#if they keep up this pace of adding like 2 characters per movie and reveal a new one at the end this may go on for a while HAHA

[akascow]

if sonic ever gets greenlit for sommore movies do you think Rouge will show up and more importantly do u think theyll give her boob physics like in sonic adventure 2 lmfao

[insane-mane]

Lightyear Was Ok

I’ve loved Toy story since I was old enough to walk, and Buzz Lightyear was my first favorite character, so hearing he was getting a standalone movie for the big screen made my inner child perk up at the idea, but my cynical older half had a lot of reservations with how Disney would handle it, which sadly I was correct for having. These are some of my thoughts.

*SPOILERS*

Pros:

-Great visual effects you’d expected from Pixar. Very nice lighting/texturing as per usual.

-As odd as it is to not hear Tim Allen as Buzz, Chris Evans’ take grew on me with time, getting certain mannerisms and inflections that still feel like the character. Not as jarring as I expected, thankfully.

-Sox was still enjoyable despite my reservations for side characters such as this that are typically conceptualized mainly for merchandising/marketing.

-Giving Buzz added depth of not only trusting others by not always making himself the lone hero, but admitting fault helps him feel real and humble to counteract the larger-than-life space hero we’ve known him as. In a movie meant to humanize the toy, that’s what you’d want them to aim for. Seeing Buzz both in and out of his element, showcasing his strengths and weaknesses feels familiar but new in some of the right ways.

-VERY good attention to minor details and subtle nods to the toy Buzz and the loose lore he’d rattle off. Seeing things like “Terilium Carbonic Alloy” and of course crystallic fusion referenced is so neat. Certain lines pulled from the first Toy Story doesn’t feel nearly as forced as they could’ve been, and thankfully are spaced out enough. It’s also interesting to see them pull influence from Buzz’s initial concept art from the first movie that make their way into separate suit designs.

-The film does a good job at making Zurg a visually imposing villain. While his design overhaul is jarring, the physicality and added tech is a treat.

Cons:

-The film feels a tad too muted, lacking the vibrancy and stylization of the retro future/atomic age the toy and even the show has as an aesthetic. It might make sense to make the film feel closer to something akin to Star Wars, but it takes away what could be a more interesting visually-appealing movie.

-The pacing is a bit too quick during pertinent, emotional moments between characters primarily during the middle of the movie.

-Certain side characters and generally a bit of the humor felt a bit too dull.

-While Zurg’s presence is done well, his big reveal/motivation is more confusing than it is surprising. By trying to subvert expectations of the obvious Darth Vader reference made in TS2, they’ve instead made it where two Buzz’s exist and it’s not as compelling. Buzz 2 then miraculously stumbles upon a random alien ship with a menacing mech suit at his disposal. The time alone makes sense for him to be more selfish/jaded than the Buzz we follow, but nothing necessarily fits the power-hungry “Evil Emperor” title for Zurg.

It could have been much more interesting had they played into the “Buzz’s Father” idea, going about in different ways like:

•Buzz’s Father was an Ex-Star Command captain fueled by the (what he assumes to be) loss of his son after the initial test flight and blaming Star Command for its failure, setting off to find him in space. The mech suit could’ve been used to to keep him alive to catch up with Buzz during dilations and the robots made to help search for Buzz.

Or

•Buzz’s father was once one of the greatest Space Rangers that vanished in deep space during a mission, but presumed to be killed by alien robots from his last transmission. Thought to be long-since dead, Buzz discovers his Father was assimilated by a tech-based hive mind akin to the Borg from Star Trek, warping his mind and making him vengeful towards Star Command for never rescuing him.

These ideas might sideline the Hawthorne character and/or the “marooned on an alien planet“ plot line, but it’d at least give credence to the lore the toys themselves referenced instead of leaving it as a (now nonsensical) Star Wars reference. Feels like loose lore they disregarded in favor of doing the weird “Big Twist” Disney movies have a compulsive urge to put in their movies now. Your audience being able to pick up your reveal before you make it doesn’t always signify bad writing, if anything it’s properly constructed and in this case just answering questions the Toy Story movies posed.

-The ending felt very rushed. There’s no repercussions to Buzz’s actions unlike his alternate-self, and is instead randomly gifted the chance to create a new faction of the Space Rangers to fight evil in the universe, when the really the only example of that was Zurg. It feels like they were more-so banking on the fact they’ll have more opportunities to expand and improve upon on this in a sequel rather than make their initial movie good, which is disappointing.

Conclusion:

All in all for a spin-off origin story expanding upon loose lore somewhat parodying and heavily influenced by Star Wars and the like, it makes for a fun romp and is nice to see this character on the big screen again in a new context. I did find myself grinning in childlike wonderment at certain parts, but I do feel as though it could’ve been better since the crew did seem very passionate about making the film.

Once they make the inevitable sequel, my only hope is they’d improve upon this and learn what worked and what didn’t. I really just want the best for a character that meant a lot to me growing up.

[warsofasoiaf]

What is your opinion of KOTOR 2? Favorite things about it, least favorite things about it, characters, etc.

Alright, it’s time for another video game review, so an early reminder, spoilers abound for both KOTOR1 and KOTOR2. There’s a cut of course. Overall, I thought it was a phenomenally well-written game and one of the greatest pieces of media to exist in the Stars Wars universe (although I haven’t read any of the Expanded Universe books so keep that in mind), and as is the usual case for Obsidian particularly in this era, developer constraints created a beautiful mess.

Before we can talk about KOTOR we need to talk a little bit about Star Wars and what it meant as a film. The original Star Wars isn’t a very creative story, it’s largely a conventional Hero’s Journey. It’s a pastiche of early adventure stories in a science fiction setting, but with the added benefit of video and sound effects to really make it come to life in a way that was only possible in the imagination of readers. This gave the series a wide deal of appeal. Folks who grew up on the 1950′s Flash Gordon serials or WW2 dogfight films could see a film with those things they loved from their childhood with a high budget to bring those things to life. Science fiction fans could visually see elements of their favorite books brought to life on the silver screen. Fans of movies can appreciate the cutting-edge (for the time, although I love me some practical effects in film) effects and the unfamiliar elements of science fiction with the familiar trappings of an adventure tale. 

KOTOR was something similar for the video game industry, particularly for the fans of Baldur’s Gate. The ability to create a Jedi character and go on a journey like the Bhaalspawn did in Baldur’s Gate was something that appealed to a significant number of RPG fans, and the critical success of the Baldur’s Gate series brought a lot of money and prestige to Bioware. Fans of RPGs and Star Wars got to see their medium and interact with it in a whole new light. Much like A New Hope, KOTOR1 was largely a traditional story where Darth Malak is an evil guy without much in the way of redemptive qualities. The two major wrinkles were that you could play as a Sith and have some moments of true player cruelty like ordering Zaalbar to kill Mission, but this makes sense for an RPG, having no player choice in a game really makes you lose the lightside/darkside dynamic. Of course, the bigger and more interesting drift from a traditional Star Wars story was the Revan twist. This took advantage of both the slower pace of games to spend time with your PC and form a connection, and the nature of Western RPG’s where the player envisions themselves partially as their avatar onscreen to make the reveal hit home. Ultimately though, the Star Wars morality was upheld. The Jedi were the unequivocal good guys, the Sith were the unequivocal bad guys. 

KOTOR2 decided to put the Force under the microscope. It had started in 2003, so Episode II had already come out, and this idea of the prophecy of Anakin bringing balance to the Force, and what we knew of the Jedi in the original Star Wars trilogy who were reduced to hermits hiding on the fringes of society, really gave the impetus to examine this idea of the balance of the Force as not necessarily benevolent. It’s not evil, per say, it’s just indifferent to the people that die to make it happen. So the game became a self-critical examination of the core structures of the Star Wars universe. The Sith are usually thought of as the bad guys, and a lot of that holds true, domination, subjugation, power, betrayal, all that nasty stuff aren’t really conducive to most conceptions of goodness, but are the Jedi good? Does their passivity lead to injustice and terror being wrought on others because the Jedi failed to act. That was the question behind the Jedi involvement in the Mandalorian Wars, was the Exile correct in going off to fight them or were the Jedi Council who forbade them correct? As befits the folks who wrote Planescape: Torment, the game has two journeys, one through the game world and the plot that unfolds and another more deeply introspective.

I’ll put the things I don’t like about KOTOR2 first because the list is small but it is worth noting. The game is very clearly a rushed product and it shows. The cut content shows a great deal of lost potential, and the bugs could make the game at times completely unplayable. The game suffered from the accelerated development, having barely half the development time, and you can see where the seams show. The UI is clunky and gets cluttered when you have to manage items. Level design is similarly a nuisance, as they are big sprawling expanses without a lot of content in them. Part of that is a necessity to the mechanics, smaller levels would have other encounter designs being agro’d into it, but the levels are still expansive, empty, and a slog to get through. The Peragus mining facility is too large by half, and there’s a lot of backtracking in these levels. Since side quests encourage finding a doodad or killing a few key figures scattered around a map, that means a lot of trekking through these big levels to find one particular item or enemy locked in a corner somewhere. That can be very tedious, particularly on repeat playthroughs. At times, it feels like legging your way through a swamp to get to the next piece of delicious content.

Which is a good segue into talking what I like about the game, because its writing and characters are superb. The character companions are twists of classic Star Wars archetypes. Atton is the scoundrel Han Solo non-Force user type, but ends up having a disturbingly dark backstory where he was a Sith interrogator and feared his own Force-sensitive nature. Bao-Dur is a man haunted by the weapon of mass destruction he created, a tech-head who ends up hating his most momentous creation but feels the need to use it yet again. Canderous has become the new Mandalore and is desperately trying to revitalize his dying culture because he’s been so broken by Revan’s departure. The Wookie life-debt is so toxic that it breaks Hanharr and Mira in their own ways. Visas is a Sith whose will is shattered. Each of these characters are fundamentally broken (save for the droids, unless you count the physical need to reassemble HK-47 as broken), and the Exile draws them to him or her. Through discovering more about them and resolving it, the Exile awakens the characters’ connection to the Force, oddly ironic since the Exile is cut off from the Force and is only rediscovering it. Like most Bioware RPG’s, you the player through your character guide the growth of these characters and form a relationship with them, or use them for your own ends.

Kreia, of course, deserves her own paragraph. Kreia is the Star Wars Ravel Puzzlewell, an embittered woman who wants to destroy the cosmic chains of the universe and loves the player character in a deeply obsessive way, one that’s played completely straight in how it makes the player uncomfortable. She is deeply resentful of the Force and wants to destroy it, and through the Exile, who managed to cut themselves off so utterly completely in a unique way, she sees the path. Of course, the reason why the Exile cut themselves off was the mass death at Malachor V was so overwhelming that he or she would have otherwise died. Of course, her obsession and overriding mission cares little for the Exile’s own pain, and so the manipulations begin, using you to lure out and destroy the Jedi and the Sith, and in the end, you disappoint her, either because you don’t learn her lessons or she discovers that the only reason you were the way you were was because you were afraid. She still is obsessed over you, though, and so when you finally confront her, she obliges that affection to explain everything, unusually honest for a woman whose Sith name is evocative of the word betrayal. And fortunately, she allows something that most monologue villains don’t allow, a means by which to tell her she’s full of shit. Certainly, it’s a little weaker coming from her as an option to you rather than the player character saying it themselves, but I think it’s stronger, since so much of the ending had to be cut anyway it reinforces the ambiguity of it, that the ending is what you believe. Personal belief has always been important for the Exile and Kreia/Traya, and letting that transfer to the player is, while perhaps not the most ideal, completely valid given how rushed the development was. 

The other Sith Lords are fascinating concepts of evil and personal belief as well as well, and really show the Dark Side of the force in a parasitic, corrupt sense and the horrible ends of taking belief to its extreme. Darth Sion is the Lord of Pain. He cannot die but he feels pain constantly, making eternal life not a blessing but a torture, though in it he found a twisted source of enlightenment. His pain fuels his anger and hatred (key ingredients of the Dark Side) and so he persists solely through the Dark Side. Darth Nihilus, on the other hand, had his body obliterated by the Mass Shadow Generator, and so persisted as a wound in the Force, consuming Force energy to feed his relentless hunger. He is not a human anymore but a force of endless consumption that cannot be satiated, this hunger pain pushes him past his own mortal existence but which can only consume, not live. This perfectly illustrates the Dark Side concept of pursuit of power even past the point of sustainability, for Nihilus will continue consuming until all existence has been eaten.

The game is dark and moody, as you explore a shattered galaxy. In the original game, the search led to the Star Forge and the revelation that you the player was Revan. The sequel shows that there was no grand conspiracy; the act of Malachor built Nihilus and Sion and the player themselves was something that you did. It was not a conspiracy of Jedi but rather the after-effects of a particular action, much the way Lonesome Road had the Courier’s delivery of the package to Hopeville to be something that destroyed Ulysses even though you never met him. The Mass Shadow Generator was meant to save the galaxy from the Mandalorians but birthed a new, more powerful tragedy. Bao-Dur even wonders if the subjugation of the people under the Mandalorians was better than the power of the Mass Shadow Generator, a powerful moment ordered by just a mere single Jedi, built by a mere tech specialist. In true Planescape fashion, a personal apocalypse is a galactic apocalypse and vice-versa. Torment lingers over this game, in the broken characters, in a parallel journey both outward and inward. In many ways KOTOR2 was Planescape: Torment in the Star Wars universe, albeit with its own personal flair.

Alright, that’s a good review. I can do character analyses of some of the major characters if you want.

Thanks for the question, Messanger.

[homespork-review]

Homespork Act 2: The Racism of the Conductor’s Baton (Part 3)

BRIGHT: Also, the prompts in John’s head are back and are making increasingly strident demands. Namely, they want John to follow Nannasprite to the cookies. John isn’t too keen on this idea. He’s so not-keen on it that he fails to notice Rose whacking him in the head with a box. Frustrated by his lack of compliance, the voice devolves into insults. I’m not sure why the Wayward Vagabond is so insistent on this? It’s not like he can eat the cookies.

On the whole this is a really good sequence, I think. It lays out some basic background information for the reader and John, and it’s paced pretty well.

Back in the future, an agitated slip of the finger causes a cupboard door to open in the Wayward Vagabond’s hideout. Out fall a few tins of food and a heavy tome of HUMAN ETIQUETTE.

Rose has updated her GameFAQs walkthrough with the new information from Nannasprite. We’re getting something of a motif here: Cut-aways to the Wayward Vagabond are followed by a walkthrough update. It’s a nice little pattern.

Rose also speculates on the prototyping process and on why the prototypings of other players worldwide have not affected John’s foes, and comes to the conclusion that each client/server pair -- or daisy chain -- spawns its own copy of the Incipisphere, or ‘session’. She’s also caught up in rewriting her work. Couldn’t the reader go somewhere else? Or somewhen else?

Why yes, the reader can. Namely the reader can jump back to Rose’s birthday, where she’s having a conversation with GG.

This conversation reinforces that there’s something funny about GG. She asks about John’s present the moment Rose opens it, and Rose isn’t surprised by this. GG also knows without being told that Rose’s dead pet is a male cat, and she’s been working on her birthday present for John for years.

Finally, she asks what Rose would say if GG told her she knew a game that could bring said cat back to life.

TT: If someone told me that, I would regard the remark with a great deal of skepticism. TT: If that someone was you, on the other hand, then I would have to ask preemptively: TT: Is that someone you? GG: yes that someone is me!!!!!!!! GG: i just thought you might find it interesting TT: So what is this game?

Whatever strange abilities GG has, Rose is familiar with her knowing things she shouldn’t, and trusts her even when she makes claims that sound impossible.

CHEL: Note, also, that here GG is the one who brings up the game, while in an early convo with John set chronologically after this one she asked “lol! whats sburb?” This is not an inconsistency. Again, it comes up later. We end up saying that a lot. Sorry.

BRIGHT: Also: Rose knows John well enough to guess that he was wearing a disguise when he talked to her earlier -- but still interprets his gift of knitting needles and yarn as a subtle jab at her habit of making analytical comments, much as her mother. GG points out that he probably didn’t mean it that way. Later, Rose says she’ll make him a gift with strong sentimental value as a dig at him, but admits she doesn’t really mean it that way when GG points it out. Then again, this takes place some months before the comic starts, and may show how Rose and John’s relationship has evolved.

Back in Dave’s home, the sun is beating down. Meteors pepper the city, and smoke is rising. Dave captchalogues his katana, and sets out in search of his brother’s copy of the game.

Dave elaborates a little on the concept of irony that he and his brother live by. His brother is awesome, apparently. Dave can only hope to one day reach those heights of irony.

The puppet theme from earlier continues, with puppets strewn around the living room where Bro lives and sleeps. Among them are a Mr. T puppet, which is wearing a leather thong and handcuffed to a pantsless Chuck Norris puppet. What makes it a little disturbing is that this is just lying out in the living room, which Dave presumably goes into all the time. Dave’s narration here sounds a lot like he’s trying to convince himself that these things are totally cool, no, really. He can’t see Lil Cal anywhere, though...

CHEL: Other puppets are the iconic Smuppets, possibly a portmanteau of “smutty puppets”, vaguely humanoid nude puppets with enormous behinds and phallic noses. There are implications that they are intended for non-PG purposes. Further implications are that the leaving of obscene material around the home has been going on for all of Dave’s life. For the record, intentionally showing pornography or sexual aids to children is classed as a form of sexual abuse. Casually leaving them lying around the house in front of kids long-term, well, the motive may not be malicious but I doubt a jury would care. It certainly counts as neglect. The popular fanfic Brainbent explored the damage this kind of thing could inflict on a kid in a realistic setting.

Also note, there is no hint of Dave having or ever having had parents, not even a photo in the background or something. The immediate assumption would most likely be that they’re dead, but Bro’s strangeness might also suggest estrangement - behaviour like that would probably result in one’s parents not talking to one anymore, though they most likely wouldn’t leave a child in a place like that if they were around. We find out the truth later, and it’s even weirder.

BRIGHT: Between one panel and the next, Lil Cal appears atop a speaker box. Dave is fine with this. Totally fine.

CHEL: For the record, this is Lil Cal:

Not something one would be very happy about finding behind one, is he?

BRIGHT: He plays a bit on the Xbox, gives Cal a fistbump, and then checks out his brother’s computer. It’s password-protected, but Dave knows the password, and Bro knows he knows it, and Dave knows this, and it’s all totally cool.

One of Bro’s websites is a puppet pornography website. Apparently this is popular enough to bring in thousands of dollars a month, and Smuppets are a multi-billion-dollar-per-year enterprise. Time for our next point:

Magic-onomics - wherein characters’ funds issue from nowhere Half-baked attempts to justify a protagonist’s mystery money can also backfire. Explanations should amount to more than “Somehow Rain had lots of money.” Giving Rain an inheritance, or explaining that she recently gave up her job at a top law firm to pursue her art, will work only where these things feel like part of the world of the novel.

Bro and Dave live in a crappy apartment in which Bro doesn’t even have his own bedroom, instead sleeping on the futon in the living room where he works. Yet they have the funds to spend on swords (not cheap) and expensive turntables. The Con Air bunny prop Dave bought for John sold in real life for almost $1,300.

And how the heck do smuppets bring in multiple billions of dollars a year? That’s a niche market, even if Bro is the only supplier. (Which he wouldn’t be — if it’s worth that much, someone else would want in on the market.)

CHEL: Even if said market is fairly disturbing. If there’s enough people who like it enough to buy it, there’ll be people comfortable with supplying it.

BRIGHT: Their income shouldn’t be anywhere near that high, even with puppet pornography adding to the revenue stream. If we grant that in this universe it is that high, then they should be living somewhere more comfortable.

HOW NOT TO WRITE A WEBCOMIC: 13

CHEL: In order for this to actually work as stated, not only would the puppets have to appeal to everyone on the planet, but there would probably have to be a lot more people on the planet than there actually are. I’m pretty sure it’s an exaggeration for humour, but considering the inconsistencies with their income status as presented, it’s still a bit shaky.

It’s also worth another count, because this is basically a handwave to mean the characters presented aesthetically as poor are still as financially secure as is necessary for writing the scenes Hussie wants to:

WHITE SBURB POSTMODERNISM: 6

If the comic was presented as a non-serious cartoon for the whole story, this would pass without comment, but when one’s trying to be dramatic and include real stakes, I think one needs to apply real stakes to everyday things too.

BRIGHT: Then again, it’s possible that their financial status is higher than the apartment would suggest, and Bro just chooses to spend his money on katanas and expensive equipment rather than upgrading. (And/or is lying to Dave about their income.) That might not be out of character given what we see of him later. But overall, this is a mess.

FAILURE ARTIST: Maybe the Smuppets is a money laundering business.

CHEL: A lot of people would read that fanfic.

The theory that the guardians knew the game was coming might explain why he chose to spend so much on swords, at least. He’d know Dave would need them. Not so much of an explanation for everything else though. Considering the weirdness that’s going on, I could imagine Bro not wanting attention drawn to it, but wouldn’t hiding weirdness be much harder in a flat than in a house set off some distance from neighbours?

For that matter, where’s John getting the money for movie memorabilia? Later reveals show the Egbert family originally came from money but they don’t seem to have that much to throw around now.

BRIGHT: Remember how Rose said earlier that she quite enjoyed Bro’s websites? I think that counts as a point for CALL CPA PLEASE…

FAILURE ARTIST: I question how pornographic the site really is. It might just literally be puppets being mashed together with no human body parts. A thirteen year old can surely see that.

BRIGHT: Fair point -- the page we see is teen-safe, at any rate.

CHEL: If it isn’t actually sexual, that possibly makes the supposed popularity level even sillier. Fetishists need constant fresh material and there are probably people who don’t have a specific puppet fetish who would ignore the puppets to look at the guy, but to keep up that level of popularity the viewers who don’t have a puppet fetish would have to keep finding it funny long after most people would think the joke had worn off. Both options say disturbing things about the world this comic is set in and their tastes in either pornography or humour. At least Veronica Chaos appears onscreen with her puppet… (Link contains no porn but you probably don’t want it on a work computer.)

For the record, I think Smuppets would actually make pretty bad sex toys. Plush is a porous material, so it would be hard to clean sticky substances out of it properly, and the phallic noses seem to be too floppy to use for penetration of a human orifice. Maybe that first point is why he brings in so much cash - the smuppets are single-use? People do use plush toys for masturbatory purposes, but usually when they can’t find anything else to use, specific fetishes for them being rare, and generally don’t use the soft parts as penetration toys.

Personally, I quite like the theory the kinkmeme brought up years ago; PlushRumps is actually an elaborate multimedia webcomic a la Homestuck itself. Now that I can see bringing in that much cash. Or possibly it just looks like this, which was made by the guy who wrote Thirty Hs (warning for eye injury and surreality): "Jumping!" (Watch on YouTube)

I could see Bro being that dude.

BRIGHT: And Dave admits, again, that he finds the puppet thing unsettling.

This is a pretty good depiction of someone trying to convince himself to be okay with something that freaks him out. He pesters John to distract himself from the puppets everywhere, and when he doesn’t get a response, he pesters Rose. And Hussie once again repeats the entire blinking pesterlog we read fifty pages ago instead of just linking back to it.

GET ON WITH IT!: 6

CHEL: Just occurred to me; why is Dave so bothered by the puppets? I can’t imagine that Bro suddenly started leaving them around when he hadn’t before - in fact, I believe a later flashback shows infant Dave using a Smuppet’s nose as a pacifier (eww, god I hope it was a freshly-made unused one). Dave really ought to be used to the things by now. Then again, now he’s reaching his teens, he’s probably old enough to start realising this is weird and creepy on a deeper level. But then that brings up the same problem we had with John; doesn’t he have any local friends he could have learned this from sooner? Though I could picture Bro not bothering to send him to school, and we do later learn there is quite possibly magic afoot in hiding the oddness of the Strider household. That’s a complicated theory and requires much more setup than we have here, though, so pin in that for later.

Also, the puppets thing counts for a point of ARE YOU TRYING TO BE FUNNY?, and Dave is in fact the reason we created that count. A kid in Dave’s situation in real life would be messed up, but so would a kid in the situations of the others (or at least the girls), and Dave’s situation seems to be taken more seriously than theirs, at least later on.

ARE YOU TRYING TO BE FUNNY?: 5

BRIGHT: Back to Rose, who’s beating John over the head with a box in a futile effort to get his attention. She eventually gives up and deploys another piece of equipment called a Punch Designix, using the Shale John collected. Since she doesn’t know what it does, she pesters John and asks him to experiment.

Unfortunately John has bigger problems to deal with: His garden is by this point overrun with imps, who are climbing on his tire swing and wearing his disguises. This is enough to snap him out of his Wayward Vagabond-induced state and get him to respond to Rose. They need to get those monsters off his pogo ride!

Fortunately, Rose is able to help by picking up the piano and dropping it on the imp. Less fortunately, the piano does not survive the experience. Neither does the imp.

The pogo ride seems fine, though.

John is reluctant to risk Nanna’s ghost cookies to go retrieve the grist, so Rose uses the pogo ride to transport it up to his room. Then she tells him to go find out what the Punch Designix does, while she works on building the house up to the gate. Apparently stairs cost a lot of grist to build. John makes a SBaHJ reference while Rose recoups the grist she used to build the catwalk earlier, sending an imp tumbling into the depths.

In the kitchen, Nannasprite has produced a lot of cookies. An imp tries to sneak one, and is blasted into grist by Nanna as a result.

John sets out on a hunt for imps and useful items, grabbing some shaving cream and his pogo ride, and launching his telescope out of the window. Amazingly, this proves relevant only a few pages later.

CHEL: Dad apparently keeps an entire cabinet filled with nothing but shaving cream. Rule of Funny, I know, but how fast does this guy’s beard grow?

BRIGHT: His living room is full of imps, who have taken a shine to the Cruxtruder and left cruxite dowels lying everywhere. Armed with hammer and shaving cream, John mounts his trusty steed and pogos his way to victory, which works amazingly well (read: works at all), until he slips on a cruxite dowel and lands flat on his back.

This is incredibly dangerous!

Acting on a polite prompt, John absconds into his Dad’s study, and Rose covers his retreat with the refrigerator, which levels up to FIVESTAR GENERAL ELECTRIC and earns 285 Boondollars.

Further extremely polite prompts ask John for a can opener. Despite the presence of two imps in the study with him, John stops to consider where to find one, while Rose takes out the imps with Dad’s safe. I don’t think that counts as HURRY UP AND DO NOTHING, though, since it’s clearly supposed to be the joke.

Back in the future, the Wayward Vagabond munches on a few pages from the etiquette book. Rose updates her GameFAQs walkthrough with a series of images of John’s house in the Medium. She does refer to Colonel Sassacre’s as racist in one of these, but it’s not really much of a rebuttal.

CHEL: She experiments with building a bit more on John’s house; ladders prove cheaper to build than stairs, albeit harder to use safely. John eventually stops contemplating can openers to examine the Punch Designix, while Rose answers Dave’s angry rant about being buried in Smuppets. I think this may be another point for ARE YOU TRYING TO BE FUNNY, because in the context of a kid ranting about his brother’s annoying hobby and his friend snarking back it’s hilarious, and it seems at this point to be presented as funny, but as discussed above the nature of Smuppets makes this rather creepy.

ARE YOU TRYING TO BE FUNNY?: 6 TG: i am enrobed in chafing, wriggling god fucking damned puppet pelvis TG: an obscenely long, coarse kermit cock is being dragged across my anguished face TT: Let's put this into perspective. You put up with the puppet prostate because you love it.

Okay, this I think could be a point for CALL CPA PLEASE. A child probably would make fun of another child’s discomfort with non-consensually being surrounded by sex toys on the grounds of not knowing better, but it’s unsettling to read.

CALL CPA PLEASE: 2

John discovers there are codes on the backs of his captchalogue cards, which can be entered into the Punch Designix to make punch cards. Punching the captchalogue card itself renders the item irremovable from it, but the punch card can, he guesses, be used to recreate the item via the Totem Lathe and Alchemiter. Before he can test this, Rose hurls a bathtub through the wall to kill some nearby imps; to be fair, when he checks his PDA, he sees he missed a message from her warning him about it. He messages her back and she says the precarious staircase up to the gate is ready. John is nervous and asks why she didn’t build straight up through the hole in his dad’s bedroom ceiling.

EB: oh come on. what's the big deal, i'll just climb up and go right through! TT: Will you? EB: yeah, why not? TT: Are you saying you've never wondered what's in there? Or why it's been kept a secret from you? EB: well, i mean yeah... TT: Then trust me. You won't be going "right on through." EB: wait, are you saying there's something, like... EB: troubling in there? TT: I don't know. EB: what do you mean? what do you see in there? TT: I can't see in there. EB: oh. TT: But I don't have a very good feeling about it. EB: pfff... EB: whatever! EB: i think i can handle a few more stupid clown paintings.

Well, that’s ominous.

Examining the destroyed safe, John finds a book about shaving, several old newspaper clippings about meteor strikes, and a much older copy of Colonel Sassacre’s book, possibly the one involved in the mysterious accident which caused Nanna’s death. Behind where the safe was, he finds an empty captchalogue card and a proud fatherly note from Dad, praising him for now being strong enough to lift the safe; presumably intended for several years in the future at least, since the safe is big enough to fit John inside it. The note further explains that John is now entitled to the contents of the safe, and provides the now-useless combination for the lock. Further sylladex shenanigans launch Sassacre’s book, killing an imp, and John heads up the stairs, but slips. As he precariously clings on, the hands and jester’s motley of something much, much bigger than the imps start to emerge from the chasm...

Cut back to Dave, still searching for the beta and/or his brother, finding only that one of Bro’s swords is missing. A brief shadowy flash takes the second sword from the wall too.

You know this drill all too well. Trouble's a brewin'.

Dave heads for the door, finding one of Bro’s “ironic” comics pinned to it. The comic in question:

Erm.

TIER: Now that is, as the folks would say, unsettling.

FAILURE ARTIST: This is another work that Hussie created pre-Homestuck and decided to add. It was part of this drawing battle on a forum.

CHEL: It took me an embarrassingly long time to realise that was supposed to be Kermit. I was seeing it as a teddy bear, with the spiral cheeks as eyes and the eyes as ears.

TIER: . . . I was “literally just now” years old when I realized that was supposed to be Kermit.

BRIGHT: Ditto!

CHEL: Me too, actually, it was after I saw it while posting it here. Before I thought it was Fozzie, drawn even worse than the rest of the comic.

Dave is fairly mellow about the comic as compared to his reaction to the puppets, but thinks that he “[doesn’t] need to see this shit right now”. It looks like something a kid his age would either draw themselves or like (I know I would have loved it), but having things like this pasted randomly about your house would definitely be unsettling even so. He understands it as further irony, and thinks Bro is trying to annoy him with it as “some weird gauntlet he's throwing down to see if you will "GET IT"”.

Worse than the comics, however, is what’s in the kitchen. Weapons are piled up on every counter and the sink is full of fireworks. Dave considers this “awesome”, the implication again being that this has been normal for his whole life. He’s really lucky he’s a cartoon character, there’s no way a real kid would still be alive here. When he turns on the blender, a green puppet in it is shredded to pieces, releasing fake blood; inside the eye socket of a Jigsaw puppet on top of the microwave is a webcam, broadcasting the incident. Okay, again, we need to consider how “pornographic” PlushRumps actually is to determine whether this is a problem. Videos of a kid shredding a puppet are harmless in and of themselves. If it’s actually being marketed as fetish material… ew. Dave appears just as unsettled by this as I am, enough so to behead the cam-puppet, so the implications aren’t good.

More Smuppets spill out of the microwave, and then we go back into fucking sylladex shenanigans as Dave tries to collect every dangerous object in the room

GET ON WITH IT!: 7

Distracted by same, Dave fails to notice a silhouetted figure which is presumably his brother appearing briefly behind him, dropping Cal on the stovetop, and disappearing. Dave’s expression doesn’t change on seeing it but he literally leaps a foot in the air. Poor kid, that is freaky. We also discover why Dave had juice in his closet way back; Bro uses the fridge as storage space for swords instead of comestibles, and cherry bombs in the icemaker.

… Okay, where does Bro keep his own food? Both humorously and actually abusive/neglectful guardians still require energy intake, you know. There are later hints that Bro himself is someone’s puppet, but only in the figurative sense.

TIER: Dude probably has spots around the apartment to stash stuff, like how Dave has apple juice hidden away in his closet.

Figuring out how seriously we're supposed to be taking things can get tricky, especially with the Big Thing way later on in the comic putting earlier events in a new light upon rereading (well, mostly just stuff related to Dave).

CHEL: And if we are supposed to take it seriously, how the fuck is Dave alive? A real kid in this situation wouldn’t have lived long enough to be traumatised.

[staygoldenlightning]

An exciting new review experience in three parts! It’s gonna be a long one!

It was only a matter of time until I addressed this elephant in the room: I’m a little bit obsessed with To All the Boys I’ve Loved Before — both the Jenny Han novel and the Netflix original movie. And I’m pretty sure I’m not the only one. To All the Boys is the story of Korean-American, high school junior Lara Jean, whose personal love letters to each of the five boys she’s loved are accidentally sent out, all while she’s dealing with the challenges of her older sister leaving for college (and leaving behind an ex boyfriend that Lara Jean has always had an eye for). In an act of mutual damage control, Lara Jean and her former crush Peter Kavinsky enact probably the best (and definitely my favorite) rom-com cliche of all time: they pretend to be a couple.

I received a copy of the book (the first in a trilogy I haven’t read the rest of yet, NO SPOILERS) as a Christmas gift last year, and I read it back around February or March. Now that the Netflix film has taken Twitter the world quite literally by storm, I figured it was time I launched my thoughts right out into the eye of it. So without further ado, here’s everything I have to say about To All the Boys I’ve Loved Before, presented in three parts.

To All the Boys I’ve Loved Before: The Movie

When I’m out of town for the night, Matt has a ritual where he gets a pizza or some snacks and watches a movie I wouldn’t like with the cat. Last week, on a night when Matt was going to be out late and my cat and I were home alone, I decided to do the exact same thing myself (except now I’m pretty sure that he would actually enjoy this movie too). Actually, there are a lot of reasons why this movie is good for EVERYONE, even us “grown ups.” I was feeling a little down on that particular day, and I needed something lighthearted and a little bit indulgent to get my mind off of it, so I put on To All the Boys, because even though I knew I wanted to watch it, I’d been putting it off, in a way.

While some nights since its premier I just didn’t have the time to sit and watch a whole movie, hype scares me away from things. Not in a hipster sense of “If too many people like it, then it must not be good,” but I fear the bandwagon effect. I don’t want to like it just because other people do and I want to fit in. But I have nothing against liking something popular if I actually connect with it. With this movie, I was actually expecting it to be a little cliche, a little cheesy, and a little silly, but in all actuality, it’s just the best rom-com I’ve seen in a really long time. Seriously.

The casting, the characterization, and the pacing all impressed me in their own ways, but what actually stood out to me about the movie was the cinematography and the storytelling choices. I’m not pretending to know anything about movies, but this could have easily been a movie that focused on the plot to give the people what they want: ROMANCE. While that’s still the main focus, the creative direction of the movie really surprised me with the handling of all the side conflicts circling around the main arc. Visually, it was way more interesting than you’d expect from a rom-com: the shots are interesting, and a little bit conceptual, and all meant to capture Lara Jean’s state of mind, not just what she’s doing or what she looks like.

I also give the movie huge props for something a lot of teen movies weirdly fail at, which is writing dialogue that actually sounds the way teens talk. There was no awkward slang, no overly-rehearsed sounding monologues, and even Kitty sounds appropriately mature for her age without going overboard. Even with it’s modern inclusion of social media, To All the Boys actually nailed it in the dialogue department.

I’ve only got one real bone to pick with the writing overall, and that’s the scene in the first act of the movie that, in my opinion, pretty obviously gives away the twist at the end. I read the book; I knew what happened already. But for someone that didn’t, I think they showed their hand too early. (Notice how I’m speaking in generalities to avoid spoilers). The reveal wasn’t explicitly stated, but I think it was too heavily implied. What Kitty says on the couch is enough. If there was a way that the dramatic irony of us knowing the secret that Lara Jean doesn’t could have enhanced the movie, I would have been all for it, but I don’t think they pulled that off. But this is still a small enough gripe not to ruin the movie for me.

And one more thing: the movie didn’t treat really any character as merely an expendable plot device. Lara Jean is and incredibly well-developed protagonist who I came to love almost immediately (how couldn’t I when she daydreams in regency-era period dress?). But the important thing is that we never stop learning about her; not all the information is dumped into exposition, we have to earn our full understanding piece by piece. While I did feel that Gen was reduced a little bit to the “mean girl” stereotype, we do eventually find out why she acts the way she does, and it’s actually a game changer, if only subtly. (Actually, it’s my opinion that the movie needed more Chris, too.)

This is also part of what makes Peter K. such a great character in his own right, not just as “the love interest.” What’s refreshing about Peter is that he’s a softer form of masculine lead that we don’t see too often, but the kicker is that he’s not afraid to show it from the very start (and to be honest, I didn’t get this as strongly from Book Peter). No “tough guy” layers to dig through—his heart’s pretty much on his sleeve, even though he’s still the cool guy all at the same time. Plus, Noah Centineo is a dreamboat (we were all thinking it). I’m telling you, he’s going to be the Chad Michael Murray of his time.

This is unfair and their outfits match.

While of course there wasn’t time for book-length dives into every character, even Lara Jean herself, the characters were portrayed in a way that encourages the audience to make a connection.

https://twitter.com/ivyjune12/status/1037885481302847488

I’m a firm believer that a movie is not a book. Obvious, but what I mean is that a movie doesn’t just have to be a direct retelling of the book in exact detail. In my opinion, if that’s all a movie does, it was unnecessary. I did all that in my head already. What I think makes a great movie adaptation is that it has to have something to say, some interpretation of the characters, plot, and themes, while still capturing the overall idea and spirit of the book from whence it came. I understand the cuts that were made for the sake of real-estate (though I’m hoping a certain deleted kiss surfaces in the sequel I’m praying for). What they did was tailor down the story to make it more self-contained, more refined, and more to the point so that it fit the medium and told they story it needed to tell while really letting us live inside Lara Jean’s head for a while.

But also, how much do you think Subway paid for that product placement?

To All the Boys I’ve Loved Before: The Book

You’ll have to excuse my copy of the book, for it has the leftover residue of a “soon to be a major motion picture” sticker that didn’t quite come off all the way. Switching gears, To All the Boys I’ve Loved Before by Jenny Han is just about everything you want in a YA read: a quirky, relatable (and diverse!) main character, a pseudo-love triangle with ~nuance~, and a family secret or two threatening to fracture some relationships when it erupts. I’d known about the book for a few years (thanks, Tumblr), and I made pretty short work of it once I actually had a copy in my hands. The romance arcs made it a page turner in a lot of ways, with the way they criss-crossed and changed shape and came to a heated point.

That being said, I found the book itself a little slow in places in terms of pacing. It’s on the longer end of the YA spectrum, and while I can’t say I ever lost interest, I got a twinge every now and then when I finished a chapter without learning anything new, per se.

My other issue had much ado about Margot, Lara Jean’s older sister, who, despite not being present for the majority of the story, never truly leaves us. I completely understand why Lara Jean thinks of Margot often: she misses her sister, is distressed about keeping the secret, and worries that she’s not ready to fill Margot’s shoes as a caretaker. But in the book, Lara Jean is so preoccupied with Margot that I have to admit that there were moments I was sick of hearing about her.

What I loved most about the books was that Lara Jean’s romance was surrounded by several subplots dealing with friends, family, responsibility, family, and growing up. While a movie only has so much time before it loses us to sleep or boredom, a book can go on, night after night, expanding the main character’s world that we’re lucky enough to be living in. In the book, we get to see a lot more of what Lara Jean’s mom, and her Korean culture, means to her. We also get to see a lot more of how her family has grown from the past until now, and how they’ve all taken on changes before and after Margot’s departure. And maybe the thing I was the most heartbroken about was the letter in Margot’s desk and all the implications it held. Lara Jean wasn’t the only one with a secret, and I love the complexity it added to the sisters’ relationship.

https://twitter.com/ivyjune12/status/1037856493410897920

If you’re wondering about that Tweet, I was quickly disappointed and then overcame it.

Moving on, I’d be so interested to see what more movies would do with the material we have, because there’s a choice to be made at this point: do they go back and pick up the conflicts they didn’t have time for the first time around, or do they move on to whatever new ideas are hidden inside books 2-3? No matter what happens, sequel or not, the movie has actually really nudged me towards picking up the rest of the series—something I wasn’t totally convinced (Peter Convince-sky? No, but A for effort) I’d do before.

2 Outfits Inspired by Lara Jean Covey

I saved this little bonus section for last, mostly just to amuse myself. It was impossible not to notice how amazing Lara Jean’s style was in the movie; every outfit was a SENSATION and I haven’t stopped thinking about a single one. So, for giggles, I dug around in my closet and came up with the two closest Lara Jean outfits I own.

https://twitter.com/gicatam/status/1035720646196510720

1. Skirts and Stripes

A tried and true Lara Jean combo, a button front skirt paired with a cute (often striped) top can be found during a few scenes in the movie, but I would say I came closest to the airport outfit. While my color scheme is off, the spirit is there: I even braided my hair as much as possible. Fun fact: I am a cartoon character who owns this shirt in two different colors, and these boots are old enough that I can ~almost~ call them vintage (not really).

2. The Pink Power Suit

All right, it’s not a suit, but the soft pink blazer paired with skinny black jeans and a black choker was almost certainly a confidence move for the first ride in Peter’s Jeep. I don’t wear this pink blazer enough, and I wasn’t sure if I’d love it with this outfit because it’s more of a salmon than a blush (I want to introduce my best friend Squidward to everybody in town wearing a salmon suit).  Actually, this combo worked out surprisingly well, minus the fact that I’m wearing a literal shoe string as a choker.

Actually, I’ve left the house wearing it like that before, and I love it. Fight me.

^This is the best image I could find of this outfit and I’m bummed about it. 

Lara Jean’s style is the perfect combination of vintage revival and current trends, which is really everything I want to be in my life. I’m already making my list of things I need to add to my own closet: a yellow beret, a lot more bomber jackets, a gorgeous red ballgown. Maybe by the end of autumn, I’ll have the full collection. From now on, every time I go shopping, I’m doing so with the motto: “What would Lara Jean wear?”

If you made it to the end of this post, I salute you. Know of any other books/movies with outfits I should try and copy?

To All the Boys I’ve Loved Before: Movie, Book, and 2 Lara Jean Outfits An exciting new review experience in three parts! It's gonna be a long one! It was only a matter of time until I addressed this elephant in the room: I'm a little bit obsessed with…

[woohooligancomics]

Webcomic Whimsy: Nextuus!

Welcome to the Woohooligan Weekly Webcomic Whimsy! If you're a webcomic author and would like a review, you can see my announcement and review rules here.

Title: Nextuus: the Search for the Ocean Shard

Author: "Undoubting" Thomas Hotka • Facebook • Twitter • DeviantArt • YouTube

Site: Nextuus.com

Genres: Action, Adventure, SciFi, Space Opera, Cyberpunk, Espionage, Illuminati, Treasure Hunting, Psychic, Square-eyed minecraft people

Rating: PG13, T for Teen(?) - some language and violence

Updates: Tues, Thurs, Sat

My Starting Point (requested by artist): Chapter 8.

Synopsis: Space opera treasure hunters in a world with aliens and psychics. (I couldn't find an official synopsis on the site.)

Nextuus is the name of an Earth-like planet in some other part of our galaxy that's been settled by humans (the Confederation), and subsequently conquered by another alien race called Donts. (Rhymes with font.) According to geologist Alec Dougan, the crew of the hoverplane (not starship) the Truemark are treasure hunters. Their green-haired boss and pilot, Randall Lockheed, prefers "entrepreneur". Once famous for his exploits, Randall will find anything for the right price, although he's fallen on hard times and disbanded his crew for many months. The story opens on a new job and Randall getting the band crew back together. Add in an illuminati-like cabal of psychics and it makes for an interesting setting.

I see a lot of influences in this work: Star Wars, cyberpunk, a little Star Trek, etc. but what it reminds me of most (despite the inclusion of Aliens), is Joss Whedon's sci-fi TV series, Firefly. To be fair, Tom Hotka and I have been friends for several years, though I never got around to reading his comic work until now. He actually waited in queue like everyone else for this review and has been real patient with me while I've been struggling with some health issues in recent months. In any event, when I say it reminds me of Firefly more than of Star Wars or anything else, I mean that what I've read of the story focuses a lot on the personal relationships of the crew, who resemble the Firefly crew quite a bit. The crew's hoverplane is described as an "ancient" junker (Serenity), their mechanic is a wide-eyed girl named Elle (Kaylee), who came aboard to escape the utter boredom of her one-horse town and who doesn't seem to notice that Aareck (Simon) has a massive crush on her. Randall (Mal+Wash) claims to be all-business, but it's implied that it's all really about getting back together with his ex, Liz (Inara).

Admittedly, I'm playing a bit loose here, since Aareck isn't a doctor, he's not looking after a psychic sibling with a tragic history, the psychics are an illuminati-like cabal called the Waywachrie, and I assume Liz' profession is not companion. The major players in the political climate do however include the Confederation (probably more like Firefly's Alliance than Star Trek's Federation), and while weapons look to me like conventional firearms (Firefly) and there are no Star-Wars style lightsabers (that I can tell), swords appear to still be common (okay, Mr Universe made the point that the sword was weird in the movie, so maybe this isn't a Firefly thing).

As an aside, I have to give Tom props for some decent disguise humor. ;)

Also, my first impression while looking for some kind of synopsis was that it seemed a little Seussical when I started reading about Ways and Donts on the About page. You see, there was a Dont War, but not with Ways, because Ways don't war, Dont's war. Let's all be grateful where aren't any Whos... yet. It's a bit less comical once you realize Dont rhymes with font, but you'd have to read their description for the pronunciation guide. It occurs to me also that there's no page to describe the Confederation, which is described as the human government in the descriptions for the Nix (think CIA) and the Nextuus Planetary Defense Force (NPDF), and I'd like to see the crew of the Truemark separated from non-crew characters on the About page. And in general, I think a synopsis of the story would be helpful on that About page as well.

Tom asked me to start reading at the beginning of Chapter 8.

I dunno... is it normal to go through all that procedure when your engine is belching thick black smoke and you're crashing or damn near? "This is your captain speaking, at this time we're going to initiate crash-landing procedures, but first we're going to let the flight attendants finish taking your drink orders."

Two comments on the art here. First, although it's a bit hard to look at, that double-vision effect does a really nice job of simulating the shaking camera effect. Nice job, Tom. Second, and I'll expand on this a little more later, but I think this page could have had two of these panels, and possibly a panel or two from the following page could have been included here. The dialogue from the tower could have been presented in the same panel with Randall's dialogue, and in general, I don't see the visuals in the middle two panels adding any information to the scene.

No, we're not screwed! We're option-challenged!

To be honest, I think "you're coming in a little too steep" would have been a great punchline at the end of that first page.

Wait... is she fixing her hair during a plane crash?! <looks back> Oh, her hair was on fire, she's putting it out. I thought you were supposed to stop drop and barrel roll...

Also... you're allowed to just hang-up on air-traffic?!

I think I would have made the latter 3 panels here a single panel and daisy-chained the dialogue balloons together, using just the art from panel 3, or possibly a profile shot like panel 2 from the first page.

I think this is the moment where I really started thinking about Firefly. That line from Elle about parts falling off the plane just feels so close to the opening of the Serenity movie.

This is also the point at which I start feeling like there's a pacing issue. I realize I'm sounding like a broken record, and maybe people will just write it off when I say this from now on, I'm certainly not any kind of authority, but most of the comics I've reviewed so far seem to me to be slow getting important info to the reader. It's not always the same kind of info, for example, when I read Modest Medusa I interpreted it as primarily being a slice-of-life comedy (surreal though it was), and there the missing info seemed to be details about the main character's life (family, job, etc). In Next Town Over, which is a steampunk action/adventure, there's obviously a backstory that Erin was trying to keep in the dark and let readers piece together, although I felt like the brief glimpses of backstory were infrequent and often too short to be meaningful for me as a reader.

Nextuus gives me a wholly different kind of "sluggishness" for lack of a better term. I feel like the story is moving and things are being revealed, but that Tom is giving me too many visuals, which bumps the page count up. It's not too noticeable at first, I'm just reading along, but then over time, those creeping page counts seem to add up and I end up feeling like a whole chapter went by without revealing much information. At present, Nextuus is 34 chapters and a total of 1053 pages, and while I'm sure there are fans out there who enjoyed every page, for my part, I'm thinking about the printed volumes. What's that? At least 10 trade paperbacks? I know Tom's had four successful Kickstarters for volumes of Nextuus so far, and in his video for the last one he said the first three volumes were fifteen chapters, so if a chapter averages around 20-25 pages, you're looking at five chapters per volume being 100-125 pages? That can't be right... not with over 1k pages so far...

Okay, I'm getting into the weeds here, I apologize. What I'm getting at is that any extra panels or extra pages are going to drive up the price of the books. You could still get Volume 4 for $25 on his last Kickstarter, which is a reasonable price for a trade paperback, but I wonder if the size didn't eat into Tom's margin and make it harder for him to make ends meet in the long run. So... long story short, Tom, I think if you could cut a few of those panels in future chapters, it might help you bring costs down and may even help bring sales up if the readers feel like it's more "action packed" that way.

And that's where we get the two page landing sequence that I feel like really could have been one page.

That picture of Elle at the top grabbing the co-pilot seat, I feel like really would have worked better as the last panel on the previous page, also because then you get to see her standing behind the chair and then grabbing it without the page-break as an interruption.

So if you put the first panel from the previous page onto this page with these three panels, I think that would have worked out nicely.

The big dude on the right is One-15, who joined the crew in response to an ad. He's said to be from the planet Carthe and while the details of his anatomy are left ambiguous (I think intentionally), he certainly feels to me like a robot with an air of Star Wars (you can't say "droid", or the big silly mouse will sue your ass into the last century).

While I'm on the subject of pacing, it feels to me like Tom is kind of married to individual pages being 3 or 4 panels. This page in particular, although it is four panels, certainly feels like it has plenty of empty space that could have been used for another panel or two. Shift the first panel over to the left, slide panel 2 up on its right side, repeat with panels 3+4 and you've got a whole third row that could be the top two panels from the following page.

Aww, Elle, don't you want a puppy?!

I think that second panel is meant to be a joke? I dunno... it feels either like it needed a little more work as a joke or it's sort of unnecessary in the page.

Fine, I'll get him, just stop looking at me like that! Seriously, what is that look in the first panel?

No place that's described as "south central" has ever been a good thing. It could be south-central Candy Land and you'd still take a gun just in case of a peppermint stickup... shoot them in the candy heart, wrap them in a trash-bag and drop their body in the ice-cream floats.

Also, dude! You totally had room for the first panel of the next page up there. Look at all that empty space!

Randall, look out! There's a zombie behind you!

Aww, One-15, don't you want a puppy?!

Mustn't... look... at... empty space!

Auuugh! The empty space! It was right there at the end of the previous page! Begging for this first silent panel.

I don't think I've read enough to know for sure, but I do feel like Tom is emphasizing Aareck's interest in Elle here while writing Elle as oblivious. That's not exactly the relationship between Kaylee and Simon in Firefly, as Kaylee always showed interest in Simon, she just wasn't sure if he felt the same way until they made the movie.

Following this, I don't feel like a whole page of Aareck's commute was really needed. Maybe just the last panel where he checks the address in front of the building.

Aareck and Alec... what are they Hobbits? Biffer, Boffer, Bofer, Ron, Don, John, Kurt, Burt, Bart, Evan, Devin, Kevin...

The "ding!" sound effect at the top I think could use a little more contrast, maybe a wider white border around the text and maybe lay it on top of the company logo, becuase when I first saw it, I saw "6 Ding!"

Man, I've heard of hostile work environments, but this is ridiculous! Dude quits and the boss thinks the best way to get him to come back is to berate him as he's walking out the door? That's like domestic abuse. Chill out. Try some meditation, or Xanax, or maybe Hair Club would help take the edge off.

Randall needs to lighten up? Your last boss is apoplectic, looks like his head's gonna explode and shower the room in bald-juice.

I really need more contrast on those dialogue balloons. Several of the tails for balloons in these office pages are virtually invisible, like the middle two panels on this page. I know you're not putting borders on your dialogue balloons in general, but I think you probably should have broke with tradition for these pages.

Cynthia doesn't know what she's lost, man... a guy like you, who can appreciate the finer things in life. Like the rush of addrenaline when you see a high PH balance in a soil sample!

In retrospect, I would be fine with this entire scene starting on this page (above). You could cut Aareck's commute, walking into the building, asking for Alec and all that stuff with him quitting his job. I get that there's a bit of comic relief with the boss, I'm just not convinced it's worth three whole pages for that one joke about the bald guy who desperately needs to switch to decaf.

And then in other places I feel like the dialogue could be an easy way to shave some pages. At the end of the page where Alex says "I've always been a little jealous of you", there's plenty of room to add "because you got to stay with Randall when he disbanded the crew." It would have saved you a panel and it wouldn't have changed the meaning of the dialogue in any significant way. I'm also iffy on the need for this whole page to point out that Tim is the kind of guy who holds grudges -- that's better explained via the character interaction in the subsequent pages where Randall talks to Tim (a good case of show, don't tell). Speaking of which, this whole page where Randall presses a doorbell also seems unnecessary. I could maybe use the opening shot of the side of the building, although I honestly think the next page (below) is fine on its own.

Yes, hatred has a hard use-by date. After two years it immediately molds and that's when you start doing crazy shit like scrap-booking newspaper clippings and writing cryptic letters in haiku under assumed names.

Anyway, Tim lets Randall in and they dispense with the small talk. (I really think those could have been one page.)

Ack! A minute ago when I called those newspaper clippings and haiku letters crazy... you know I was kidding, right? Tim? Buddy?

Man, I'd have thought they'd have much better reconstructive surgery this far in the future!

On the other hand, it's nice to see Baron Underbheit is keeping busy.

I said no small talk!

Anyway, Randall says he's all business, but Tim's convinced it's still about Liz.

One Way or the other, I can never really tell them apart... Are you sure it wasn't One Direction?

Now this is getting interesting though, because I'm like 24 pages into the chapter and so far I've mostly heard talk of broken hearts, broken airplanes, and soil samples. Now we're talking about psychics and anti-psychic devices, that's cool!

Oh, uh, hi Liz. Oh me? Emotionally scarring children with my horryfing visage, but let's not talk about me. How have you been?

Space, the final frontier. These are the voyages of the starship Enterprise. Its five year mission: to explore strange new worlds, to seek out new life and new civilizations, to boldly repurpose the cheapest random objects we can find as props. It's the best we could do with the budget the network gave us.

It looks like Randall's gonna keep psychics out of his head with a giant slinky. :P

Fashionating!

Anyway, that being the end of Chapter 8, I think this fairly makes my point about the pacing of the story. Yes, there was some information in this chapter about the character relationships, but the only movements in the plot were that Alec returned to the team and Randall replaced his slinky-helmet.

Chapter 9.

The bags under your eyes alone should be a dead giveaway!

Also, it's the elusive comb! The rarest relic in all the galaxy! All these characters seem to have that Dragonball-hair syndrome.

Oh, I forgot to mention, the continents on Nextuus are named Primaris, Secundus and Tertiann. I suppose it could be worse, they could be A-ko, B-ko and C-ko.

Is it common for war orphans to enlist? Oh wait... there was that one guy...

Trust me kid, the Clone Wars were overrated.

Oh, for Pete's sake!

Your uncle sounds like A. Square.

Not sure his reaction to the haircut needed a whole page, but they did need to make him unrecognizable.

Wait... didn't she have a comb a minute ago? Maybe she was distracted by all his impure thoughts. But what's a little non-consensual probing between friends? Incidentally, Katja felt the probe was necessary because Jon was given adrenaline-activated powers by a corporate experiment...

On our world, robot technology has only reached three feet. We could only dream of having robots like you, tall enough to dunk! We have to settle for robots that are tall enough to reach the kitchen counter... with help.

The text balloon in panel 2 is a good example of why I'm not a big fan of the square dialogue balloons. Here it's created a parallel and/or bump-up tangent, and possibly a "fake panel". If you're not familiar with tangents, Chris Schweizer has a good article about them that's tailored for cartoonists like us. On the whole though, the square dialogue balloons in Nextuus seem to create these kinds of issues quite often.

A good handshake involves bone fractures, check.

That was really two panels worth of content, max.

Aww, Elle, don't you want a puppy?!

Elle twerks the engines and Randall returns without Tim. (Maybe this page isn't unnecessary, but it feels like a lot of room to say "it's good to see you again, Tim's not coming.")

Challenge Accepted!

The last panel there wasn't really necessary -- One-15 is carrying a bag at the top of the following page, where Aareck stays to help Elle. Oh wait! That page had five panels. :P I'm not sure it needed a second page though to show Aareck getting ... rejected? Dude, if you ask to stay and help the mechanic, she's going to put you to work... whether you're hitting on her or not.

I'm dying to know!

Oooh, psychics 101! You'll never have to ask anyone to pass the salt again. Does it work on pepper? What about buffets?

Okay, but if you're going to teach me, maybe you should wash that oil off your face first. I smoke a lot, I don't want to catch your face on fire.

Luke, you can destroy the Emperor. He has forseen this. It is your destiny.

Oh, for Pete's sake!

Why do villains always put spotlights over their valuables? Why?!

Oh, that's not makeup, it's a scar. Anyway, that's the end of Katja's backstory for the moment and they rinse Jon's hair.

Given the context and the fact that Katja laughs, I'm thinking gray hair is supposed to be a joke? But without knowing why Jon is unhappy about it, I'm not sure I get the full effect. Have people joked about him being "old", like Aareck's objection to "pup"? Does it make him look like something or someone he wants to avoid? Even if it's just not liking looking old (eye-bags and all), I think it would make a snappier joke with a little additional response from Jon. Maybe, "Great, now if I can just remember where I left my cane/walker/Geritol/dentures."

Overall, I think all the elements of a really cool scifi story are here, I just think the script and page layouts could be a little tighter. In particular, I love the visual design of One-15, his ambiguous physiology (robot or armored organism?), and the use of him for comic effect. I also love the Waywachrie's Illuminati-like structure and I think their masks are pretty cool. They're described as "skull masks", but they look to me more like grinning ghosts because of their round shape. That's totally fine by me, if anything I think they would be a lot less cool if they looked like more realistic skulls. So a+ on design there, at least from me.

So there's my pitch. If you enjoy scifi stories with intrigue, psychic cabals, and a lot of personal relationships, check out Nextuus!

If you are a webcomic author and are interested in a review from me, you can check out my announcement and my review-request rules here.

If you enjoyed this and want to help me make more reviews, you can contribute on our Patreon or if you're short on funds you can also help by checking out and sharing my own comedy and laughtivist webcomic, Woohooligan!

Thanks to Tom, and to all of you reading, for sharing yourselves with us! Sam

[ber39james]

Reader’s Choice: 10 Books That Will Make Great Holiday Gifts

Grammarly blog readers love many things. Chief among them, grammar advice, writing tips, and of course, reading.

Book recommendations are always clutch, especially at this time of the year. So for those looking for last-minute stocking-stuffers or timely selections for your book clubs, we asked our Facebook audience, “What has been your favorite book of 2017?” Here are their picks for the  books they’re loving right now along with reviews from Goodreads.

1. A Gentleman in Moscow by Amor Towles



This was the most common recommendation  from our Facebook crowd. 

“A Gentleman In Moscow and The Underground Railroad are two of my favorite books for 2017,” Grammarly enthusiast Jackie Greenwalt wrote. “Two novels that tell the history of the times; both amazing in their own way.”

“I really enjoyed A Gentleman in Moscow,” added another member of our Facebook audience, Andrea McManus.

What Goodreads had to say: “A Gentleman in Moscow immerses us in another elegantly drawn era with the story of Count Alexander Rostov. When, in 1922, he is deemed an unrepentant aristocrat by a Bolshevik tribunal, the count is sentenced to house arrest in the Metropol, a grand hotel across the street from the Kremlin. Rostov, an indomitable man of erudition and wit, has never worked a day in his life, and must now live in an attic room while some of the most tumultuous decades in Russian history are unfolding outside the hotel’s doors. Unexpectedly, his reduced circumstances provide him a doorway into a much larger world of emotional discovery.”

2. The Signature of All Things by Elizabeth Gilbert

One of our most thoughtful recommendations came from Patricia George, who shared this note about her book choice: “It is so good, so encompassing, and it comprises elements of Tolstoy, Hugo, Dickens, Flaubert, and Balzac.”

What Goodreads had to say: “Exquisitely researched and told at a galloping pace, The Signature of All Things soars across the globe—from London to Peru to Philadelphia to Tahiti to Amsterdam, and beyond. Along the way, the story is peopled with unforgettable characters: missionaries, abolitionists, adventurers, astronomers, sea captains, geniuses, and the quite mad. … Written in the bold, questing spirit of that singular time, Gilbert’s wise, deep, and spellbinding tale is certain to capture the hearts and minds of readers.”

3. 21st-Century Yokel by Tom Cox

A recent addition to bookshelves as of November of 2017, 21st-Century Yokel caught Grammarly enthusiast Sue Radford’s attention as a must-have book.


What Goodreads had to say: “21st-Century Yokel explores the way we can be tied inescapably to landscape, whether we like it or not, often through our family and our past. It’s not quite a nature book, not quite a humour book, not quite a family memoir, not quite folklore, not quite social history, not quite a collection of essays, but a bit of all six.”

4. Killers of the Flower Moon by David Grann

If you enjoy books that become movies, Grammarly blog reader Vivian Guy’s pick is one you’ll appreciate. “Leo DiCaprio has the movie rights,” Guy wrote in her Facebook post. “Read it before you see it.”

What Goodreads had to say: “In the 1920s, the richest people per capita in the world were members of the Osage Indian Nation in Oklahoma. After oil was discovered beneath their land, the Osage rode in chauffeured automobiles, built mansions, and sent their children to study in Europe. Then, one by one, they began to be killed off. One Osage woman, Mollie Burkhart, watched as her family was murdered. Her older sister was shot. Her mother was then slowly poisoned. And it was just the beginning, as more Osage began to die under mysterious circumstances.”

5. All The Light We Cannot See by Anthony Doerr

Thanks to Facebook follower Simon Falk, we received the heads up about Doerr’s latest offering.

What Goodreads had to say: “From the highly acclaimed, multiple award-winning Anthony Doerr, a stunningly ambitious and beautiful novel about a blind French girl and a German boy whose paths collide in occupied France as both try to survive the devastation of World War II.”

6. La Belle Sauvage by Philip Pullman

Another Grammarly Facebook supporter, Gill Heaslip, pulled this 2017 Pullman book on our list!

What Goodreads had to say: “Eleven-year-old Malcolm Polstead and his dæmon, Asta, live with his parents at the Trout Inn near Oxford. Across the River Thames (which Malcolm navigates often using his beloved canoe, a boat by the name of La Belle Sauvage) is the Godstow Priory where the nuns live. Malcolm learns they have a guest with them, a baby by the name of Lyra Belacqua.”

7. Leonardo da Vinci by Walter Isaacson



Brush up on an important historical figure with this recommendation from reader Judy Cooper, who said mid-book that she “will be sorry when it’s finished.” The New York Times has listed Isaacson’s book on its best-seller list for seven weeks.

What Goodreads had to say: “Based on thousands of pages from Leonardo’s astonishing notebooks and new discoveries about his life and work, Walter Isaacson weaves a narrative that connects his art to his science. He shows how Leonardo’s genius was based on skills we can improve in ourselves, such as passionate curiosity, careful observation, and an imagination so playful that it flirted with fantasy.”

8. The Cedar by Carmen Butler

Facebook subscriber Lisa Butler recommended this book by a writer with her namesake. A coincidence? Perhaps.

What Goodreads had to say:  “From settling in the newly founded colonies in the 17th century through the pinnacle of the Civil War, The Cedar is an adventurous tale of the trials and triumphs of human endeavor, a broad canvas of emotion, and an epic tale of struggle and strength. A story that is at times heartwarming, at others heartbreaking, we are introduced to generations of the Bodes family and those close to them as they struggle against enemies, the challenges of the new world, and personal conflict.”

9. Don’t Sweat the Small Stuff … and it’s all small stuff: Simple Ways to Keep the Little Things from Taking Over Your Life by Richard Carlson

The longest book title recommended this December is from a 20-year old book and comes courtesy of another Facebook supporter, Mayur Jungi.

What Goodreads had to say: “Don’t Sweat the Small Stuff… and it’s all small stuff is a book that shows you how to keep from letting the little things in life drive you crazy. In thoughtful and insightful language, author Richard Carlson reveals ways to calm down in the midst of your incredibly hurried, stress-filled life. You can learn to put things in perspective by making the small daily changes he suggests,including advice such as “Think of your problems as potential teachers”; “Remember that when you die, your ‘In’ box won’t be empty”; and “Do one thing at a time.” You should also try to live in the present moment, let others have the glory at times, and lower your tolerance to stress.”

10. The Magic Strings of Frankie Presto by Mitch Albom

Grammarly blog supporter Christina Reilley shared a book from 2015 with an important qualifier for why it should make our list. “I read it this year, so it counts,” Reilley wrote. “It’s amazing.” We’re sold.

What Goodreads had to say: “Frankie, born in a burning church, abandoned as an infant, and raised by a music teacher in a small Spanish town, until war rips his life apart. At nine years old, he is sent to America in the bottom of a boat. His only possession is an old guitar and six precious strings. His amazing journey weaves him through the musical landscape of the 1940s, ’50s and ’60s, with his stunning playing and singing talent affecting numerous stars (Duke Ellington, Hank Williams, Elvis Presley) until, as if predestined, he becomes a pop star himself.

Other book recommendations to consider from Grammarly’s Facebook audience:


Sing, Unburied, Sing by Jesmyn Ward via Judi Grant

Thinking, Fast and Slow by Daniel Kahneman via Karen Davis

Tribe by Sebastian Junger via Nicole Emm

November 9 by Colleen Hoover via Monalisa Chowdhurry

Let’s Kill Uncle by Rohan O’Grady via Chris Easley

A Column of Fire by Ken Follett via Lesly Livengood

The Handmaid’s Tale by Margaret Atwood via Olga Da Polga

Origin by Dan Brown via Deanne Wallace

The post Reader’s Choice: 10 Books That Will Make Great Holiday Gifts appeared first on Grammarly Blog.

from Grammarly Blog https://www.grammarly.com/blog/holiday-book-gifts/