “real name” (which is the same account, but also a different account, for some reason), but then I can’t access my subscriptions feed or favorites list.

And stupid garbage like this just happens with digital content, because there’s nothing you physically hold in your hands. You are at the whims of however they allow you to access what is ostensibly THEIR data, and that includes taking away your ability to access that data entirely. You can protest that, I guess, but that won’t change the fact that your ownership means very little to them.

And it’s only going to get worse from here. It won’t make them care any more than they already do. Just like charging for online features that are free on other platforms, they will find the minimum acceptable threshold for your frustration tolerance and they will still figure out how to make you do things their way. They will put you in a position where 99% of your library is digital and by the time there’s a problem you’re already too deep to back out. And then it just becomes “an unfortunate symptom of business” that people blindly swallow because they’ve never known anything better.

So when I say, “there is no way I feel comfortable dropping $600 on a game console right now”, that’s because I will only buy these things if they include the disc drive because I will hold on to that thing for as long as I humanly can.

By which I mean: in 2028, when the Playstation 6 arrives, it’s going to be a tiny little Chromecast puck you put behind your TV and I will be laughed out of the room for wanting a disc drive. That already happens whenever I tell people I still have a disc drive in my PC that I need to replace. Physical media?! Everything should be ephemeral!

Needless to say, I don’t like it, and I don’t feel like there’s anything that can be done about it. I’m only considering buying the new consoles because I kind of have to, to stay “relevant.”

#questions #youtube #playstation #xbox #digital #ssd #disc drive #physical media #Anonymous

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visionsofus · 4 years

Note

Hi! I’ve been reading some of your Wanda & Vision mixtape series and after the season final, I HIGHLY recommend giving “Our Corner of the Universe” by K. S. Rhoads a listen! I think your series is such a great idea and it’s so well written; warm without being cheesy.

You seriously are trying to break my heart with this song - I'd never thought about listening to it in the context of Wanda and Vision but boy once I did my heart was in pieces. Anyway! I hope you like where I went with this.

| read on AO3 here | mixtape playlist | send me an ask with your song/prompt request |

track #8 of Wanda and Vision’s Mixtape ~ Our corner of the universe

Synopsis: In which Wanda and Vision are coming to the end of a few weeks together in Paris pre-IW and Wanda dreams a life for them where they no longer have to run and hide. Unknowingly, she draws Vision into her dream and they both must contend with the idea that this reality isn't something that will be easy for them.

Paris had grown colder in the last few days, as though the city knew the time was coming when Vision would have to leave. The sun had disappeared early that morning behind a cover of clouds that had seen the day through until sunset, leaving a soft rain to patter against the glass French doors. They were huddled in bed now, Vision tracing soft patterns about Wanda’s back as he watched the rain drizzle down the glass.

“Tomorrow is too soon,” she whispered, her head shifting slightly from where it was resting atop his chest.

“I know,” he murmured into her hair, kissing the top of her head affectionately.

“One day we won’t run like this,” Wanda said looking up into his eyes and Vision tried to smile. Normally he was more hopeful, but it was now coming to the end of their second year of meeting up like this and it was difficult to see a future where they could be else. Of a time when they might have a life together that was more than stolen moments in distant cities.

“One day we’ll be able to live together in one place, we’ll have neighbours and friends, we won’t have to hide.”

“I hope so, my love,” Vision said opening his arms wider as Wanda got under the dark bed covers for the evening. Once she was settled, he slid off the bed and went about turning the lights out and checking the doors were locked. It was routine for them now. Once Vision was sure that everything was safely locked up, he joined Wanda, pulling a blanket from the foot of the bed atop the covers for added warmth.

Wanda shuffled closer to him as he lay down beside her and he opened his arms for her to rest atop his chest once more. They were often inseparable like this on the last night, needing the physical connection of each other to remind themselves to be present in the moment and not spend their precious hours dreading the coming morning.

Vision ran his fingers through Wanda’s hair in calming motions as her breath slowed. Eventually he stilled and started to drift off himself, into the version of sleep that his synthezoid body demanded.

Neither of them was conscious when Wanda’s hand twitched atop Vision’s chest, red mist forming before dissipating in the air between them.

Vision didn’t dream. It wasn’t that he couldn’t, if he really wanted to his synthetic brain could replicate something close to the dreamlike state that humans experienced. But he generally preferred the endless quiet that came with his brain’s resting state. The chance for stillness, even for a few hours, was a relief. Perhaps there was an element of self-preservation to it, the fear that Wanda would be caught and that he would have to watch her be imprisoned once more haunted his waking hours enough, he would rather not be consumed by the same thoughts at night.

So it came as something of a surprise when Vision found himself opening his eyes to warm sunlight, despite his brain reminding him that he was indeed, still resting. It disconcerting trying to reconcile his physical form, which remained in the Parisian apartment in bed beside Wanda, and his mental form currently cast in sunlight somewhere, somewhen, else.

Judging from the light streaming through the four paned windows opposite his face, it was early morning, where though, he couldn’t tell. Slowly, Vision rolled over and came face to face with the peaceful, sleeping face of his partner. She sighed softly and shifted closer to him.

“Go back to sleep, it’s too early,” she whispered to him.

“It’s night-time,” Vision said in confusion.

Wanda’s eyes opened and she scrunched her nose up at him. “Just a few more minutes.”

This put him at ease, it was exactly what his Wanda said most mornings. “Of course, a few more minutes,” he said, and Wanda sighed happily, moving closer to rest her head upon his shoulder like a pillow.

“We should stay like this forever.”

Vision smiled and his eyes drifted closed against the sun, wishing that every morning might be like this.

He started when he suddenly found himself standing in an unfamiliar living room. It was a cosy space, mostly occupied by a large red couch and a collection of armchairs assembled around a flat screen television. He spun on the spot looking around for Wanda.

“Vis? Is that you?” Came Wanda’s disembodied voice and Vision followed it through the next room into a quaint kitchen complete with cluttered island and wooden dining table.

“Darling?” Vision said hesitantly, closing the kitchen door behind him. “What’s going on?”

“I just wanted to make sure that your evening is free for next Friday, we’ve been invited to dinner,” Wanda said running her fingers atop a calendar and marking a square with a black marker.

She was dreaming, that much he was now sure of. This strange transition to what appeared to be a few hours later was the most obvious indicator. Not to mention the haze like state of their surroundings, as though the interior designer had given up halfway through the décor process. Kitchen tiles faded off into exposed wall, there were two clocks hanging above the sink ticking in opposite directions, and though there were cookbooks sitting on the kitchen island, when Vision tried to make sense of their titles, he found he couldn’t read any of them.

He’d talked with Wanda about what kind of house that she would like one day, but that had been a while ago and he’d been hesitant to add himself to that image. Now here he was in her dreamscape, in a made-up house that they appeared to live in, together.

“So that is a yes for you next Friday?” Wanda said absentmindedly as she began to move around the kitchen assembling a breakfast of scrambled eggs and bacon.

“Yes,” Vision said, deciding it was best to play along, distantly recalling that it wasn’t a good idea to wake sleepwalkers. He didn’t want to give Wanda a fright or force her into a lucid dream state. Instead he watched in wonder as she continued to navigate the space with ease, her hands finding the cupboard with the saucepans and the cutlery drawer without hesitation, it was fascinating to watch. He wasn’t entirely sure how Wanda had drawn him into her dream, but for now he was content to observe.

“I was thinking of making Paprikash to take, what do you think?” Wanda asked as she brought her meal to the table and gestured for him to join her.

“I think—” Vision began, watching her smile up at him as he hovered about the table. “I think that is a wonderful idea.”

“I’m glad you think so,” she said grinning and taking a napkin from a pile on the table, “perhaps I can teach you how to make it properly?”

“I’d love that,” he replied, thinking tenderly of his pathetic first attempt at the dish all those years earlier. Back when he’d been a lovestruck being, not entirely capable of processing the wave of feelings he got every time she was near. He supposed not much had changed, if anything the feelings had grown more intense.

Before Vision had time to further dissect the space about them, the scene changed yet again and he found himself standing in a park whose grass was slightly too green, the colours of the playground a little too bright. The colours lost their saturation around the corners of his view, as though the paintbrush had run out of paint for the edges.

Vision instead turned his attention to the woman walking beside him, her arm tucked into the nook of his elbow as they strolled through the park. He was distinctly aware of Wanda chattering away about their imaginary schedule for the weekend, suggesting a movie the following day at the outdoor cinema with their neighbours and reminding him of the community meeting the following Wednesday.

He smiled softly and listened to her creating this life for them, wishing it into existence. He was content to just hear her speak, to gain this glimpse into a future they clearly both wanted, even if it was just a dream for the time being. It reignited his desire to fight for a shared life with Wanda. The running and hiding had been wearing them both down recently, but it humbled his despair to know that Wanda still longed for this version of life. It made him want to do as much as he could to get them something close to this life.

Vision turned his face to the sun as they walked, relishing in its warmth as glimpses of light made it through the greenery above them. Her hand was a constant on his arm, her voice in his head telling him of all they both wished for, birds providing a background chorus.

His eyes opened once more, smiling as he turned his head to look at Wanda. It took a moment to realise this wasn’t part of the dream, that he had returned to their current reality once more.

It was still dark outside and for a brief moment his heart held onto the hope that time had paused while they dreamt, that it was still evening, but a glance to the digital clock on their bedside table told Vision it was nearing 7am. He was due to get the train at 10am.

Wanda was still curled against his side, her breathing slow and steady, one hand had reached across the covers as they slept, reaching for him. He took it rubbing her cold fingers to warm them up. As he did so, she stirred beside him.

“Wanda,” he murmured to the morning air, brushing her hair off her cheek with gentle touches.

“No,” she whispered back, scrunching her eyes closed causing little tears to leak from the corners. “I didn’t want to wake up.”

“I know,” he said.

“I wanted to stay there.”

“One day.”

Wanda opened her eyes at this and looked up at him, her questions clear. He smiled tightly at her but was sure it came across as something closer to a grimace. Understanding reached her eyes and he nodded sadly, confirming that he’d seen it all too.

“One day,” he repeated, like a promise and she slid her arms around his waist in answer, pulling herself closer to his warmth.

They held each other for as long as they could afford before knowing that they had no other choice than to get ready for their respective departures. With their bags packed, Vision set about making a quick breakfast for Wanda, the same scrambled eggs and bacon she’d made in her dream world. She stayed pressed to his back, her arms wrapped around his waist, as though afraid he’d disappear like her dreams.

At the station they waited at the platform as the train pulled in. Vision hated this part the most, hated that he had to be the one to turn his back first, but Wanda never told him where she was going next, it was to protect them both.

“We will find a way to that home,” he whispered at her ear as they hugged one last time.

“You really think we could have that?” she asked, voicing the question they both seemed too scared to ask all morning.

“I promise to you,” he said holding her hands tightly between them, “that I will do everything in my power to make that life for us.”

She smiled and leant forward to kiss him one more time.

“Travel safe,”

“And you,”

And Vision was leaving again, not knowing when they’d next be able to meet up, or for how long. At least some of his hopelessness had turned to hope in the last few hours, reignited by the knowledge that she longed for the same life he did. Doubt was always following him, and he’d started to wonder if he’d been overstepping where they were at in their relationship, but he could no longer ignore how right it had felt. They’d find a way to that corner of the universe, one day.

#wandavision #wanda x vision #scarletvision #ScarletVision fanfic #visionsofusfics #wholesome domestic stuff but also sad SV #longing for a life they can't have yet #hurts more in the context of WandaVision #but no spoilers or anything

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kob131 · 4 years

Text

youtube

You know Hero Hei, it’s hard to feel sorry for you (or even try to be neutral towards you) when you’re still pulling the same manipulative bullshit.

Shocked face, overexaggerated title, contrasting colors, aggressive language- I’m pretty sure if Trump’s Political ads had thumbnails, they’d looked identical to yours (and I only say Trump because every other politician follows an older version of your formula.)

‘This is a follow-up to Neath Oum’s hitpiece on me-’

There you go again. Hit Piece is defined as a disingenuous article or similar such piece of media designed to turn public opinion against a person. Issue is- this is not a public article, it’s a fucking tweet thread and it’s not made to turn people against you (and consider the replies to his tweet, it wouldn’t even slightly change public opinion of you), it was made to explain why he doesn’t like you.

We can actually see how a hit piece would sound like IN YOUR VIDEO, as Neath forgoes a lot of the manipulative techniques you use in your videos to get an emotional reaction out of his audience before even beginning.

‘I have nothing but respect for Monty Oum-’

Your numerous videos slandering his friends when the man outright told people to stop watching his show for saying one of his friends was a lesser voice actor than two others in ONE instance says otherwise.

‘*insert a bunch of sarcastic stuff here*’

I wouldn’t bitch too much but this video is only 6 minutes and 13 seconds long and about half a minute passes without him saying of substance. And I’m keeping his shit vague because it’s meaningless and just meant to rile his audience up.

‘It won’t negatively affect me at all.’

Cool...and Neath is never shown to intend it too. Here’s the tweet thread that Hero Hei is talking but never sources (https://twitter.com/neath_oum/status/1307345624958812160). Not once does he ever say anything about exposing Hero Hei and ends it by reiterating it’s about explaining his blocking.

Also of note-

Because his lies exacerbate conflict or generate controversy where none existed

Neath says this in his chain. Now consider Hero Hei portraying this as an attack against him...when he never says to spread his thread, use manipulative language like you do or use the attention grapping tactics you do. And now you’re just proving him right when you could have stopped this 40+ second monologue, made a title like “I respond to Neath Oum’s Twitter Thread” and used a different thumbnail.

(Note: I am skipping from 0:37 to 1:22 because at 0:44 he says to skip that segment as it’s a catchup and I’m trying to give him some benefit so I’ll just skip it and assume he gave a neutral recap.)

‘He begins hyping this thread up and being really suspicious and vague about it!’

You mean like what people said about your original video on the subject which you dismissed and mocked them for?

To paraphrase you Hero Hei-

‘Read beyond the first sentence.’

‘In my opinion, this means nothing and so i will not comment on most of this.’

You mean opinion of the target of the so-called ‘hit piece’ who would have every reason to downplay what is being shown. After I having already seen for myself that you’re a damn liar and the very first part of the ‘hit piece’ is talking about how you lie by omission? You clearly do care because you made (an admittedly low effort) video on it and yet you can’t even address it properly? Speaking as someone who has had hit pieces made on him, you’re an idiot.

Also your ‘if you want to read the whole thing, you know where to find it!’ shit is inexcusable. It’s a known fact that audiences likely won’t seek out something that would discredit their subject. They’ll be far more likely to just accept whatever you say, especially if say...their emotions and tribalistic instincts were being played on by portraying Neath as inherently wrong and using emotionally charged language to elicit a certain reaction out of them.

“Most of this stuff is from a year ago anyways!’

Stuff which you yourself bring up before to make and support your points.

‘This isn’t really worth my time, it’s desperate.’

I have literally heard politicians pull this, how is everything out of your mouth killing your credibility?

‘*tries to portray Neath’s beginning statement as aggressive towards people asking for proof* Well I dunno why anyone would be upset you accused someone without proof but okay-’

A. ‘ Finished some stuff earlier than expected. For those who (civilly) asked for info and proof about hero hei, here you go.’

That is Neath’s opening sentence. This is not being aggressive or dismissive or at all negative towards the people asking for proof. I can’t think of a way to be more neutral than this.

B. Funny considering you accused Pedantic Romantic of being a stalker and yet never provided actual proof, just out of context screenshots (effectively lies which is WORSE.) So clearly you don’t care that much.

‘Funny that he says he found additional evidence about this when he retweeted a thread made a month ago by another twiiter user that I debunked in another vide Man this is some worthless stuff.’

Gee Hero Hei, I’ve noticed that you like to portray this as irrelevant without saying why, continuously using those kinds of terms. Kind of like news outlets when bitching about someone they don’t like, all using similar terminology as if to subconsciously reinforce an idea in the viewer’s head. Also funny since those same news outlets ALSO tend to rely on the reader’s bias...

‘See, he even admits that he’s taking this from someone I debunked!’

Well actually, you just pointed out one single mistake that wasn’t connected to their point but sure.

‘This is so lazy Neath!’

Hero hei, you literally just take what other people say and vomit it out- You do the same shit.

‘Animelog is by Toei actually!’

No Hero Hei, it’s not. Toei justed signed up for them. It’s still operated by AnalyzeLog...which is funded by Net 10 ventures, the company Neath CITED.

Benjamin Grubbs is the founder of AnalyzeLog. In 2018, AnalyzeLog was founded with seed funding from U.S. venture capitalist Next10 Ventures. In December 2019 AnalyzeLog Digital struck a deal with Toei Animation. Shogakukan followed Toei animation deal in April 2020, and just last month it signed a collaboration with animation studio Shin Ei Animation, creators of “Doraemon” and “Crayon Shin-Chan”.

‘He tries to compare Toei being a founder of Daisuki to it’s massive investment in AnalyzeLog!’

... Hero Hei. When you found something like a business, you are INVESTING in that business. Jeff Bezos fundamentally invested in Amazon when he started it up because he had to use his own money to make it happen.

... Do you think your audience is brain dead or something?

‘*covers Neath’s screenshot of his video titles*’

Hm, pretty sure that’s the definition of ‘suspect’ Hero Hei.

‘So this vice president of Rooster Teeth did horrible things to his wife and Neath is defending this or something-’

*grabs Hero Hei by the collar*

Nuh uh, you ain’t getting away with that shit.

First, short one about Rooster Teeth, the lies I am talking about were lies of omission. These screenshots show the titles of some of his videos. Titles and screenshots are what drives viewers when deciding what videos to watch. In the titles, he used "Rooster Teeth Vice President". Using "Rooster Teeth Vice President" evokes the image of the second highest ranking person at Rooster Teeth. However, he used "Vice President of Product and Engineering" in the video description, so he knew what the person's full rank was but omitted it from the titles. By seeing the actual rank, viewers would know that the terminated person was not the second highest ranked person at Rooster Teeth. Not including information in a title to give viewers the wrong impression amounts to lies of omission.

Some will argue that he didn't lie since the full rank was given in the description, it's just click bait and no big deal. That's fine but omitting information from the beginning warps first impressions and are still lies, even if small. That said, continue reading for more of his overt lies.

This is the full set of what he said in regards to RT. Notice something? Yeah- HE’S NOT DEFENDING THE MAN. Hero Hei just shoved that shit in. With NOTHING to indicate such a thing...you know other than ‘he dared to speak out against me!’

‘He seems to be complaining about the video title-’

TITLES (multiple) which comes up NUMEORUS times in his thread but sure. And you clearly agree with him since you bitched about his opening thread (just you know, effectively lying about it.)

‘*quotes an out of context sentence from the above quoted set* No I wasn’t trying tyo give people the wrong impression!’

Funny how context CHANGES things, like showcasing Hero Hei lying AGAIN.

‘I didn’t say that because Youtube has a 100 character limit for video titles so i couldn’t fit in!’

Yeah it does have 99 characters in it...

Except here’s the thing: you could have cut 33 characters from it even with inserting ‘of Product and Engineering’ easily.

Rooster Teeth RT Vice PRESIDENT VP of Product and Engineering ARRESTED, allegedly BEAT his WIFE Numerous Times and LAUGHED about it!

There, 66 characters and I made your video title better (by cutting out needless details) and more truthful.

I don’t trust you enough, especially with the shit you’ve already pulled in this video alone.

‘*mocks Neath for bringing up the Vic stuff from over a year ago*’

Hero hei, your channel has permanent ‘ISWV’ merch being advertised.

*doesn’t even bother to address what is said, just mocking the use of names.*

“Neath Oum s-said mean things about me mommy, make the scary man with 2/3rds of my audience stop mommy!’

See how stupid that sounds?

In fact, let’s stop here because he says NOTHING of worth and Hero hei killed his credibility (along with any chance of me even giving him anything beyond basic human respect) at this point.

Considering the very little he DID cover ended up being just shit flinging from him AT BEST- he actually made Neath look pretty damn good. Because HH in comparison really does look like the embodiment of that ‘crying behind a smug face’ meme.

So congrats HH. I actually though the comparison was the result of personal bias against you and felt uncomfortable about. I now see it was entirely DERSERVED...if I choose to ignore how you implied Neath was defending a man BEATING HIS WIFE because he pointed out your clickbait bullshit.

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disappointingyet · 4 years

Text

Da 5 Bloods

Director Spike Lee Stars Delroy Lindo, Clarke Peters, Isiah Whitlock Jr, Norm Lewis, Chadwick Boseman, Jonathan Majors USA 2020 Language English, Vietnamese, French (with English subtitles) 2hrs 34mins Colour (mostly)

Spike Lee goes up river

It’s funny to think now how adrift Spike Lee seemed a few years ago. Let’s go back only as far as 2016, when Chi-raq, after a token release in the US, took a whole year to make it to British cinemas. But then he hadn’t been big news since his triumphant 2006, when he made both a splendid mainstream thriller (Inside Man) and an epic TV documentary (When The Levees Broke). After that, though, little seemed to work, so he got equally critically trashed for a small-scale neighbourhood pic (Red Hook Summer) and unwanted English-language remake of the classic Korean revenge thriller Oldboy.

But Chi-raq turned out to the start of a revival. He updated She’s Gotta Have It as a TV show, and while it has had the odd dud moments, mostly it proved that Lee was aware of the changing times. Then came BlacKKKlansman, a good movie with a great story behind it, and Spike was truly back. And now here’s Da 5 Bloods, surfing in on great reviews and I’m feeling late to the party because I only watched it on the Sunday after its Friday release, and all my friends had already seen it and been asking me what I thought…

…and I have lots of thoughts, appropriately, because this is a long movie that is trying to do a big bunch of things at once, and one that nods to so many things, and – not least – is a movie coming out in June 2020 that features the Black Lives Matter movement. As with Chi-raq, Lee seems determined that no one could accuse him of being under-ambitious.

And yet, after the expected context-setting barrage of documentary footage, we get what could seem the start for a low-key movie: four former GIs return to Vietnam for the first time since the war. This could be an African-American (and hopefully far superior) version of Last Flag Flying, a tale of old friends gathering a final time to share jokes and reluctantly confront their psychic wounds. I think it would be fair to describe that as just one of the movies Lee is making here.

The Bloods are Paul (Delroy Lindo), Otis (Clarke Peters), Melvin (Isiah Whitlock Jr) and Eddie (Norm Lewis). Temptations fans among you will be asking: where’s David? That’s Paul’s son, played by Jonathan Majors (who was in last year’s The Last Black Man In San Francisco), who invites himself along for the ride. The fifth Blood, though, is Stormin’ Norman (Chadwick Boseman), the one who never came back, and whose remains they are hoping to retrieve.

The film hops between the present day, as the guys explore neon-drenched Ho Chi Minh City (Saigon back in the day) and then head up river, and the war, as Norman leads them on a high-risk mission. The river trip is partly played as gentle spoof on Apocalypse Now, with the gun boat replaced by a brightly painted pleasure boat. But any sense of cheery tourism is undercut by Paul’s unchecked PTSD and his tendency to treat Vietnamese people as if the war was still raging (which it is, in his head).

Which makes this a good moment to say that this is one of the least balanced ensemble movies ever. This is Paul’s show all the way: of the other Bloods, Otis gets a chunk of the story, but not much character development, and Melvin and Eddie are strictly in supporting roles. Paul has all the rage, and all the contradictions: although his obsession with Norman, who was a political radical, remains as vivid after half a century, Paul is now a Trump voter. The journey we are on is his as he is forced to deal with all the pain that’s never really left him.

It’s fortunate, then, that Delroy Lindo is up to the task, and increasingly magnetic as the film reaches crisis point deep in country. I had been wondering if the movie was going to pick up momentum as the film ambled past the hour mark, but it does, both in terms of the action but more importantly emotional kick.

Norman is also not a rounded character, but I think that’s deliberate, because what we are seeing is not a real person, but the memory of a fallen leader. The Norman his friends and comrades remember is a super-solidier, a martyr and a political visionary: he sits out in the wild in a palm version of Huey Newton’s chair.* In the battle scenes, the other four are their 2020 versions: I wasn’t entirely sure whether this was deliberate or ineffective de-ageing, but at the end of film they are shown as they would have been back in 1968.

Lee, who has always been a visually minded director, gives us a clear prompt as to which decade we’re in. The flashbacks are in the squarish 1:33:1 aspect ratio (presumably to look like a war most Americans watched on TV) and shot on 16mm film with saturated colours, while the modern day stuff in Ho Chi Minh City is in ultra-widescreen and in crisp digital, and then the jungle scenes are less letterboxy. (There’s also some Super 8). (And, as I mentioned, there’s loads of B&W archive at the start of the film, and some more along the way).

As we get to see him do both here, I’ll say this reinforces my feeling that Lee is better with dancing scenes than gunfights. (I also suspect the war scenes were done on a fairly low budget. It made me think of Werner Herzog’s Rescue Dawn). And he’s always great with solo rants, and good with guys hanging out. The individual Bloods may be underdrawn, but they work as a collective, give the sense that they have shared a lot of intense times together.

There’s a lot of talk, a lot of debate, a lot of information. For all those people who seem suddenly hungry to educate themselves via the medium of cinema, this is a three-course meal, taking in not just race relations in the US but American imperialism, French colonialism, US-French relations, and Vietnam’s capitalist boom time under Communist Party control.

And, of course, the fact that it was the Vietnamese who suffered the most during the war. However, I feel while that’s the message the movie’s dialogue gives us, it’s undercut by the way that the film is shot and the story unfolds, which does (as academics say) ‘Other’ the Vietnamese. Maybe that’s because Paul is so much the centre of the movie, and he never feels safe out here, and as it happens…

Three Vietnamese characters who get more than a line or two: Vinh (Johnny Nguyen), the old men’s guide, and Tiên Luu (Lê Y Lan), a former sex worker who Otis knew back in the day and is now prosperous, and wartime North Vietnamese propaganda broadcaster Hanoi Hannah (Van Veronica Ngo). And there are a handful of other Westerners: Jean Reno (as often) barely even trying as a dodgy Frenchman and three privileged NGO types (Mélanie Thierry plays the one who actually gets to say stuff): they exist for the dual purposes of plot and debate points, rather than being anything approximating human beings.

But this is not their story, it’s Paul’s, and on those terms this is a grand, satifsying piece of cinema, filled with incident and discussion and music, one both bursting with things to say and inventively shot, and built around a towering central performance from Delroy Lindo. You won’t feel short-changed.

*’They shall grow not old, as we that are left grow old…’ etc

(PS: there’s a whole bunch of films this reminded me of, but mentioning many of them would amount to spoilers, so I’m holding off. Feel free to ask).

#spike lee #da 5 bloods #delroy lindo

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michaeldempsey · 4 years

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Being Known is Being Loved

Years ago a friend of mine had a dream about a strange invention; a staircase you could descend deep underground, in which you heard recordings of all the things anyone had ever said about you, both good and bad. The catch was, you had to pass through all the worst things people had said before you could get to the highest compliments at the very bottom. There is no way I would ever make it more than two and a half steps down such a staircase, but I understand its terrible logic: if we want the rewards of being loved, we have to submit to the mortifying ordeal of being known.

- I Know What You Think of Me by Tim Krieder

We have to submit to the mortifying ordeal of being known.

This line, which came from a 2012 New York Times essay, then became a meme in 2018, always has resonated with me. The core idea of the essay could be summarized in an equally as powerful statement brought forth by another Tumblr user:

Being known is being loved.

Both statements frame a visceral feeling that is hard to properly explain but is almost immediately understood in the comfort and complexities of knowing someone, and the emotions that come from that journey.

To know someone is to understand their inner workings. It is to know the foods they hate, the ways they deal with stress, the goals they have, the secrets they keep, the time they spend, and hundreds of other smaller things that define someone, and your journey with them as you get to each other's cores.

If you’ve ever loved someone, Natasha’s writing will make you feel this deeply:

“i know your pizza order” “you have freckles on your ears” “you make this face when you’re tired” “you order green tea on a good day black on a bad day” “you always make that face before you try something” “the tips of your ears turn red when you’re angry” “i knew you’d say something” “you must be exhausted to miss the class” “your favorite pie is pumpkin, right?” “i know your phone number, don’t worry” “you miss me, i can tell” “you fiddle with your pens when you’re bored” “you don’t like converse unless they’re high tops” “your favorite cereal is cinnamon toast crunch and you first ate it when you were 8”

The fog of being known, & volatility

I sometimes think about knowing someone as a Fog of War map. For many parts of someone, there are areas that you uncover and don’t expect to change, ranging from seemingly inconsequential preferences to deeper personal values to lifelong pursuits. And then there are parts of people that do change, and these more volatile areas you have to revisit, check in with, and explore to continually know...and to continually love.

As we uncover more of this map, “mortifying” really is a perfect word to describe how we feel about being known in the 21st century. The satisfaction, emotional exposure, and time investment that comes from being known is non-trivial and high risk. It requires you and another person to embark on a journey together that theoretically is high ROI, but more likely, just high volatility.

Over the past 10 years, a lot of the dynamics have changed surrounding what it means to be known, for better or for worse. Especially this year these dynamics of what we qualify as "knowing" someone has been top of mind for me across both personal and professional contexts.

Our world has turned into one that inflates to a minimum viable aesthetic. We want to show a version of ourselves online that is most attractive, most agreeable, most interesting, and most admirable. Perfect pictures, curated stories, high level tweets designed to garner likes and RTs, and a catering to the masses of our minimum viable audience. This is the seemingly agreed upon dominant strategy whether seeking influence, capital, or something else.

We string together fragments of various selves, but rarely do we see the entire self, because what’s the incentive? There’s just too much risk in being known. By being somewhat known we are effectively minimizing some of the beautiful human volatility I mention a few paragraphs above.

Maximum vulnerability = maximum volatility = maximum upside.

(tweet source)

In investing, higher volatility usually equates to higher possible returns. In today's world of online expression, we settle for lower expected value, market-level outcomes so as to not ruffle any feathers and not take any outsized risk. We're basically hoping to allow people to know us enough so that they include us in their passive index of humans they hold in moderate regard, like that vanguard ETF that their finance friend told them to buy and never think about until they were 60.

As I write that sentence, I think that perhaps we go back to the parable of humans being viewed as commodities or indexes. We can debate this at a societal level but on the professional side, I think this is entirely true within my bubble of venture capital and startups.

When we think about the products that venture capital firms offer the talking points are either the people (which partner do you work with) or the capital. The capital is a commodity today. This pushes seed round dynamics into sprints measured in days in order to get to a decision of who to partner with for the next 7-10 years of your company. One could make the argument that founders should take their time and be more intentional, but let's be real, that isn't net dominant for a founder or their highly optimized process.

As an industry we like to equate picking a co-founder to marriage and draw similar comparisons when picking a lead investor/board member. Despite this, we have yet to figure out the solution for understanding these relationships in a newly compressed timeline outside of social capital (how does an investor reference), shotgun weddings (was great to meet you yesterday, give me the highest price and get out of my way), and brand network effects (firm > people). But this information is sparse and humans are....say it with me...VOLATILE. So you never really know.

This insight is what led various VCs to become content marketing machines in order to increase exposure and surface area. I heavily adapted this playbook early in my career (as many have) and it certainly helps people get to know you...sorta. I should say, it gets people to know a part of you.

And I feel like we've conflated the idea of knowing someone with having an idea of someone. You can't know someone after 9 days (if Kopelman is correct) but you can get maximum context by understanding the corpus of their being on the internet...or at least that's the best attempt I can muster up in my reality.

My reality is that I can't buy my own bullshit/sell my soul enough to tweet out tech proverbs or repurpose old parables for likes. My reality is that I don't have the skill to transactionally aggressively network and I can't sustain the energy from social interactions to exponentially scale deep connections to the tune of 25+ meetings/week I care about. So instead, my only option to be loved is to submit to the mortifying ordeal of being known. To wear my heart on my digital sleeve, a proverbial sleeve that's threads are made up of a sum of all of my writing, social media accounts, in-person interactions, and more, not just a curated feed of minimum viable story filled with dopamine-inducing 280 character lines.

I write about the areas I care about, founders I partner with, my struggles with my industry, my lessons of growing up, my allegories for friendship or love, all to be known. I tweet to be known, I joke to be known, hell I sing to be known.

And in writing this my only goal is to express my disinterest in what passes the bar today for "being known" in our communities, and to ask others to submit to the mortifying ordeal of being known.

So here’s my sleeve where you can start to get to know me. I look forward to descending the staircase together.

(this Image 2x for thumbnail purposes)

#mortifying ordeal of being known #life #vc

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hotshithaxxorbitch · 5 years

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Dirk&Roxy==> Get Engaged

Dirk

Just because you're the new Champion doesn't mean you stop camping with your Pokemon, so it was no surprise Roxy was in the room with the Switch, and that's exactly what Dirk was planning. So it was right on queue when he kicked down the wall from the other side, revealing the secret passage he had been constructing and finished with this dramatic entrance. Clapping dust out of his hands and shaking debris out of his hair, he nodded to them. "Rox, come check this out. I made a passage to the top of the mountain."

Roxy

Roxy was stooped over the switch, eagerly shaking a little feather wand in the face of her sylveon, Peppa. Her trance was interrupted when suddenly a nearby wall literally burst open in front of her. Startled, she let out a shriek, the switch falling into the couch cushions as she moved. Standing in the hole the wall left was Dirk, dusting himself off and asking her to follow him through a mysterious tunnel. Just a day in the life, tbh. "Is this what you've been doin' for the past month? But sure, let's go, give me a minute to throw on clothes, I'm sure it's cold in there." Roxy waved an arm around before ducking into her room. She knew Dirk, and he'd been particularly weird lately, and he was definitely up to something. She was also pretty sure it was about to pay off, whatever the fuck it was, so she wanted to pull herself together. Once she was dressed and presentable and like, wearing shoes, she returned to the common room. "Aye aye, cap'n, let's go."

Dirk

He held out his hand, letting them take hold before he led her up the large tunnel. It was very roughly hewn, an obvious rush job, but very clearly structurally sound and safe. He wasn't nervous, not really. He had planned it out very carefully and had already processed his emotions about the whole thing some time ago. He was confident. "You ever go to the top of the mountain? It'd be even easier for you than me, since you could just phase through and I have to go outside or use one of the other tunnels I made. I go up there sometimes." Well, a lot more real recently, but it was true, sometimes he climbed to the top just to breathe for a bit. It was why he knew around now would be a good time. The lighting was perfect.

Roxy

She followed along beside him, letting him slip his hand into hers as she started up the tunnel. "A few times, yeah, but not in awhile. I don't think I've been up since we really got settled in here."

Dirk

"I like it. It's weird, even though my planet of Sburb was just tall ass buildings, I liked it. Something about being up high calms me down." It was eerie, how easy this stuff rolled out of him. He normally had trouble pushing aside his metaphorical shades. Maybe Roxy has been more of an influence on him than he realized. "You know, this whole mountain thing started out as a massive joke, and also a way to ensure a large and secure base of operations, I keep finding myself decorating it like a home too. You seen the carpet I added to the southern hallways? Shit makes you forget there's nothing but pure hard stones it's so soft."

Roxy

"Well, you did spend your formative years in a big ol' skyscraper above the floods, so I 'spose that makes sense." Roxy smiles up at Dirk, leaning over and popping her hip into his. "Of course it's a home, dummy, we live here. We may be freaky clone babies, and you may like to pretend to be a lifeform that's evolved beyond the need for basic emotions, but we're still regular old pack bond happy humans." She laughed quietly, nodding. "Yeah, that shit is plush."

Dirk

His lips tilted upwards slightly, in what some scientists could possibly argue was technically a smile as he yanked them up a little faster, picking up the pace. "You remember that question you asked a while ago, and I told you we would talk about it later? You know, about marriage and whatever?"

Roxy

Roxy sped up slightly as Dirk tugged on her arm. He was smiling, or at least what passed for smiling for Dirk. "Ah yes, my very eloquently composed response followed by you sayin' "We'll talk later bye" and digitally running out of the room?" She smirked at him playfully, quirking an eyebrow. "Yes, I remember."

Dirk

They finally reached the top, coming out through an admittedly small door. The sun was setting at just the right angle, and the clouds were the right shape to reflect the golds and reds and pinks of the slightly darkening sky. There was a large statue of two people, very obviously Dirk and Roxy but a good nine feet tall. The Dirk figure was looking out at the sky, his face set in Dirk's default (and arguably only) facial expression: stone faced stoicism, which worked quite well in stone. The Roxy figure had a hand on his shoulder and was looking back and down at them, their other hand reaching down as if to invite whoever was looking to join them. Some real sappy and legendary shit, honestly. There was a small box in the palm of the stone Roxy's hand. "My answer's in that." said Dirk, gesturing to said box.

Roxy

Dirk pulled them both up out of the tunnel and up to the mountain's peak, any questions Roxy had about what he'd been up to lately. He'd been carving the top of the mountain into a statue. Of them. Well, that was certainly very Dirk, wasn't it? Sitting in the statue's palm was a small box, which Dirk was gesturing to as he spoke. Logic very clearly dictated what was in that box based on context. Roxy came to a halt, her hands drifting up to hover over her mouth. She was frozen in place, her eyes struck wide. "Dirk..." she stammered quietly "Is this...? Are you...?"

Dirk

Dirk shrugged, gesturing to the box again, his hand on the small of her back. "What, like it would change anything between us? I fully plan on spending the rest of my eternal life with you in it. And if that means doing things like making a big fucking fuss about how we'll always be on our own side, then this party's going to be weird as shit." He pushed her forward, gently. "Just take the box."

Roxy

Roxy stepped forward, glancing back at Dirk, equal parts nervous and curious as she tried to glean literally anything off of his face. Carefully, she picked the box out of the giant stone version of her hand and pulled the lid open.

Dirk

The ring glinted in the burning sunset, the intricate patterns all across the outside resembling electrical circuitry. The gem glowed softly, a deep pink with some sort of light in its center that flickered like a living thing. Handmade every step of the way by the man himself. Dirk had taken off his shades. He took a deep breath, his arms held out to the side lightly as he stood behind her. "Let's get human married, you weirdo."

Roxy

A sound escaped from Roxy, somewhere between a manic giggle and a sob, tears gathering in the corners of her eyes. She nodded, not quite trusting herself to formulate english, or any other languages, in that exact moment. Her eyes flicked from the ring, pink and glowing softly from within, up to Dirk, who had pushed his shades up into his hair to let her see his eyes. Roxy nodded again, her head bobbling rapidly as she did. She held the open ring box towards Dirk. "Put it on for me?" she asked quietly, smiling with watery eyes.

Dirk

He rolled his eyes, but they were smiling more than his lips as he took the ring out of the box, batted said box aside and gently took her hand. He slid it on, like how he'd slipped it on hundreds of times to the exact replica he had made. He'd made sure it would fit perfectly.

Roxy

Roxy grasped Dirk's hands as he made to pull back after slipping the ring on her finger, pulling him back closer to her. She took a moment to look down at their clasped hands, and the pink stone glittering on her ring finger. With her other free hand, she reached up and cupped the side of Dirk's face and grinned at him. "Yeah, let's get human married."

Dirk

There was a rumble in his throat that was in the philosophical range of a laugh or chuckle. He bent forward ever so slightly and pressed his lips to hers.

Roxy

Roxy leaned up, returning Dirk's kiss and burrowing him into him before looking up at him, beaming. "Hey. I love you. Weirdo."

NEW MESSAGES

Dirk

"I know. Me too." He didn't even break the hug, he just lifted her up and started the descent down the mountain again. "It's getting cold, and I have rubble to clean out of the game room."

#plot #closed #we did it kids

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fuse2dx · 4 years

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June '20

Trials of Mana

Maybe not the highest profile remake Square-Enix have put out in recent memory, but one that was pretty exciting for me. I played a fan translation of the Super Famicom original some 20 years ago, so while it's not particularly fresh in my head, there's just enough there to enjoy some infrequent little pangs of nostalgia. The move to 3D has made for some welcome changes to to combat - jumping adds a vertical element to combat that wasn't present before, and enemy specials being clearly telegraphed and avoidable puts a little more control in your hands. There's still a good amount of 16 bit jank though - combo timing feels unreliable, the camera's often a pain, there's plenty of questionable hit detection, and you definitely wouldn't want to leave your fate solely in the hands of your party's AI. Willing to put most of this aside, what actually mattered more to me was that it still had the kind of playful, breezy nature, it looks and plays nicely, and that it progresses at a nice clip. Party selection will change the way you fight moment-to-moment, but only provides minor and very brief deviance from the main storyline, most of which is the kind of schlocky cartoon villainy that will have you looking for a skip button before it would illicit any kind of emotional response. But you know what? Overall, I still enjoyed it a lot.

So while it may not be revolutionising the action RPG, what it does show is that Square-Enix is capable of acknowledging their history of previously untranslated works, and that they also now have a pretty good template for getting a B-tier remake of such titles out in a reasonable timeframe. Where do I send my wish list in to, team?

Sayonara Wild Hearts

As a one-liner found on the back of the box, 'A pop album video game' is about as on-the-nose as it gets. The old "it's not for everyone" adage is definitely applicable, and its defiance of traditional video game metrics is not in any way subtle. How sophisticated is the gameplay? Not particularly. How long is it? Not very. But how does it make you feel? Now you're talking. It presents a simple but deeply relatable story of a broken heart, and leads from there with a catchy tune into a fast and colourful onslaught of new ideas, perspectives, and concepts. That is to say: it has the potential to make you feel all kinds of things.

One especially celebratory note was how well the game is structured to fit into the album structure it boasts about. Stages flow quickly into one another, and while shorter, more compounding numbers are often about introducing new ideas and themes, moving on to the next is a few simple button presses and a brief, well-hidden loading window away. Inevitably there are more standout stages, those that feel like the hit singles; the longer, verse-chorus-verse type joints that grant the space for more fleshed out visual story telling, and that smartly synchronise their percussive hits, soaring vocals and the like to appropriate beats of play. A lot of the gameplay can easily (and cynically) be reduced to "it's an endless runner", but to liken this to a cheap re-skin of a confirmed hit-maker is to wilfully dismiss so much of what it does better and so much beside. You can play it on damn near everything, and for the time it takes, it's well worth doing.

Twinkle Star Sprites

I've meant to play this countless times before. I've almost certainly passed it by while strolling through arcades, the Saturn version has never been hoovered up into my collection, and the PS2 collection this particular version belongs to - ADK Damashii - is no longer a cheap addition to anyone's library. The digital version of it for PS4 however was however recently on sale at a point that saw me receive change from a fiver. David Dickinson would be proud.

Having now credit-fed my way through the game's brief arcade mode, there's no doubt in my mind that the nuance of its systems are going to be glossed over in this rather ham-fisted appraisal. At least at face value, there's plenty of character and charm to appreciate in its colourful and cutesy style. As a two-player, vertically split-screen title, its a pretty clean break from a lot of a shooter's typical characteristics - rather than 6(ish) stages of hell, its a series of one on one battles - and all the better suited to 2 players for it. As enemy waves come at you, taking them out in chains can generate attacks to the other player; however if these attacks are too small then it's entirely possible they'll be killed off again, and an even bigger attack will come straight back at you. Think of a bit like competitive Tetris, but with shooting rather than puzzling. It's a neat and curious little game, that's likely best experienced properly, with a friend on the other side of the sofa to hurl abuse at.

Blasphemous

Let's get the lazy-but-effective description out of the way: it's a 2D MetroidVania Souls-like. You've got "that" type of map, definitely-not-bonfires and definitely-not-Estus Flasks. You are encouraged to return to your body upon death, the combat system is very reliant on parries and dodge-rolls, and there's even a dedicated "lore" button to use on every item you pick up.

While this likely sounds dismissive, it's more about addressing the elephant in the room. To give some context, these are both types of games that I love, and the end product here has done a pretty good job of bringing them together. The exploration is pleasantly open - gatekeeping is typically done less by specific items and abilities, and more by just which areas you're brave enough to poke your head into. It's a little bit of a shame that most of the new abilities have to be switched out for others rather than adding to a core arsenal of moves, but at the same time its base setup gives you plenty of ways to deal with any number of combat scenarios. This is of course best demonstrated by the boss encounters, which are wonderful affairs - big, gruesome, thoughtful variations on approaches to combat, which drop in at a nice pace to keep you from ever getting too cocky. The theming in general is wonderful, and the name is certainly appropriate - there's a lot of deep catholic inspiration in its gorgeous backdrops and environments, but then layered on top are some chilling elements of religious iconography, along with a cast of disturbing devotees and martyrs to sufficiently unsettle you. It's arguably a small intersection of the gaming population that it'll appeal to, but if you're in there, it's a real treat.

Death Come True

The first thing you see upon starting is the game's central character breaking right through the fourth wall to tell you directly not to stream the game or to share anything that might spoil the story. The first rule of Death Come True, and so on. I consider myself fairly well versed in such etiquette, so to then have the screenshot function entirely disabled for the whole game felt a little like being given a slap on the wrists for a crime I had no intention of committing. I don't envy the team trying to market it, that's for sure.

The reasoning behind this is clear at least - it's a game that is in total service of its plot. Consider a mash-up of a 'Choose your own adventure' book and a series of full-motion videos, and you're mostly there. Unless you were to walk away from the controller or perhaps fall asleep, there seems very little chance that your play time will deviate from the 3 hour estimate - which will certainly put some people off, but is understandable given the production values, and personally, quite welcome in the first place. In terms of replay value, there are branching paths that a single route will obviously skip: as an example of this, in looking up a screenshot to use in lieu of taking my own, I found a promotional image of the central cast, only to not recognise one of them at all. One thing that such a short run-time does ensure though, is that minute-for-minute, there's plenty of action; without wanting to speak about the story itself (rather than in fear of reprise for doing so, I might add), it kicks off with plenty of intrigue, shortly thereafter switching to full-on action, and then strikes a pretty fine balancing act between the two for its run time. It doesn't get quite as deep or as complex as I would've hoped given the team's pedigree, but I do like it, and think it'd actually be a pretty fun title to play with folks who normally don't concern themselves with games. By the same token, it's probably not for the 'hardcore' types looking for something to string out over dozens of hours.

Persona 5: Dancing in Starlight

After the generous main course that was Persona 5 Royal, I figured that I'd follow up with dessert. I did however wait until a weekend where I knew my girlfriend would be away, so as not to trigger any unpleasant flashbacks to looped battle themes, and the chirpy, indecipherable voices of Japanese schoolkids that made it so painful to endure as a non-gaming cohabitant.

Immediately, it's clear that very little has changed since Persona 4's take on the rhythm action genre. The core game, while still functional and fairly enjoyable, hasn't changed a lick. Perhaps the most notable improvement to the package as a whole is in scaling back on a dedicated story mode, and instead just having a series of uninspired but far less time-consuming set of social link scenes that pad things out. The biggest flaw is repeated wholesale though, in that trying to stretch out noteworthy tracks from a single game's playlist into a dedicated music game leads to repetition - and there is a much less prolific gathering of artists involved in remixes this time. I'd be willing to wager that it's a very similar story once again with Persona 3: Dancing in Moonlight, but I'm not about to ruin a perfectly good dinner to start with the sweet just to find out, if you'll excuse a second outing of the metaphor. Still, again compare these to Theatrhythm though - where Square-Enix plundered the Final Fantasy series in its entirety, along with spin-offs and other standalone titles to put together a library of music worthy for the one single game. Cobble the tunes from Personas 3-5 together into one game, and you're still coming up very short by comparison.

#trials of mana #seiken densetsu 3 #sayonara wild hearts #twinkle star sprites #blasphemous #death come true #persona 5 dancing in starlight

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docfuture · 5 years

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Princess, part 1

[This story is a prequel, set several years before The Fall of Doc Future, when Flicker is 16. There are a few minor changes in continuity from the serialized versions of Fall and Skybreaker's Call, for reasons explained here (spoilers if you haven't read Fall and Call.) Link to the latest chapter of The Maker’s Ark is here, and links to some of my other work are here. Planning to update this at least once a week until it's done--next update is set to be up by October 19th.]

When Flicker had formally started her career as a superhero, Doc Future had expressed reservations about her ability in two areas. Not her power, technique, knowledge, or motivation, but two mundane, almost trivial seeming skills. Flicker hadn't thought they would cause any major problems. They did. The skills were triage and pacing. What to prioritize when she couldn't get to everything, when to stop, and when not to even go on call for the day because she hadn't recovered enough yet. For someone who could respond to any emergency, anywhere in the world, they were essential. She'd eventually dealt with the triage issue by setting general priorities and letting Doc's Database handle the rest--because that let her concentrate on pacing. Which was still a problem. One that was manageable, but not always well managed. Because knowing that people somewhere were dying or getting hurt because she wasn't willing or able to push just a little further... bothered her. A lot. The problem wasn't a lack of time--she couldn't literally make time, but she could sure stretch it. She could think at up to a million times human subjective speed, and move even faster. But she eventually needed to slow down again to stay sane. So her bottlenecks were the things she couldn't speed through, like long-term memory organization and biological recovery. She still pushed--she was fast at them by human standards. By her own, she was glacially slow. And biological recovery--downtime while body and brain chemistry caught up with everything she'd done at speed--often felt like shirking responsibility, even when she desperately needed it. She'd finished her active patrol shift for the day after hitting her stop threshold. She'd saved lives. That helped a little. The estimated number of lives she saved had three digits. That helped a little, too. Neither of those helped as much as it hurt that the number was smaller than yesterday. But she'd learned; keep pushing too long and her judgement and health suffered. There were other things she needed to learn, too. Continuing her education was one of the few things that let her recover at human speed without feeling guilty, and she had access to Doc's Database, which was, among other things, the best reference library in the world. So Flicker had picked up a wide and detailed, if idiosyncratic, base of knowledge. Learning and recovery were what she was doing now. While on disaster watch, because her sense of duty wouldn't let her ignore the world's problems completely. That was an occupational hazard for superheroes. She was reading and tracing references on some subjects she found interesting, though not particularly pleasant. Which felt appropriate, because her new Database threshold algorithm wasn't very pleasant either. But it let her help with the worst events even when she was on the ragged edge of burnout. She needed the structure, otherwise she wouldn't reliably stop; it was too easy to keep going down the global incident priority list from the Database doing 'just one more thing'. There were always more things--her speed and the Database's realtime intel gathering and analysis meant she could intervene in a significant chunk of all accidents, fires, industrial mishaps, and assorted violence in the world. And wipe herself out in ten minutes. So limits were necessary. As was what she was learning. ***** Two days ago... "Doc, I need advice on my next research topic," said Flicker. "It's practical, not academic. And I got several Database warnings and an advisory about where I was going to start." Doc Future put down the scanner and pushed his goggles up on his forehead. They were in his lab. It was cluttered, as it usually was when he was working. They had their differences, but Doc always made time for her sudden interruptions, and his suggestions were often helpful. And he rarely tried to push any topic that wasn't vital. Flicker didn't know if that was what normal humans needed in a parent, but it was what she needed. "An advisory? What topic?" he asked. "Politics," said Flicker. "I've screwed up too much because I don't understand it, and I haven't learned better because I dislike it. But I need to." "Reasonable," said Doc. "The advisory was to talk to you if you had time. I did a Database search for a good book to start learning the foundations of applied political science from, and got a list of suggestions. And I did another search for useful guides for someone who has power but is still naive and doesn't want to get people killed out of ignorance. And I got another list." Flicker paused. "One book was on both lists. And the first warning was about the importance of context, proper translation, and annotations." "One moment," said Doc. Then, to the air: "Database, command, pizza and drinks, break room." "Acknowledged," came from the nearest lab speaker. "Um," said Flicker. "You don't need to drop everything--" "Priorities," said Doc. He shut down the scanner and a data recorder, then headed for the door. Flicker frowned. "How did you know I skipped lunch?" Doc smiled crookedly. "I didn't. But there will be enough for both of us."

"How is your pacing management going?" asked Doc, after his first slice of pizza. "It's okay when I spend at least some time working with Jetgirl or Journeyman. But she hit a long run of stuff I couldn't help with, then went on vacation, and Journeyman has been away dealing with that interdimensional magician thing again." Flicker looked away. "I had to do something about that fire in Lagos. There wasn't anyone else; Virago was in Sudan, the Saharan was in Mali, and the fire department was stuck in traffic. I trashed the building, but it all would have burned anyway, and I got the people out, so..." She stopped and took a breath before starting again. "Yeah. Pacing is still a problem. I set the off-duty interrupt thresholds even higher. I hate doing it, though. It feels like turning my back on the world--I get this angry helpless feeling. Like the last time I tried to study how politics works. But if I'm feeling that way anyway, I might as well deal with something important that I've been avoiding." "I've been known to do that," said Doc. "Jumping Spider calls it cage match coping. Not ideal, but..." "But we don't live in an ideal world," she finished. Doc's standard response to her unanswerable 'but why' questions when she was younger. "So, what's special about this book? Other than the fact that the author's name has become a synonym for scheming?" "Well," said Doc, "you were going to run into it eventually, because I encouraged you to consult historical sources if they're useful. The Prince is still germane in ways Newton's Principia is not, it's far shorter and more readable, and it was written colloquially, in the style of a guide. Machiavelli had personal, directly relevant experience--and a dark sense of humor. But it's been five hundred years. You do need that context. Also, later reactions to it by others, and their distortions of it, can be illuminating." "You seem to know a lot about it," said Flicker. "Yes." Doc waited for Flicker to finish a slice of pizza before continuing. "Given your current stressors, I'd like to test something, if you're up for it." "Possibly..." "You've mentioned occasionally your frustration with my reluctance to conduct further experiments involving your high speed mind." "Yeah. I get the dangerous part, but ignorance is dangerous, too." "There are always tradeoffs," said Doc. "So I'd like you to speed up, skim The Prince--skip the background and any translator editorializing for now--summarize your impressions, then slow back down and compare them with your normal speed reaction." "I won't retain much more than the summary unless I reread it at normal speed." "You were going to do that anyway. And it's short." "Okay." Flicker sped up, loaded the book into her visor, linked it to the virtual keyboard interface in the gloves of her costume, and started reading. "Yuck," she said after finishing and slowing down. "Gratuitous misogyny right near the end. That was obnoxious." "Yes. Welcome to a primary source from the Renaissance," said Doc. "Any reaction discrepancy?" "No, it was yuck at high speed, and still yuck when I slowed down. Initial impressions... The book reads like an overly wordy 'Dictatorship for Dummies'. I found it kind of uneven. The case studies of unpleasant stuff that worked, at least for a while, were interesting. Sounded like he was arguing against people who said it wouldn't. His advice about things you shouldn't do was a lot more convincing than most of his advice about what you should do instead--there were some pretty dubious generalizations. He seemed a lot better at specific topics where he had evidence--I liked that his advice about building fortresses was basically 'It depends'. Some of his generalizations were pretty good, though; sociological rules that seem obvious." "They weren't obvious when he wrote about them." "Ah. There was one part where I think he was trolling, but I don't know who." "What was that?" "Well, there was this long sentence with eleven conditionals over whether you should use this one guy as an example. Sounded like Machiavelli was trolling people who didn't like the guy." "He was known to troll. But I believe the passage in question was driving home the point that you should not ignore evidence, even if it was generated by someone you don't like. He was quite aware his views would annoy people. It's also worth noting that The Prince was a work in progress, and not published during his lifetime. It's not clear how close the versions we have are to what he intended to be final. He died rather suddenly." Doc took a sip of coffee and studied her. "How coordinated was your normal speed reaction with your high speed one?" "Pretty well. As much as with anything else. So... What does that tell you? What were you testing?" "Whether there were any warning signs of ethical inconsistency between the two parts of your mind. Reading The Prince for the first time was an opportunity to test for that." Flicker frowned. "But it's not about ethics, it's about how to succeed as an autocrat. It's notably ethics-free. I thought that was the point?" "Well, your consistency is a good sign." Doc paused, with the look he got when he was estimating how long a lecture she'd be willing to sit still for. "Go ahead," she said. "You think this is important, and I already expected it to be unpleasant. And we have food. I'm not going anywhere unless a crisis alarm hits." Doc snorted. "All right. Keep in mind that this is my summary, based on my own experience and judgement, and I'm leaving out a lot." "Granted. Go." "The Prince was written as a how-to book, and rather bluntly pointed out problems with trying to base political actions on any then-current dogma or ethical systems. That was implicitly a new ethical position, and very controversial. Before Machiavelli, there were two main families of ethics in Western philosophy--deontology and virtue ethics. After him, there were three, although there was quite a bit of thrashing around while various versions of the new one got elaborated and argued about. You didn't notice the ethics in The Prince because it's a consequentialist book, you were educated as a consequentialist, and you're more likely to spot things you disagree with when skimming." Flicker sighed. "I understand consequentialism, but those others only seem to get talked about in connection with philosophy or religion, and the signal to noise ratio of that stuff is so low." "That is a problem, yes," said Doc. "Wild oversimplification incoming. Something bad happens because someone screwed up. What's their excuse?" He waved a hand. "If they say 'I meant well', they're appealing to virtue ethics. If they say 'I followed the rules', that's deontology. And if they say 'My plan failed', that's consequentialism." "Ahh. Now that's useful. I wish... Hang on." She frowned again, then sped up to think and check some references in the Database. It was a long subjective time before she slowed down again. "I think I have an ethical problem. Several problems. I'm not sure if they're ethical, but they are problems. Is the Volunteer a deontologist?" "You could ask him." "Doc." "It's not a trivial question to answer. His views have evolved. He was raised as one, just like he was raised as a human. He does have certain fixed principles, but he considers taking consequences into account as a moral imperative." Doc smiled. "Complicates the categories a bit. And he doesn't expect people to try to emulate everything he does. If nothing else, because most people aren't bulletproof and can't fly." "Here's the problem," said Flicker. "I learned ethics from you, and you're a consequentialist. But I've been using him as a moral example. I assumed that was okay because you get along. Now, maybe not so much. Is it?" "I thought it was likely to require adjustments on your part as you grew up. I also thought you'd talk to one of us if it became a problem. You weren't particularly receptive to theoretical ethics discussion, so I focused on more immediate concerns. Like discouraging any tendencies you might have towards impulsive mass destruction." "Yeah." Flicker looked down. "Can deontology, like... sneak up on you? Can rules that you started using for practical reasons or because you thought they were good fallbacks start acquiring moral baggage without you realizing it?" "Oh yes. Happens all the time. Rules are easy to teach, easy to learn, and easy to reinforce. And most people learn some form of rule-based morality as children, so it's familiar. That's one reason that the Volunteer is so careful about what he says. A lot of people look up to him, but others have been trying to twist the meaning of what he does to fit their own agenda since... Well, it started to get bad in the fifties, and has never really gotten better." "You didn't teach me that way. Your rules always came with explanations. Or even stories. And I could use the Database scenario analyzer to explore just why something would be bad." Doc nodded. "You were an extreme case. I didn't see any alternative to teaching you consequentialism as soon as we could reliably communicate, because of the amount of power you have. Database access and your ability to speed up to think helped make it more practical. And I think, based on your negative reaction to external rules without what you view as adequate justification, that somewhere in your missing memories prior to age nine, someone, or several someones, tried to impose a rule system on you." "Yeah..." Flicker watched the server bot refill her pop and add an ice cube as she thought. "But when I come up with the rule myself, like by watching the Volunteer, and it matches my consequence evaluation enough, I start just accepting it. And if it involves an emotional reaction when I'm at human speed, but consequences that are hard to evaluate fully without speeding up, it seems to sometimes pick up a moral value; I feel guilty if I try to ignore it. I think that's why the feeling that I'm not doing my duty if I don't help out somewhere every day, even if I'm wiped, is so hard to shake." "That's plausible. It may be a consequence of whatever mechanism synchronizes moral judgement between the two parts of your mind; that's why I wanted to check on it." Flicker looked back at him. "Is this book likely to make my problems worse?" "I don't think so." Doc scratched his chin. "But I do think your history and judgement synchronization are likely to be partly responsible for why you find reading about or discussing politics or ethics so unpleasant." "Great. I really wish I could talk to a human psychologist without putting a huge target on their back." "Unlikely after what happened during the Lost Years. And for any remotely safe intervention, they would need either training in a specialty that doesn't exist or years of experience with you." "I'd settle for a smart generalist with personal experience in human emulation. But that rules out most humans. And I can't do a real Database search for one because of the privacy restrictions." "The Database is frightening enough even with those restrictions. But..." Doc frowned and tapped at his handcomp. "There, I set up a Database thread to analyze what a minimally intrusive search for someone appropriate for you to talk to might look like. You'd need to think carefully about what you're looking for, and you wouldn't be able to access any of the raw data or decision process, even by override. It still might not be practical. You can discuss it with the Database integrity AI." "Okay. I'll talk to DASI about it." Doc strongly disapproved of anthropomorphization of the Database. But he was willing to let Flicker talk to DASI--the Database Algorithm Security and Integrity AI--for mental health reasons, so she was careful to maintain the distinction. Doc started on another slice of pizza, and Flicker leaned back in her chair. "In the meantime," she said, "I'll do a proper read of The Prince, and context on Machiavelli, and see if I can figure out why a consequentialist would write a handbook for autocrats." Another crooked smile from Doc. "He liked Florence a lot." ***** Now. Flicker had found the book and background material sometimes jarring and often depressing. But it wasn't boring, and a few bits were full of insight. Like: "...how one lives is so far distant from how one ought to live, that he who neglects what is done for what ought to be done, sooner effects his ruin than his preservation; for a man who wishes to act entirely up to his professions of virtue soon meets with what destroys him among so much that is evil." She did not understand how anyone could interpret that as 'The end justifies the means'. But a lot of people apparently had. Flicker saw it as making clear that neither the world, nor people, nor you, were perfect, and if you didn't pay attention to that you were going to get in trouble--but it didn't justify anything. You needed to get that somewhere else, if at all. She wondered if any of the superheroes who died during the Lost Years had thought that acknowledging imperfection was equivalent to abandoning their principles. She jumped back to a passage she'd read over and over. Superheroes weren't political leaders, but there was definitely something there. Still, it seemed a little... off. "Upon this a question arises: whether it be better to be loved than feared or feared than loved? It may be answered that one should wish to be both, but, because it is difficult to unite them in one person, it is much safer to be feared than loved, when, of the two, either must be dispensed with." Flicker wasn't sure about that. The Volunteer was loved a lot and feared a little. Virago and Nighthaunt were both feared a lot and loved a little. All were successful, in different ways. But safety didn't mean the same thing to her as it did to Machiavelli, and she wasn't sure how much that mattered. She was still thinking about that when a special alarm flashed. Flicker was off-duty, and still at Yellow endurance status--she hadn't fully recovered from her most recent shift. But she had a short list of personal priority interrupts for the Database. At the top was 'reckless speedster'. And a crisis analysis appeared on her visor, right after the alarm: Event: Shockwave generation. Building, infrastructure, and vehicle damage. Probable injuries, potentially life-threatening. Location: Rome, Italy. Tags: Severe, ongoing, casualties, assessment lag. Cause (extrapolated): 83%: Hermes. 14%: Unknown speedster. 3%: Other. Flicker was already in costume, and had sped up her mind. Now she sped up her body and virtual typed a response. Database, command, assign event cause neutralization to me. Alert Doc, Box crisis intake, local emergency response, Interpol. Start continuous updates by available channels, breadth over depth, cascading priority interrupts. Acknowledged. She sent further queries, ones that would take longer for the Database to answer, as she headed for the equipment bay. Duty called.

Next: Part 2

#FallofDocFuture #FallMisc

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hexadecimalmantis · 5 years

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Argonaut Games Research

This post was originally going to be an absurdly long documentary video, but I realized it would have been a bit boring, so I ultimately decided on making a glorified blog post.

When I joined BioMedia Project last year, I was tasked with researching Bionicle: The Game and its sequel Bionicle 2: City of Legends. I have talked about both games in great detail many times before, and I think we all know about the issues that plague both of them by now. Bionicle: The Game is seemingly incomplete, and filled with content that was cut early on, and Bionicle 2: City of Legends never made it past a private movement demo. For context about Bionicle 2: BioMedia Project managed to obtain an Xbox build of the movement demo a few years ago. It has a few issues, such as broken audio and some missing graphical effects. I began reaching out to former developers in an effort to piece together the entire story of Argonaut Games, and uncover more secrets about both games. (Initially) With the assistance of Liam Robertson of DidYouKnowGaming?, I began contacting some of the developers. For those of you that are unfamiliar, Argonaut Games was split into two different facilities during the development of Bionicle: The Game. The first being Argonaut London, and the second was Argonaut Sheffield. I decided to reach out to the former developers from the London branch first. I initially didn’t get any replies, but I remained persistent. After waiting a few weeks, I eventually I got a reply from a former artist. Keep in mind that personal details about the former developers I contacted will be expunged in order to protect their identities and to prevent harassment and spam.

This is the first message I received after I inquired about Bionicle: The Game:

“Hi, yes I was lead artist on Bionicle. I'd say that it was a game that we cared a lot about, and to be honest we had high hopes for, at least initially. As always with game dev there wasn't just one cause of the games problems, but probably the biggest was we fell in love with the games setting and bit off far more than we could chew. We should have started with far more cautious goals, but we wanted to tell the whole story. I'm surprised if there was that much unused content on the disc TBH but the original scope of the game is definitely visible in naming conventions etc. we had intended each character to have toa levels and toa nuva (if thats the right term?) their powered up versions - before adding the 7th. Given that they have different abilities that was a huge ask of the team.

(Redacted)”

This message was about what I expected, the devs were a bit too ambitious and were unable to complete their ideas during the given development time. I later asked about the developer signatures stored within the BIGB archives, and asked them if they had worked on any of the Kopaka areas, since I found their signature within a subset of those files:

“the 'signatures' probably just refer to the designers - which is a relatively small subset of the team as a whole. I oversaw the project from an art perspective, so characters env, frontend etc then I ended up doing some animation work on the bull, onua, the weird door thing. I didn't work on Kopaka - that work was done up in Sheffield, I used to visit their studio to review stuff & sign it off.”

I’m sure the Bull was probably the Kane-Ra seen in Onua Nuva’s level. There are some pre-release trailers that show a Kane-Ra attacking the player with unique animations too. After that, I asked him about Argonaut Sheffield and their work on Bionicle 2: City of Legends. To my surprise, I got this:

“No, I didn't I thought they were disbanded alongside Argo”

This essentially meant that nobody from Argonaut London was aware of the development of Bionicle 2: City of Legends. With this information, it was easy to conclude that Bionicle 2 was created solely by Argonaut Sheffield as speculated. After failing to get more replies from former developers from Argonaut London, I shifted my focus to Argonaut Sheffield, intrigued by the messages I received from the former artist.

After a bit of waiting, I got a reply from another former artist.

“Hi,

Yes, I worked on Bionicle as a character artist along side artist (redacted). He was my mentor back then as it was my first industry job. I think we modelled about 130 odd characters/modular models back then between us. The character concepts we're drawn up by (redacted).

Argonaut Sheffield was previously Particle Systems who made I-War, the PC Sci Fi game and some other iterations. It was a technically adept small team and great to work with. I didn't have much to do with the London branch. We went on to try and make some failed movie tie-ins alongside them at a later date. Catwoman, Zorro, Star Wars, Charlie And The Chocolate Factory and also Bionicle 2.. which was going to be a fluid parkour type platformer. Which never materialised as after being there just shy of two years, London shut us down.

I'm actually working back in the offices where it all happened now. Which seems strange. I did work at Sumo Digital as a lead Char artist for ten years in between. I know there's a basement full of hard drives still here as one of the old directors still rents some space here.

(redacted)

Hope this helps.

Cheers,

(redacted)”

I received concept art for both Bionicle: The Game and Bionicle 2: City of Legends in this message. The art was later posted on my Twitter: https://twitter.com/HexMantis/status/1099883979942084608

Aside from the plethora of art, this message provided some insight about how Argonaut Sheffield came to be. It was previously known as Particle Systems before it assimilated into Argonaut Games. After this exchange, I reached out to a former programmer from Argonaut Sheffield. This time I provided a set of questions for the developer to answer in an effort to obtain specific information. After waiting for nearly a month, I got a reply:

The questions I asked will be enclosed within [ ] to avoid confusion.

“Hey!

There's some incomplete credits here (redacted)

but you could try contacting (redacted) as he was the lead programmer there. He used to work at PKR too, also owned by (redacted).

(redacted)

[Asked about the main development platform for the games]

1) Yep it was PS2. The PS2 version was handled by Argonaut Edgeware and programmers in Sheffield did ports for the other platforms

[Asked about the cut content from Bionicle: The Game]

2) Sorry, I wasn't involved with that bit. I was responsible for adding the hyper threading features on the PC (redacted)

[Asked about interactions with the London branch]

3) Yep, we worked together on it. Designers and Artists in Sheffield were working on assets for the main game.

[Asked about I-Ninja’s compatibility with Bionicle: The Game]

4) I think they should be compatible with each other. I-ninja came out a bit later though.

[Asked about Bionicle 2: City of Legends]

5) Maybe, not sure as it was a long time ago and I then moved to the Edgeware studio. If they did I guess it was just a prototype for a pitch

Good luck with your fact finding!“

I later asked if they knew of any early builds of either game, and I got this reply:

“Hey!

Sorry for the late reply. I believe everything was archived by Argonaut and EA. I'm not sure if anyone archived it personally at Argonaut or not but there were a lot of people working on it. They created archive PCs with everything you need to make the game from the source assets.

Thanks,

(redacted)”

The concept of the supposed “archive PCs” was interesting, but I doubt any of them are still around after all this time. After this, I contacted another former programmer from Argonaut Sheffield. This time with a focus on Bionicle 2: City of Legends:

“Hi William, I must admit, I'm curious where you found my name in the demo. Do you have a source code drop to go with it, or did I leave my name in an error message in the binary package itself?

Either way, yes I did work on the demo, albeit briefly. The engine the demo is built on is largely the same engine used in Bionicle (the original PS2/Xbox/PC game), Catwoman, and I-Ninja. It has an older pedigree than that too, but those were the games it was used on while Argonaut Sheffield was part of the Argonaut group. I was one of the programmers who ported the engine over to PC & Xbox for the original Bionicle, which is why I was involved in the demo in some capacity.

I'm still in touch with a lot of the designers who worked on the movement demo; the lead designer, (redacted), has said that I can pass on his contact details if you'd like to get in touch with him. You can contact him at (redacted).

Cheers,

(redacted)”

I was not surprised to get confirmation that Bionicle 2 used the same engine as Bionicle: The Game, since most of my existing programs I wrote for Bionicle: The Game were compatible with the Xbox demo. I asked if a PS2 port of Bionicle 2: City of Legends ever existed, since the Xbox demo we have has DualShock button mappings present in the game:

“Ah, I'll bet that's because I'll have compiled and built the disc image, so it's embedded my PC's name into the image. The level select would have just been for test levels where I was looking at specific bugs, performance problems or new features.

I really can't remember if we did PS2 or PC builds of the demo, other than the development binaries the design team would have been using. It's unlikely we'll have done a full ISO for the PS2, because the spiders caused real performance problems and we'd have wanted to show it to the publishers on the fastest available hardware.

By the way, the Xbox version will have reference to PS2 hardware because the original engine was PS2 only. The easiest way to port the engine was to, as far as possible, just get the Xbox and PC versions to pretend they were doing exactly the same thing as the PS2. For example, the game scripts don't need to know that when they get a button press from Cross or Circle, they're actually getting button presses from A or B. So although the names are going to be PS2-centric, they're still doing Xbox specific stuff.”

I was surprised to find out that the Morbuzakh Spiders were the primary reason for shifting Bionicle 2 to the original Xbox. I guess it makes sense, given how little time Argonaut Sheffield had to optimize the game. Switching to the original Xbox appeared to be a quick and easy way to avoid the hassle of optimization.

I later asked about the audio issues present in the Xbox demo, and for some general information about Bionicle: The Game.

“Hi William,

I'm afraid I've got no idea why the demo would be silent - it's been far too many years for me to remember the exact details, and I have no idea which version of the demo is the one which has been circulated. The full code for the audio system will have been present, because it was just a continuation of the engine used on Bionicle, and I'm sure the designers would have had at least some placeholder audio to hook up.

Audio is habitually the last thing to get hooked up in any game development, and since most developers prefer to have a silent build and listen to their own music while they work, it's not unusual for it either to be neglected in early internal builds, or for it to have been hacked to be silent (assuming the demo was one built locally rather than for showing to a publisher).

In terms of the development situation on Bionicle, although we weren't directly in the body of main developers, I think most of us were aware that the game wasn't progressing as well as it should. As well as the code team doing the porting work, our design and art teams were making the 'adrenaline levels' - which were the short lava/ice/tree surfing levels. They were only supposed to be short breaks between much larger levels, but it became increasingly obvious towards the end that these relatively small levels were still a large percentage of the actual content, and the other larger levels weren't coming online as fast as they should. QA in particular do full play-throughs on a regular basis, so they have a very good view of how fast the game as a whole is coming together.

I'm not 100% sure on all of the reasons for the delays in development, having been a relatively junior developer in a satellite studio at the time, but the reasons discussed at the time with leads and producers are fairly common ones that I've seen and heard about on other projects since. Inexperienced publishers or IP holders who haven't worked with game developers before often don't understand the lead times involved in producing content.

It's very hard to explain to customers who are used to working with companies like advertising agencies, who can turn around a complete change of direction in a matter of days, that you need to make and lock down decisions months or even years in advance. I think the penny finally dropped for Lego about three months out from submission that if they kept holding up approvals and kept requesting changes, they weren't going to get any game at all on the shelves - which of course meant we all had to crunch like hell to get the content in good enough shape to ship!

Cheers,”

An example of the aforementioned “Adrenaline sections” is the Tahu Nuva level from Bionicle: The Game. This level is actually internally named “Ta Adrenaline” as well. It’s obvious at this point that Tahu Nuva was originally going to have more than just surfing sections in his level, given the evidence in this message and the fact that he has a full set of unused walking animations.

I eventually contacted the designer mentioned by the former programmer, and got a reply after a month. (This designer was kind enough to restate my questions in his message):

“Hey,

I'm so sorry it's taken so long to get back to you. I was launching a game and I completely forgot about this.

1. What was your role as a designer like when working on both games? What kind of work did you do?

I was lead designer at Argonaut Sheffield, and we were brought in to help out on Bionicle the Game. We were responsible for what was known internally as "the adrenaline sections". The game was split into third person. exploration and combat levels (which were developed by the main Argonaut office in London), and the fast moving on rails sections that we created. As well as leading the team on these sections I was directly involved in the Tahu Nuva Boss Race near the end of the game.

2. Were you aware of content being cut or removed when working on Bionicle: The Game? Did you work on anything that didn't make the cut?

Like with any game there's work that involved that never sees the light of day. There were a lot of changes to the design over time, sometimes for practical reasons, other times because Lego wanted them. I seem to recall that in the original design you would play as each Toa normally and each one again in their Nuva form in large open levels - with the platform adventure and the adrenaline sections seamlessly blending into each other. Quite soon after we were brought into the project a much clearer separation was made between the two, but I'm sure there was lots of the preparatory work for that ended up on the disc.

3. Do you know if any other character models aside from Matau (The green character) were created for Bionicle 2?

No other characters were made for that demo. I think we had a matter of weeks and everything had to be done very quickly. That build represents a build that we sent to Lego (And Giant who eventually became TT Games) for approval and hopefully for more funding for the company. And we spent a lot of time agreeing the visual look of the character, as it was very different from what we'd done in the first game.

The work done on Bionicle 2 was entirely done up in Sheffield so we had a lot more control over the content. We knew that the Bionicle audience was getting older, and their gaming needs were becoming more sophisticated and we wanted to do something that would appeal both to that audience and be an interesting game in its own right. We felt that the first game had been so compromised by production issues that it ended up being very disappointing. We wanted to make something fluid and interesting that was a joy to play as a platformer, and had the dynamism and the sense of scale that the Bionicle world deserved.

4. Do you know if any other builds of the Bionicle 2 movement demo exist? Like a build that has working audio?

I don't remember for sure if we ever ended up with a build with audio. But it feels a bit unlikely that we would have got to the stage that we did without their being something in there, especially if the audio assets were on the disk. Somewhere in the depths of my home I think I have a PS2 version of the demo, so I may see if I can get that up and running and find out. As I think - so far - the only people who have had access to the game have played on Xbox, right?

Thanks”

Of course LEGO was being difficult during Bionicle: The Game’s development. They did something similar with Bionicle: The Legend of Mata Nui, and that certainly did not end well. This message was a big deal for us at the time, not only did we get a lot of information about both games, but we also got confirmation that a PS2 build of Bionicle 2: City of Legends actually exists! Unfortunately, this developer never replied again, and I was beginning to lose motivation.

I decided I had enough of Argonaut Sheffield at that point, and shifted my focus to Argonaut London once more. After waiting a bit, I got another reply from a former AI programmer.

“Hi William, sure thing, although it was a long time back so may not remember too much :)

probably easier to use my email (redacted) though as I rarely login to Linkedin.”

We later communicated via email:

“Hi William,

on the unused level front, it’s entirely likely that a bunch of the designers and strat coders ’play areas’ would have ended up in the build. Not sure if you’ve had any background info on how a lot of the Argonaut games were built, but here’s a brief rundown :)

So, when I started at Argonaut in 1997 , I joined the Croc 2 team, who were using the first updated iteration of the engine they built for Croc that had its own scripting language written (originally for the level designers to use) to write all the gameplay elements, while the engine coders focused entirely on the main engine for the PS1 (and a separate small team handled porting the engine to GameCube/Dreamcast, PC etc.). The idea being that ASL (Argonaut Strategy Language) Strats would be cross platform as they were just interpreted by the engine.

As it turned out, ASL strats were a bit too complex for the level designers to write themselves without coder assistance, so Argonaut let them focus on the actual level design itself (using the editor that just became known as the Croc Editor) and got gameplay specialist coders (like myself) to work on the strats. This worked out great as we could focus on individual items or groups of them independent of what was happening with the engine and we could quickly tweak a strat and run it on the devkit without doing a full build of the game (which took *AGES* back then ;) ) as well as some basic debugging capability.

This meant that most of the level designers and strat coders usually had a level slapped together with all the bits they were trying out. I don’t know if my one with all the Matorans following you in a chain still exists, but there were some pretty strange ones. In theory these wouldn’t end up on the disk but the build system was pretty clunky, so it’s entirely likely that some ended up there.

So by the time I got drafted onto the Bionicle PS2 project, I’d worked on Croc 2, Aladdin Nazira’s Revenge, Harry Potter and the Sorcerer’s Stone and Bionicle Matoran Adventures on GBA. All but the last one using revisions of the Croc Editor and ASL. (The Emperor’s New Groove, Harry Potter 2, Malice, Catwoman & iNinja also got written with the engine). I say revisions as not a lot was actually added to either over time. Also, by Bionicle PS2 I was kind of an emergency response coder for strats, as I got parachuted in after the project started to help fix a lot of problems with how ASL was being used and design issues with the levels.

There were a lot of issues with Bionicle (not as many as Aladdin or Catwoman started with and my 4 days on Malice were certainly interesting, but they’re entirely different stories ;) ). Mostly from inexperience as the team working on it had a lot of new hires or ones that had been drafted from other teams that didn’t use ASL or the Croc Engine, so they weren’t familiar with its limitations. There were some HR issues going on too, but I’m not going to get into those. The team were mostly all professional and good at what they did, but struggling with a relatively clunky engine. By this point Argonaut had split off most of the engine coders to the “Tools” team and we had to officially request any engine or editor changes we wanted through their chain of command (and they weren’t interested in working on the ‘old’ engine).

There were also some issues with inexperience in games from the Lego UK side too. So a lot of the overall design rules were a bit flaky and lead to a lot of levels and gameplay getting changed. The “No Weapons” rule was one we thought was pretty odd, considering the swords, pikes etc. in use. Apparently they’re tools, not weapons. So we weren’t allowed to use them as direct combat weapons for gameplay, only for magical ranged effects. There was also a lot of issues of really big levels being designed without consideration for what could actually be rendered on screen at the required frame rate on PS2 with the old Croc engine. Even updated to PS2 and with everything the engine coders could do to optimise it, the engine and ASL were struggling to do what the designers wanted.

I don’t think it’s a case of biting off a bit more than they could chew (we successfully wrote Harry Potter from scratch in 9 months in time to release with the film using the engine but that was very much a dream team of all the right people with the right skills and a publisher working well in sync). More a case of it being a new team of people not so experienced with the system and a publisher that wasn’t entirely sure what it wanted. So things were that bit harder to get done in the time available.

In theory, some older gold disks are likely still around. (redacted) was one of our engine guys on the project and “Master of the Build” (he was the only one who had enough tasteless Hawaiian shirts for the numerous submission build days). I’ll have a dig through my CD collection, but it’s unlikely I’ve got any Bionicle builds surviving. I *might* still have some strat code floating about on an old hard disk. I do seem to have some of the Catwoman build code that used mostly the same (although slightly updated) engine though.

One thing that I think got axed was my chain of Matorans. The idea was a level where you’d be picking them up from around the level and they’d follow you to a rescue point. Normally this wouldn’t actually be that difficult to code, but ASL never actually had any arrays! I’d been asking for them for a couple of projects by that point but they never got added, so my Matorans were each working as their own array elements and frantically messaging one another in a chain, which never quite worked reliably enough with ASL, so we shelved the idea.

(redacted) was one of the strat coders working with me on Bionicle. I think he’d just joined Argonaut then, but luckily, knew his stuff.

(redacted)”

I guess a few of the unused levels I found in the PS2 port of Bionicle: The Game are examples of “play areas” given how small some of them are. This message also provided some insight about ASL, the proprietary language both games were created with. This gave me a good idea about how difficult ASL was to use as well. The fact that Arognaut also had many new hires that couldn’t handle ASL’s idiosyncrasies certainly didn’t help Bionicle: The Game at all.

I later reached out to another former AI programmer affiliated with the previous one. They had some interesting things to say:

“Wow, I'm really surprised that anyone is that interested in Bionicle, because I didn't think it was a very good game, but I'm happy that you felt strongly enough to do this, I guess. That's quite an impressive bit of digging.

[Asked about ASL]

Q1) ASL wasn't a great language to use, it was being developed at the same time as the engine so it was constantly changing and was occasionally broken as well. The turnaround from making a change in code to testing it on the target device was quite slow. And coming from C++ the lack of modularity was frustrating. There was some talk in the team about wanting it to be object oriented, but anything that made it cleaner and less prone to repetition would have been good. My memory of it isn't that good since it was 20 years ago. I remember the collision and animation systems being awkward and crude as well though. Do you know about the other games that the system was used for? Catwoman took the animation engine a bit further, but it was really horrible trying to program the animation blending for finite state machines with a language that was so hard to debug.

[Asked about scrapped content in Bionicle: The Game]

Q2) I don't remember much about what was scrapped. There were different teams working on different levels and playable characters, I mainly worked on the Tahu levels and the final boss. I think there might have been some stuff scrapped from the other characters. One or two of them were developed by the team who were doing the cross platform conversion for us, and we didn't see much of what they were doing and only saw it quite late.

[Asked if any early builds of Bionicle: The Game still exist]

Q3) I have no idea - perhaps Sony or EA have archives of the earlier builds. Someone on the engine team might do, I can't think how or why a strat coder would have one.”

The issues with the collision system they mentioned are definitely present in Bionicle: The Game. It’s quite easy to glitch out of bounds, as speedrunners have demonstrated many times. We later talked about general programming concepts and discussed ASL further:

“Reassuring to know that I'm not imagining Bionicle being pretty bad! I think object oriented was just flavour of the month in 2003, Java was a highly respected language at the time and we thought it was the future. It would have been nice to work in a language that was used in other places, because having ASL on your CV was a pretty crappy prospect for seeking other work. At least if you used Fortran or Pascal it was recognised by employers as a mainstream language. WTF is ASL? I worked in two other organisations that had proprietary languages and it was annoying. The good thing about starting work at Argonaut at least was that ASL was a proven language that you could make games with, and it did let you get down to the relevant bits of gameplay you wanted to take control of. Before that I worked at Phase 3 studios where they had never made an action game before, and we spent a lot of time programming systems that had hardly any effect on gameplay. So I was grateful for ASL and the toolchain for making it easy to do some limited things. I was very impressed by someone on the iNinja team for getting ropes to work with a vertlet algorithm, we stole that later for the green Bionicle to use. I think the High Voltage Software studio might be using a different language with the same initials? I can't see how it could possibly be Argonaut's language. I'm pretty sure there was some talk about opening it up as middleware to sell other studios but I don't think we ever got there. Many of the staff from Catwoman went on to work at Rocksteady, Sony and Ninja Theory, but I think they just started using whatever engine was in place there. You could find hundreds of people who had brushes with the language.”

I asked about other studios using ASL for their games:

“What release date were the games? Argonaut folded in 2004 I think, so the creditors might have managed to sell off the technology as cheap middleware of last-gen consoles

or perhaps they were licensing the tech while we were using it, and I just hadn't been aware of it”

I sent him some notable examples of games using ASL from other studios, such as The Conduit and Ben 10: Protector of Earth:

“That fits the picture then - liquidation in 2004, sell the technology in 2005, two years of learning the systems and developing content, release in 2007

The PS3 would be the current gen console by then, but the PS2 had a large enough user base to make it a viable market, especially for movie tie-ins and children’s games”

I later asked if there was any possibility that Argonaut received parts of ASL from other sources:

“That's an interesting question... I don't know but I think Argonaut were using strats since 1993 and the language gradually evolved from Starfox to Croc and so on. I think it was around before High Voltage existed. It does seem like a massive coincidence that the header is VOLT but there aren't many words that sound cool to programmers so I still suspect it is just a coincidence. Programming was Argonaut's strongest suit, it doesn't make sense that they would buy tech in like that. I was only at the company for two years or so, ask someone who was there longer.”

Then out of the blue, another former designer from Argonaut Sheffield reached out to me about Bionicle 2. After that, I asked them a few questions:

“Hi William,

Great to hear from you. Let me see what I can do to answer your questions!

[Asked about the development process of Bionicle 2]

1. Designing the demo was a bit of a break from the usual licensed Dev. We had creative control so got to decide what direction we'd like to take things in (hence a departure from the 'standard' platforming fare of the time!) My role was predominantly as a technical designer - that was, creating ideas and prototyping/building in the tools. For the demo I was responsible for populating and scripting some of the functionalities in the level.

[Asked about the broken audio in the Xbox port of Bionicle 2]

2. Not sure on the silence in the build tbh... I seem to remember doing some work on creating and implementing some spot FX and seem to remember we put some audio track on the front end screen. With this being a closed pitch demo, I honestly can't remember if we'd created the track or sourced it from elsewhere!

[Asked if they knew about any other builds of Bionicle 2]

3. I believe a have a variety of unreleased games and demos on various formats somewhere. Most of them will be PS2 from that period.

Thanks”

When they mentioned owning a variety of unreleased games and demos, I was immediately intrigued. I later asked if they had a PS2 build of Bionicle 2 and offered to send him a copy of our Xbox build of the game in exchange for it, and to my surprise I got this:

“Hey William,

Cool, I'll have a search when I get some time and attempt to extract it for you!

Thanks”

I was ecstatic. Finally, after months of searching, I was about to get something tangible! But the days passed, and those days turned into weeks. I was beginning to lose hope until I got this message:

“Hey William,

Quick note on my progress - I've not forgotten! I delved into my garage over the weekend and came away with 3 CDs labeled bionicle 2 with various dates on!

I'll attempt to create an ISO of the latest date and share with you when I get a mo (most likely the weekend again!)

Thanks”

Not only did he have a build of the game for the PS2, but THREE of them! After seeing this, I decided to wait for the weekend to arrive. Unfortunately I would be very busy on this particular weekend, but Bionicle was still my top priority! So I proceeded to bail on my friends to wait for an obscure as hell prototype game from a discontinued children’s toy line to show up in my inbox. However, on Sunday, the weekend was coming to a close, and I had heard nothing from the former designer. My waiting and persistence later paid off after I got this message:

“Hi William,

Give this a go - no idea if it works - let me know!

(redacted)”

At last! I finally got it! The latest known PS2 build of Bionicle 2: City of Legends! But there was a problem. The game didn’t boot. Just my luck. But I wasn’t ready to give up. I ended up rebuilding the entire iso with some proprietary tools, and by some miracle, it booted up in my emulator. It’s about what you would expect: It’s similar to Xbox build in many ways, but it is also different. Unlike the Xbox port, the audio works, and there are some extra graphical effects and animations. I was also able to get the game to boot up on a real PS2 without issue.

I can’t say exactly when BioMedia Project will release this build to the public, but I'm sure it will happen soon. Until then, feel free to watch some gameplay footage of the demo on my Youtube channel: https://youtu.be/Dvmzz92F3oo

These past couple of years have been pretty crazy for Bionicle. The Legend of Mata Nui was found TWICE, and there has been so much more activity within the community as a result. I’m glad I was able to make my mark and get this unreleased build of Bionicle 2: City of Legends into the hands of the Bionicle community where it belongs. If you made it this far, Thanks for reading. If you liked this post, don’t forget to share it. I spent a lot of time researching this, and I would really appreciate it. Special Thanks:

BioMedia Project

Liam Robertson

Fraug L. Coolman

#bionicle #lego

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