#if you want to change the story dont change such integral parts...

[smellpelt]

if aerith doesnt die in this new version im gonna have to kill her myself

[soft-spooks]

i am once again so very tempted to write out the entire outline for the 🔪 canon compliant timeline but i KNOW im gonna get burnt out halfway through and also slap like twelve content warnings in it if i ever even want to THINK about posting it

[erythristicbones]

while i do love that i decided to write the EOTA trilogy w/ different POVs for each book, bc yea it's just the same 6 ppl working together regardless but it's important to see all of their POVs, it does also leave a lot unexplored for the previous POVs each time. like these things still happen and i DO get to explore them, its just different when it's no longer the POV

[txttletale]

youve previously spoken about i was a teenage exocolonist and its confused politics, and i agree, and now im thinking, how would one revise the story so as to improve them?

i think the game would have to either not be so proudly About Colonialism or would have to revise its story so that the theming actually matches the events. like imaginining that my proposed rewrite aims to 1. make the game's politics coherent while 2. changing as little as possible and 3. keeping the game's intended themes, i think the things that are most dissonant and jarring are:

the game not understanding what colonialism is but wanting to very much assure you that It's Bad

the game not understanding what fascism is but wanting to very much assure you that It's Bad

the game not understanding what capitalism is &c. &c. &c.

the bizarre unexamined eugenicist elements

so let's start on the first thing. you would want to lean much more heavily on the colonists as 'refugees' rather than 'colonists' -- the game treats 'colonizing' a place the exact same way as 'living there', and that kind of sucks (a common problem when using 'Space Colonization' as a 1-1 metaphor for actual colonization). so while we want to keep the weird culty aspects of the colony's society we'll ditch most of the colonial intentionality until the Helios arrives. secondly, we need to have the planet's indigenous people, like, actually present and not secretly hiding away as supercomputers.

so, like, let's keep the Gardeners as artificial life forms dedicated to protecting the ecosystem, but let's make them biotech. let's make them giant, imposing trees that reach up into the sky, with root networks that span the whole planet. then, rather than the colony being colonialist because it straight up doesnt know indigenous people exist (because they're secret computer people), we can make a much more interesting conflict by having the colonists be ignorant (and, as the game progresses, willingly ignorant) of the gardeners' sentience. have the raids start after the colony fells one of the trees (killing a Gardener) to make room for their own expansion, maybe really lean into the nasty parts of the colonial metaphor by having the Gardener's wood be the construction material of the new wing of the colony.

then Lum arrives as part of an intentional colonization project from the Earth we fled, assumes military command as in the current story, and immediately ramps up existing exploitation and destructive enviromental practices. his administration deliberately suppresses information of the Gardeners' sentience and spreads propaganda about them being 'monster trees'. have Lum clearly backed by Earthbound corporate interests, seeing the colony as an excercise in extracting value and using fascist dictatorship (usurping elections and the council with a permanent state of emergency and martial law) as a tool to maximize that value.

instead of defeating Lum at the ballot box, you can remove him in a coup. you can keep the getting-the-councilors-on-side minigame, you can even make it a bloodless coup if you don't want to put revolutionary violence in the game (but considering how much other violence there is in there, including terrorism, genocide, and murder, seems like a strange omission tbqh). and dont make him your fucking tiktoker put the guy in Jail. hes killed people sol.

have Sym still have his humanboo interests but also hint at an internal power struggle within the Gardeners, make it clear that there is a real and thriving culture among these indigenous gigantic environmentally networked tree-ecosystem-people, make his motivations for seeking peace more multifaceted.

then make the peaceful resolution to the whole colonialism issue to integrate the settlers into Gardener society rather than the weird siloed reservation thing going on in the base game. the head of the settlement or an ambassador (probably Dys) gets to go to the big fancy Gardener meetings where they decide things, the settlement gets permission from the Gardeners to farm and expand sustainably and is integrated into the ecosystem rather than neatly separated from it. the excolonists stop being colonists and become citizens of the planet.

as for the capitalism stuff, you can just drop that from marz' character, honestly. or if you want to make it make more sense without having to get into What Capitalism Is (which i think would be outside the mission statement of these proposals), make her thing wanting opulence and excess (it already kind of us, the game just keeps saying 'Capitalism'), have her excited when Lum starts giving people the opportunity to have that, then have her moment of excitement turn sour when she looks into Earth history and realizes how destructive this kind of extraction is in the long term.

and the eugenics--i think the simplest case here while still keeping all the cool genetic mutant character tics is just to make the genetic mutations a random glitch in an artificial womb system the refugees were using to have kids in space. this lets you keep the weird and wacky stuff going on with tangent and dys without raising questions like 'hey isnt this society insanely fucking dystopian'.

that's my in-a-nutshell rewrite of the game. obvsies an actual rewrite would need to change some more in-depth things, but i think off the top of my head these are the changes to the narrative that would make the heavyhanded attempts at political commentary work for me (that said, you could also go the opposite route, stop trying to draw parallels to colonialism and fascism and keep all the weird shit as is. but i think that's less interesting and more like stuff that already exists)

[starry-bi-sky]

Ugh im writing this on mobile but i’ve been thinking about it nonstop for an hour and I’m just- mmmmm thinking about Clone Danny and his wardrobe choice as Phantom. Cuz like, he doesn’t have any powers, right? He has no built-in secret identity and suit that he can change into in a flash of blinding circular light. If a ghost shows up he’s just got what he’s got on, and whatever he has in his bag.

And I’m just. I have a lot of thoughts about him and his canon self, thoughts that i dont think i can all fit on my phone and im. Thinking about the dichotomy between him and his canon counterpart. From an in-universe perspective, the halfa Danny Phantom looks remarkably human-like. Especially compared to the ghosts he fights, all of whom are unnatural colors, shapes, and sizes. From flaming hair to glowing eyes and pointed claws, there’s nothing about them that doesn’t scream “ghost!” “Inhuman!” “Unnatural!”

And then you look at Danny Phantom, the ghost boy fighting them. And he just… looks like a glowing human boy. The only unnatural thing about him is his white hair and green eyes - and green eyes is a natural human color. Maybe not the shade it’s in, but it occurs in human genetics. He’s about as close to human as he can get.

Think about that from an in-universe perspective, and then think about it with the idea that ghosts take pride in their ‘ghostly’ look. They pride themselves on looking scary; unnatural; inhuman. It’s a showcase of being unique, of their own individuality, of their interests and wants. Looking ‘scary’ is part of ghost culture, and if not scary, then unique and ‘inhuman’. They don’t want to fit in, they want to stand out.

And you look at Danny Phantom, as his canon self without any of the fanon customizations, and he’s none of that. He’s about as human-looking as a ghost can get. He’s got human-like skin, hell he’s even tanner than he is as a human! His hair is normal, his eyes are green but normal, his hands? Soft and round, not a claw in sight, and his teeth are blunt and ears are round.

His suit is all black, it doesn’t even tell you anything about him other than he probably died in a lab accident, and he looks like he’s straight out of a b-rate comic book. There’s no story to tell about him, he’s a book with the pages all blacked out in ink.

His name, if you take it as him only calling himself “Phantom” isn’t even all that unique. It’s a generic ghost term that you can find by googling ‘ghost’ and looking at its synonyms.

And then look at his behavior: yeah he fights ghosts, and fighting is all about ghost behavior. Its one of their social activities- but its clear from Phantom that he’s not being social. He’s being aggressive, he’s doing it for the sake of the living (which while fair, doesn’t make him look good in the context of everything else). Then he comes into the ghost zone, he doesn’t do much to integrate himself into the culture, and yeah he makes allies but it still doesn’t feel enough. He’s not participating in anything, he’s alienating himself.

All in all, Phantom looks like a ghost trying to pretend he’s human, that he’s still alive. And for a ghost culture that prides itself on not being alive? It’s insulting.

And then let’s circle back around to that human thing, but from a different angle. Probably one that’s more mindset than outside looking in. But Danny’s alienated by the rest of the town for ages despite helping them. And while him looking human likely has to do with his own mindset of viewing himself as “living, but with ghost powers” and thus reflects back as a ghost, it also makes it look like he’s trying to fit in with the humans.

“I am not a ghost” he says, with his human skin and blunt teeth. “I am human like you, see? See? I look like you.”

He’s making himself look approachable, friendly. ‘You can trust me, I’m not a ghost. I’m not like them. I’m not scary. I look just like you. I’m different.’ He looks about as harmless as a human child could be. He’s trying to be relatable. And in turn he’s giving his fellow ghosts a cold shoulder - i’m not like you, i’m better. I’m different. I’m not ghost. I may be dead, but I’m no ghost.

Danny is trying to tie his ghost self in with the living as much as possible - he wants them to think he’s almost human. The same way he wants to think that himself. He’s distancing himself from his ghost half and the ghostly qualities the others have. Whether intentional or not, he’s doing it.

He shows his face and goes ‘see? See? I’m just like you.’

And then lets look at clone Danny, mister not-a-halfa. Who doesn’t have his canon offensive capabilities, who only has his ghost sense and the ability to hit ghosts without gear, his scary eyes and pointed ears, and the ability to see weaker ghosts not visible to the mortal eye.

He has no ghost form, no powers. And yet the first time he goes out as Phantom, he wears a mask that looks like a skull. Instead of distancing himself from ghosts, he’s distancing himself from humans. And at first it stems from the need to be unrecognizable, the last thing he wants is for his parents to find out that he’s ghost hunting. To do that, he needs to hide his face. That’s the first step.

The next step is to act in such a way that people couldn’t possibly tie him back to Danny Fenton. He’s not distancing himself from ghosts, he’s distancing himself from humans. To do that, he acts inhuman. He wears his mask and wears baggy, shapeless clothes - his hoodie and his pants - and he learns how to act unsettling. His eyes glow green, unnatural and shining through his sunken-in, skull-like mask. But it’s not enough on its own. He must do more.

He wants to be the thing someone sees at night and turns the other way. See me and run, he says, crouched on all fours and crawling across a beam like a monster you see in a movie. Twisting his body in unnatural, fluid ways, like he’s not quite sure how having only four limbs work.

Run. He says, dead green eyes glowing through his mask, piercing through black night from the rooftop. I am wild thing. Come no closer, look no closer. I am not like you. I am not your friend. I bite. Run.

You cannot see my face. This is my face, I am not alive. I am not like you. I am an animal about to pounce.

He doesn’t want people to think he’s human, he doesn’t want them to think he’s anywhere close to it. Anything to prevent his parents from figuring out its him.

And the thing is, he doesn’t have to. He doesn’t have to appear ghost-like or inhuman to keep his identity safe, wearing a mask and wearing unidentifiable clothes is enough. But he’s choosing to act ghost-like; unsettling; scary.

And in doing so, he unintentionally participates in ghost culture. And while his clothes are not anything unique, or outstanding, his mask is. His clothes don’t tell anything about him, but that’s okay.

Imagine meeting this boy from a ghost perspective. This annoying, fleshy human boy who jumps into fights to stop you and catch you. You’ve heard stories of human ghost hunters, you know there are hunters on the other side. You have heard the horror stories, you have seen the scars.

And then this boy catches you. This human, fleshy boy who yells quips at you, who puns and insults you, who wears an unsettling mask and acts ghosty. He catches you, and you think you will be the next one on the chopping board.

And then you end up in the ghost zone, untouched. Unharmed. And you tell someone about it. You were caught and released by a human child who feels touched by death. And then you hear that the ones who’d been caught were freed by a fleshy human boy who was touched by death, and a boy who they call “Phantom”.

And, isn’t that the name of the child you fought?

And he talks to you, but then he’s in the daytime. There are living around. He doesn’t speak to them - he ignores them outright. He keeps his distance, he stays away. If he talks, it’s with his hands. They will not hear his voice.

I may be alive but I am no human.

And its just — ????? So good to think about. I’ll reblog later with more thoughts when I have my laptop, but god i just needed to get that out there.

[popculturebuffet]

Life and Times of Scrooge McDuck Retrospective: The Empire Builder from Callisota: "No Scrooge McDuck once had everything. Now all he has is Money and What Money Can Buy" (Patreon Review for WeirdKev27)

Hello all you happy people and welcome back to my look at The Life and Times of Scrooge McDuck. After a long hiatus, it's almost over. Just two chapters left.

We've also got one I forgot..was banned. Yeah turns out a year ago Disney contacted rosa, told him this story was was banned and weren't really up to discussing it. As for why... well you can look above and get a pretty good idea. This story features Bombie the Zombie and Foola Zoola, characters Barks created... and characters who are entirely racist carcatures in their original form. Rosa DID do his best to give Foola depth, taking him from a one note villian to someone who didn't want a colonizer taking his land. Bombie.. really coudln't as he was a zombie and all that, but you can see from above why Disney wouldn't be crazy about reprinting Bombie and... I fully agree. As seen above, I can see WHY disney would choose to not want to print this story in it's orignal form as while Rosa did his best to fix the designs... Bombie still dosen't look that great.

The problems are twofold. The first is with Disney itself, who is unwilling to let anyone talk about it, is content to bury the story at at most suggested having people edit Rosa's art, something he's against. And I do get it: letting someone else walk all over something you carefully made.. isn't fair. I dont' agree with him on refusing to edit it due to being asked, as while as he says himself

“The Dream of a Lifetime” has only THREE panels of its 25 pages in which Bombie appears. Rather than ban this entire story forever due actually to only TWO of those three panels, the publishers suggested that I allow them to have Bombie redrawn. I would not allow art-tampering if my name is on the book. (I can tamper with my own art in reprints if I made some error, but I won’t allow changes forced on me.)

Look, I do think they should allow Rosa, if he's able as I know drawing is hard for him these days, to draw it and I do think just saying outright "you have to" instead of opening up an actual talk with him over the issue is scummy. Disney is being dicks and their possible "solution" of just removing the story is stupid. This is an integral part of life and tims and editing it is the better part. (As noted with dream of the life time it's only three panels).

That said while I love Don Rosa.. he should redraw it. He shoudlnt' of had his hand forced, again he deserves more respect and it's clear Disney is fairly hands off when it comes to it's comics. if he can't, then I do understand. But Rosa does have to understand.. this IS necessary. This WAS an error on his part as while he did do his best to make the characters look less racist and in Zoola's case an actual character, and was horrified by this chapter in Barks history in his commentary.. he has to understand times have changed. And while he considers the Don Rosa Library just for adults.. that's simply not the case. Jason Aaron , who wrote the recent Uncle Scrooge and the Infnity Dime, read these stories with his kids. Other people will do the same. And black children.. deserve to not have to see a racist caracture. I'm not saying ther eisn' ta market to have an unedited version with a warning label on it, Scrooge has adult readers, but I am saying these comics , while written smartly and fitting everyone.. are all ages and always will be. I'd rather the story be edited slightly to be updated than gone all together.

Let's be fair though: While I do think Rosa is being stubborn, Disney.. is still the worst and still shoudl've given him a more resonable chat than this. Disney clearly dosen't give one iota of a shit about these stories or how important they are to comics as a whole and while this chapter could use an update, it's callous to chuck it in a bin as some racist artifact when while the art.. again could use a slight touchup, maybe make bombie a full on green zombie like the 2017 cartoon.. the story itself.. isn't racist. Rosa took a racist old tale and made it a story of collonalism and scrooge's worst moment. The worst thing he ever did.. was forcibly take land from the people already living there and that's worth telling and Disney is fucking stupid for not getting that.

Lucky for me I own the story already, but I can't say that for everyone and hopefully at some point Disney gets their head and finger out of their ass and compromises with rosa while he's still around to compromise with.

For now the story itself.. and this is the one I was dreading. Not for all the above, i'd happily forgotten that till I went to get the image then had to dig into it a bit. Thank you reddit. No.. this is the sad one. See when we first met Scrooge.. Barks hadn't quite worked out who he was. He was always a bastard but he wasn't the layered bastard we know, one who will undersell his nephews but also do the right thing in a pinch. As a result he entered the story a frail old recluse donald hadn't met yet with Night on Bear Mountain, and earlier stories had him more as an antagonist before Barks took a shine to him and found out just how well the old man fit the adventure stories that he'd been telling with donald.

One of those early stories... was a massive headache for Rosa. Voodoo Hodoo, the story with the racist carcatures mentioned above, one where Scrooge gleefully admits to tearing down an african villiage and getting cursed as a result.

Like me Rosa had dreaded this part as how the hell would this fit: he coudln't ignore it due to his pride, trying to weave everything in, but it was incredibly hard to parse that with who scrooge became.. till it hit him: USE the fact it was horribly out of character for Scrooge. Have it be the one moment that in rosa's words "he became flintheart glomgold" that one moment of weakeness where he became his worst self for just one day, succumbed to every bad instinct he had did something truly unforgivable... and have it have consequences. Have his worst moment, his one bad day, be the reason his family left and he didn't reunite with them till inviting donald and the boys for christmas all those many decades later. It's why I dreaded this chapter: it's the one where Scrooge gains everything he ever wanted.. and looses what he had in the process. It's one of the hardest chapters to read and it's under the cut.

So we open with Matilda closing her scrapbook. Up to this point her scrap book had been the opening page, tracking her brother's journey.. but now she and her sisters are adults working for their brother, staying at the office while he travels the world and the seven seas building his empire and slowly filling his bin. It's a nice bit of symbolisim considering what's about to happen.

Scrooge returns as you'd expect.. inside a canon as he refused to pay extra shipping to ship himself. He could, as Hortense points out let someone else run the show.. but he refuses. No one else has his grit and while he dosen't say it... no one else simply has his stubborness. When mugged and having his hat shot he runs down the new generation of mcvipers in a flashback simply because they shot up his hat and cost him money. The man DOES need a better work life ballance.. but he isn't wrong. Scrooge is simply at his best when he's doing some of the work himself. His 2017 self does delegate more.. but truly thrives when his nephew and niece and later passel of nephews and daughter he never knew he had remind him of adventure. He dosen't always turn a tidy profit.. but the experince is well worth it and for every loss there's a gain.

This mindset makes a LOT of sense in story: We've seen scrooge struggle and scrape to get this far. Fight every minute as he will not settle for a life he does not deserve nor feels his family dosen't. Every time he seemingly got up the mountain and won... something shoved him back down with only a small handful of cash as progress, enoguh to get to the next adventure. Over that, with Rockerduck and Roosevelt's help, he learned he just.. loved the chase. He's in a comfy enough place where he can still keep going on the chase.. but every small loss isn't a gutting reminder he hasn't gotten anything but experince. He can take risks. He sometimes dosen't because he's a cheap old bastard, but he can adventure.. because he can afford it. Before it was just to survive.. now it's because it's what he WANTS to do. He wants to be richer than god, to keep going keep growing his empire and he was taught the only way to get that far is to do the hardest work yourself and maybe let others come to you for money once you got it.

Case in point Scrooge really didnt' see the need for a larger office staff, leaving only his sisters to run it.. and thus hilariously passes out when he finds they hired Ms Quackfaster. For those more familiar with Ducktales 2017 Quackfaster here is more timid, put upon back when it was entirely okay to abuse your secretary/office assitant. Ah the 40's.. please stay 50 feet away at all times thank you. He goes catatonic at finding out they have a full staff, but Hortsens is unphased throwing a whole cup of coffe in his face and making it clear that A) They couldn't do this with two people ya jackass and B) we're comnig with you.. ya jackass.

The girls have brought quackmore to office manage so they can go globetrotting something scrooge is suprisingly happy with.

Sadly this is about as light hearted as this adventure gets as we head into the congo.. where

The story strangely dosen't say, which is uncarctrastic for Rosa. This story has that racist habit a lot of stories do of just saying "Africa' instead of "what country exactly on the largest continent in the world". Which is not great when he was far more specific when we did the previous jaunt to south africa. Yeah... some oft his story has not aged well and Rosa can and should have done better. He does through research but here just... plunks a very plot importnat villiage int he middle of a giant continent.

Scrooge is intent to impress his sisters.. but instead shows them, and us, how far he's fallen: Scrooge does one of the oldest tricks in the colonalist playbook, offering the cheif a quarter for the land rights since the man genuinely DOSEN'T know he's getting screwed over. This trope is.. awful, that old "Oh stupid indgenious peoples they'll belivie anything. So it's not great.. but it is softend a bit as the chief offered a tiny war drum something sacred to him, something not worth money, but worth a lot to their small community.. and scrooge faked that gesture while really screwing the poor guy over. While the optics are sketchy.. the intent works: Scrooge has sunken so low that rather than make his money square and returning a heartfelt gesture of someones cutlure sincerly.. he tricks the person for his own ends.

The sisters call him out for this... and it's a scene I forgot.. but boy does it hit

Seeing Scrooge fallen this low.. is hard. While it's not the man gut punch of the comic, Don Rosa's not even close to done working the body, it still hits to see how much he's changed. It was to the point I THOUGHT this was a bit abrubt, that while it's been a while since the last chapter, it surely can't of been THAT long.

Thinking back though... this was set up most of the story. Scrooge's dark side has always been part of his character, especially in the comics: Even in the better days ahead in the prime of the barks and rosa eras.. he's still rageful, barely pays his family or workers, petty and often wont' do things he easily could simply to be a selfish dick. Christmas for Shacktown has him refuse to help pay for christmas for orphans even when Donald put in the hard work to get 25 dollars.. which is, to my shock 294 dollars and 17 cents in today money. So yeah donald gathered nearly 300 dollars in charity.. that scrooge refused to repay. I'd say he's the worst evil billonare in fiction but his competition is pretty stiff

Point is part of Scrooge's charm is he COULD be an asshole... it thankfully got toned down with time and Ducktales and ESPECIALLY 2017 Ducktales toned it the fuck down, the latter having what I consdier to be my faviorite version, but he's still some form of bastard, and his need to grow as a person or suprising bits of depth and humanity are what make him so fascinating. He's a dick.. but he has a lot of layers to him and a moral code.

This chapter shows just what thin ice that code is on: how it wouldn't take too much for him to tip over the line and become an even worse glomgold. While that darkness isn't there in the early chapters, as younger scrooge is both a tad more naive and way more kind and trusting it slowly builds: in Raider of the Copper Hill he nearly goes mad with power at just the THOUGHT of his newfound fortune and only having to sell his newfound wealth immediatly for pennies snaps him out of it. The Terror of Transval breaks his trust in most people completely, thanks flinty. In King of The Klondike while still sympathetic you can see his harder shell having fully formed, how he avoids other people, is rude to just about everyone and later in the next chapter, is fairly cold to people.It's been bubbling faster and faster: In the billionare of dismal downs, he snaps at the townspeople threanting to leave them all homeless out of petty spite. And finally in the previous chapter, he kicks those boy scouts out rather rudely, which bites him in the ass when they assume he's a foreign spy. The last part is just them being dummies, but there's this harsh sharp edge we simply don't fully notice forming.. because it's who scrooge is even after he takes about ten percent off. The guy is mean.

But Barks uses this opportunity to show why he's a hero.. by showing him, for one shameful moment, as a villian. As a pure monster who gladly tricks an indigenous person out of their land and his response to being called out on it by his anchors, the thing noticably able to snap him out of his worst insincts... is to say "i'm done playing fair."

Scrooge is often honest.. because he's got people around to curb his worst insincts. His family keep him grounded: having the goal of helping provide for them kept him honest, his dad kept pushing him away from his worst instincts and his sisters and mom kept doing the same.

The problem is.. slowly but surely.. he's just about lost everyone: His mentors are long gone or in the white house. He dosen't trust anyone enough to have actual friends. And as for his family.. h'es slowly lost them: His Uncles have passed by now, he lost his mom and found out in the worst way possible, and he just lost his dad. He has his sisters.. but like Donald and the Boys later, he's on an uneven enough playing field with them to ignore them if he wants. After all he provided for them, he gave them a home in america, what fucks should he give they don't care. Their the last tether he has to his humanity and he's kept them at arms length, keeping them at home whlie he journied and letting himself get more and more corrupt. Without the humanizing aspects of his goal to gain wealth, having saved his ancestral castle, given his sisters a good life and become rich, all that's left is gaining more and more money whatever it takes. Scrooge may be unscrupoious on a good day.. but he has enough honor to do the right thing, to be honest about his money. Without that is just the monster barely contianed under the surface and the last thing locking it out.. is about to go away.

So Scrooge confronts the Voodoo Part of the tribe, which while... once again about as researched as Tintin in Africa, is one of the better parts. Again Barks casual racisim.. shows a bit. It's something I didn't notice on previous readings but is kinda.. obvious now as the man just didn't bother ot put in the research he did for white legends and locations. He's not always racist, he put true effort into researching the dreamtime for the Dreamtime Duck of Never Never, but it's clear when it comes to africa he didn't really give a shit.

That said while he has issues I WILL give Rosa credit for how he redid Foola. The racist aspects are gone aside from fangs for teeth.. and characterzation wise he's treated not as some cheap villian.. but as a man who puts on scare tactics because he's used to men like scrooge: Greedy white assholes who try to take everything they can from his sacred land. Foola is unimpressed by this colonizing asshole and it's a part of the story that, unlike most of the other villiage stuff, holds up very well: Barks clearly respects Vodoo even going on one of his signature "old man yells at cloud" rants about how "traditional" zombies are nothing like the ones we know now. Foola is only in the story for a short while but makes a hell of an impression, being one of the few characters to truly best scrooge

Now Scrooge probably woudln't of takent his well in any form at any time. The diffrence is the scrooge later could at least be talked down by the nephews or would've barged back in solo to fight Foola. He also never would've done the racist offering a quarter shit to him or the chief. This scrooge.. does easily the worst thing Scrooge McDuck has EVER done in any medium.

I love the heavy shadows over his face in this scene, just the pure.. evil radiating off scrooge for a moment. Anger, malice.. we've seen it.. but we've never seen him as a complete and utter monster destroying people's lives and homes all for his greed and every minute of it is painful, seeing just how... Broken matilda is by it. You can see just how sad she is to see her brother not only tear her apart for no good reason but tear innocent people apart.. while Hortense.. prepares to pack.

Somehow scrooge manages to do MORE horrible shit, pretending to be someone else to get foola to sign the contract. Foola swears his revenge... and Scrooge returns not to his sisters forgiving him and gladly taking the money as he expected... but a letter

While dishonesty is kinda underselling it, it's a truly painful moment. It's also an awesome one as the whole time Scrooge has ignored what they've had to say.. and now he can't. All he can do is gripe about WHY he's sunk this low: that if the world isn't honest why shoud he be? It's a problem that feels extra relevant these days: if the world is a dumpster fire... why shouldn't I be one too? If nothing we do matters, what does anything matter?

I'd forgotten this scene.. but damn it hits. The one thing that gets through to him.. is his dad. He can lie to himself.. but he can't lie to his dad. And the answer to that hypothetical above was simple: to be true to yourself, to respect yourself enough not to sink to tohers levels.

This does convince scrooge to go reunite with his family.. but first he has bigger issues. Foola's back..a nd he's brougth bombie. And bombie's design isn't great, but Barks reimagines him well: more as an unstoppable juggernaught than a mildly racist zombie. Thankfully Rosa also needed to retcon something else: Scrooge looked like a young donald in the flashback, something that didn't really stack up with later versions, so in not ignoring this story, Rosa found a clever way to deal with that; his earlier disguise looked like donald, so bombie only goes after him when he has a hat on.

The next section is kinda weak, if understadanbly so: Rosa had to cover DECADES of Scrooge's life this time around, so we follow him as he doe ssome buisnessy buieness buienss and outwits bombie, along the way picking up a candy striped ruby. IT's all pretty standard though the climax of it.. is fucking amazing. Bombie follows Scrooge to the titanic. Where Scrooge dosen't notice the boat sinking because he's busy with bombie. It's a sequence I just kinda eyed over in past readings but in this one.. hot damn is it fun.

After he beats bombie we then get a montage as Scrooge makes a global empire, mostly nods to various barks stories I don't think i've read yet, like the gilded man of el dorado.. who then runs in fear as he forgets who he's dealing with. Nothing bad but it feels like it's there more to cover all the gaps in scrooge's history left before the finale than tell a story for the most part. There is one exception though: after he gets shoved off a cliff.. he finds he's picked up a new ability, one of his most famous

Also props to rosa for explaining the "how he can swim through coins" thing: As ducktales 2017 put it it's a hard won skill and just diving in would kill anyone else. Rosa like barks takes this seriously, as while this world has fantastical stuff in it he grounds it in the logical explanation, ones that don't feel like nitpicky fan wankery, but a logical reason why Scrooge can do the thing people know him for.

Turns out Bombie wasn't lost in the titanic... which makes sense: If James Cameron the Bravest Pioneer didn't find him while taking underwater footage of it, he must've been gone. The Chief of an Island scrooge is negotating with takes the ruby in exchange for binding Bombie for 30 years and Scrooge is sur ehe'll NEVER see him again.

Some time ,more finagaling and proftering later, Scrooge FINALLY returns home to a warm reception.. an ddickilsh bashes the mayor with the key to the city

Sadly his return to his office.. means our ending. And it's one of the hardest things i've had to write about. And I had to write about frasier mowing down the ACLU a few weeks back.

No this ending is simple but crushing: His sisters decided to let bygones be bygones, enough time had passed. Sadly.. Scrooge taking the long way round.. meant he just.. dosen't care. He brushes them off, storms into his office and when Hortense storms in.. he angrily tells them they didn't care when he was abroad all that time supporting them before. What he misses.. is that things changed. Two, when he started his trip, small children with no real agency seeing their brother off versus two grown women who simply want him to acknowledge them.. is diffrent. They don't need him anymore.. and Hortense tells him if he shoes them away NOW, it's over. And sadly.. Scrooge pushes them away. While before it was due to his darkest hour.. this time.. it's just due to who he is. Scrooge is a prideful old bastard who can't accept weakness and sees his emotoinal ties as just that. IT's why it takes him so long to actually admit, and rarely to their faces, he cares about Donald and the nephews.. and his sisters need and deserve that. THey deserve to be acknowleged. Donald and the Boys did.

Speaking of Donald he and Della were here and whiel Della was only a character enough at this point to get a cameo Donald... gets the last shot in.

Bout sums up their relationship really.. but it's also oddly sweet.. donald kicks scrooge's ass, literally and desrevedly.. because he made his momma cry.

Scrooge has a chance, to reconcile, to fix this.. but sadly instead...

God that last panel, his sisters sadly resigned to letting him go as the Bin towers over everything, showing off just how lonely he is and forever will be. Even if this story as a whole has a happy ending, this ending... guts you.

And somehow.. I found a way it guts me even more on a second reading. This.. is the last time Scrooge talks to hortense that we're aware of. He DOES see Matilda again, a story we'll certainly get to someday, and one of Rosa's finest.. but it's heavily implied Hortense and Quackmore are gone by the time Donald and Della are adults as we never see them and unlike Della, we never got an explination in the comics. Scrooge's last time seeing his sister was a terrible argument and him turning his back on his family out of pride. He lost so much time with her, her children and his family.. all for nothing.

The Richest Duck in the World is a good story.. if an uneven one. Parts of it are mildly racist, with Rosa again not having cared enough to do actual research this time and that's damming from a guy who prides himself on it, and it drags for a bit as Rosa has to stitch together decades of noodle incidents in Barks work. The titanic scene is great but most of it is pretty much fanservice and while I am a fan of Barks work, i'm not the super student Rosa is, so I don't get nearly as much out of it. I'm fine with fanservice, but the rest of the comic does a better job threading it in naturally.

That said while the chapter is uneven.. the parts it nails.. it really NAILS. Scrooge's darkest hour is truly chilling, a monsterous act that is truly horrifying to watch and the ending just hits like a truck. While we get a SLIGHT breather with Donald kicking his ass, it ends on a gut punch that reminds us Scrooge.. lost his family. The very thing he set out to help... he lost.

Thankfully.. this isn't the end. While this is the climax.. i'ts not the ending. So

Next Time: We end this trek as Scrooge gets to know his nephews and has to deal with an old foe. Till then thanks for reading

[selkieioe]

read: playlists are super down below so keep scrolling!!

Our Life: Beginnings & Always.

Hello Hello! Welcome to my first ever post on tumblr that just had to be about my ultimate top tier favorite visual novel of all time..Our Life: Beginnings & Always or OL:BA for short.

This game has such a special place in my heart that im afraid I’ll forever be attached to it because at this point it’s not even a phase anymore lol. I still remember that heated summer day of scrolling down on my steam shop out of boredom and i kept getting recommended OL:BA but back then i really couldn’t care less and would not even spare a glance on it until i got so fed up of it popping up in my recommended for the next few days that i decided to finally check it out.

Reading what it was about made me curious but what really got me downloading it was because of the customization of our character/characters.

And finally into the game i was! I remember when the story started, i was very surprised already by the environment, narrative and world building of the game. It truly felt like i was part of it and i didn’t get bored at all. In fact right from the start i was hooked already!

I loved ALL of the characters that was introduced, i love the fact that it was SO multiple choice that it felt like you were really integrating yourself/oc onto the game and that you’re not just forced to say the same thing as a different choice or feel as though your options are limited. Its definitely a game that you’re supposed to replay over and over because its just that fun!!

And as someone who has never had a great childhood and adolescence, absentee parent, chaotic household, unsupportive friends, want to be understood (you know…this and that) i was so happy that this game was doing that and it genuinely gave me hope to live despite going through the darkest of times in my life :)

This game has changed me into a better person and made me want to be the best version of myself that i want to be in the future! I will infinitely recommend this to anyone who wants to have a feel good game/read (+1 it will make you cry!!)

Anyway enough yapping 💀 Time to get to the point.

Here are some playlists i made dedicated to the lovable characters of OL:BA that i personally listened to during my walkthrough and may relate to their route/lore ;)

read: playlists are super down below so keep scrolling!!

1# COVE HOLDEN

the og love interest!

summer with cove holden.

this playlist is the epitome vibes of the game (growing up with them and having fun, making memories.)

from beginnings to always with cove holden.

spoiler alert!! MARRIAGE DLC WOOOO!! really love this one cuz its all full of cute romance and wedding songs. i also put some songs that i think mc and cove would have when they get kids :3

#2 DEREK SUAREZ

MY PERSONAL FAVORITE!!

DEREK IS JUST SOOOO AAHHHH He’s my ideal man and i KIN him so bad you dont even know!!!

derek suarez crushing on you.

THIS PLAYLIST. IM TELLING YOU. one of the FAVES i made!! the pining, secret crush on mc for a loong time, the angst GOSH. so cute. every song in this plays a part on each moment with him i swear

#3 BAXTER WARD

ANGST MAN.

5 years after baxter ward.

one thing i noticed about our life is it lacks certain angst aspects when the baxter dlc didn’t exist YET back then. like i LOVED the fight between mc and cove in mcs room and i wanted it to escalate more ngl just cuz i LIVE for angst! but if you want to get real hurt you should choose baxter. this playlist focuses more on the last step of his dlc and its full of taylor swift songs.

baxter ward.

honestly this playlist is catered more to his vibes, his character (i listen to this playlist and i imagine edits of him lol) but i guess some songs are related to his story/lore? i made this waaay before 5 years after baxter ward and when the baxter dlc didn’t exist yet and we all just knew him to be as the new neighbor in sunset bird but people like it i guess so here it is xD

anyway thats all for OL:BA series! GB Patch is cooking up Our Life Now & Forever and it’s not released yet! just on demo on steam and itch! i already have a playlist for it but so far i have only made Qiu Lin (one of the leads of the game) i also have a privated filo inspired playlist for baxter if you want to listen to it let me know so i can put it up in public!

[revenantghost]

Hey! So i must i adore you analysis on Wolfwood as you compared his story beats to maximum and how they got changed, something that I dont really see people commenting on

I must say however, do you think vash and wolfwood are bound to have the same kind of relationship they had in trimax? I adore stampede like crazy and was enjoying it so much until around ep 10/11 where it got cleared they were very much going a seemingly different route than what we thought. And to be honest the moment i saw they pumped Knives and Vash dynamic like crazy got me thinking tristamp will be completely about them and not also Vash and WW/others (which i think is as important as K and V for trigun to work out) or tristamp will be mostly Vash and Knives and WW and Livio.

You seek to have a super optimistic (lol) look for s2 and beyond so i wonder if you think (either by beats laid out by tristamp, maybe i am too blind or pessimistic to realize them) there may be something similar to vash and wolfwood’s relationship in trimax???

Oh man, thank you so much!!! I’m honestly so happy that people even read that rambling because it’s been driving me absolutely bonkers. (I’m just gonna link that post here in case anyone’s interested)

But tl;dr: I think that it’ll be similar! Honestly, I think the Vash and Wolfwood dynamics have to be similar, because that’s such an integral part of Trimax. I jokingly called it the Vash and Wolfwood show to a friend when I started reading it—and yeah, that sums up a lot. Though I REALLY see your worries about this. I think we got a much heavier dose of Vash and Knives to really make the stakes super personal, but I have a feeling Knives will fall into the more distant role he takes in Trimax because, as he says, Nai is dead. Long live Knives.

Tristamp season one is a prologue, confirmed by the team very purposefully calling the continuing work the final phase despite saying the sky is the limit on future content depending on fan support. It speed ran a lot of stuff, and I think that was knowingly done because the staff has stated multiple times that they needed everything to be as perfect as possible, but they didn’t know how it would do. I don't even know if they thought they could do a second season. Trigun has historically not been popular outside of the cult following ’98 had in the west—Trimax was just an afterthought that many fans hadn’t read before Tristamp grabbed us all by the throats.

To touch on the other relationships, I like that Tristamp is that it's already expanding on characters that I felt could have spent more time in the spotlight. Like, I'm very eager to see where they take the girls! Because Meryl’s falling into the same role but with a vastly different career in this, and she’s already way more present . Why are they following Vash? How present will the girls be? MILLY!!! With Meryl ripping down Vash’s wanted poster at the end of season one, I wouldn’t be surprised if it’s her mission to clear Vash’s name, and hijinks ensue. She already has deeper ties to Wolfwood than any other version before, which makes both of them stronger for it. I’m nervous to see how this all plays out because change scares me and I love this story so much lmao, but I do think it’s good! I already went off about how I love how important Meryl already is in the story, she’s a foil to Vash and the faith in himself he never had, and I feel like that only strengthens and reflects against the foils Vash and Wolfwood have going on. And Milly! I’m so excited to see where they go with her.

But this does change everything with Wolfwood. I keep thinking that Tristamp has changed Wolfwood fundamentally and keep needing to go back and rewatch because he is Wolfwood. He’s younger and rougher around the edges, but he’s still that moron I know and love. (Sometimes I’ll be reading fic and I don’t even realize that the person’s only seen Tristamp because they just get him and the dynamic right—Orange is doing a good job even if it scares me deeply lol)

I do have complete faith that they need to and will let Vash and Wolfwood’s dynamic shine just as brightly as it does in Trimax. I think, actually, a lot of that comes from outside of the text, though I could probably do another rewatch to pick up on all the loose threads they’re laying down to grow Wolfwood’s character and his dynamic with Vash in particular.

First, a new bit of info I saw recently is that the director, Kenji Muto? Apparently hasn’t even seen ’98, or at least hadn’t seen it as of making season one. Of course there are other writers on staff, and the crew has admitted to being huge Trigun nerds, but if your only exposure to Trigun is Trimax??? Wolfwood is massively important to Vash. Doing that dirty would be greatest sin you could make against this franchise.

Second, Nightow is so involved in creating this. He was involved way before most manga authors are brought in on anime, and even said that pretty early on he basically gave it his blessing and said that they got Trigun. (Though he still approved everything from then on as well.) And Wolfwood and his story arc in Trimax is so powerful and so moving. Nightow obviously had some significant investment and emotion in it, in Wolfowod and Vash’s relationship and journey. Like, I cry at things sometimes, generally just ooze tears, but Nightow and this damn manga made me sob. I can’t imagine he would tell the crew they understood Trigun without Wolfwood’s character and his ties to Vash being a priority. I know typically Japanese creators won’t throw shade at adaptations like we see in Western realms, but I rarely see the level of enthusiasm Nightow has for this project.

Okay, because this is getting long, and I’m getting into Trimax spoilers next, putting this next bit under a cut, continue at your own risk.

It’s actually funny, because for the end of that Wolfwood post, before I started my rewatch for it, I originally had a pretty specific prediction about what would happen. Then the ‘sky’s the limit’ on future content came out, and idk what to expect. I thought that the next season was going to be the Vash and Wolfwood show ala Trimax, we were going to fall in love with Wolfwood, and we were gonna have him couched at the end of that season. Because the couch is so essential, it’s so critical, but my god do I want this man to survive the narrative, if only once, and have it mean just as much. (Can you tell I’m torn on this every second of every day of my entire life) And after writing up that whole post I’m even more confused because I have no idea where the fuck they’re taking him. But at the same time, we have major plot threads tying us to that scene so much earlier. The vials existing way earlier, Livio and Razlo being introduced, that line about grieving but still deserving to smile and eat that Wolfwood gives Vash in the episode he’s introduced??? We're making everything more coherent and tied together, and fuck, we're screwed.

For now, all I’ve got is that I think some shit is going to happen to Wolfwood during our two-year time skip, maybe something with Chapel, idk how they’re going to inevitably use Livio against us, but we saw a softer Wolfwood in Tristamp. He needs to harden to be who we know. Orange said they’re going to be more like their other selves here, and though Wolfwood already has some faith in Vash, but he does not have faith in humanity. That’s the growth we have yet to see, and that’s what is really at the core of their relationship and development. It’s still there.

Many people who read Trimax are absolutely gutted and wrecked by the couch. That defines a lot of readers’ experiences—Wolfwood’s character arc is an absolute masterclass in writing a satisfying and meaningful conclusion for a character. So for them to change this much about someone who is that important, they have to have a plan, and a damn good one for Nightow to sign off on it. I’ve seen folks talk about how apparently the team spent the most time working on Knives, Vash, and Wolfwood’s characters (this one I haven't seen a source for), but as you said, we can already see it in the brothers’ relationship. They have a plan for Wolfwood. It’s only a matter of time before we’re wrecked by it.

Yeah, they are gonna keep doing stuff that you or I won’t agree with, or that we think could be better. Every version of Trigun is pretty flawed in certain ways imo, even though it might be beautiful or a favorite piece of media. But all of the concerns of mine that Orange could answer in the first season, they did so with flying colors and blew me out of the water. So don’t get me wrong, I’m scared. I’m so fucking terrified. Both Vash and Wolfwood are my favorite characters in Trigun in such different, integral ways to me. I love them deeply. And Orange is changing so much.

But Orange adores Trimax as much as I do. Nightow is 500% on board. So I’m biting my nails about it, but I choose to have faith. We’ll get wrecked by this adaptation, and I’d bet money on it if I had any lol

OOF, THAT WAS LONG. I hope this was actually helpful/useful and not just incoherent feral rambling!

[thelureking]

LILIUM'S 2023 GAME LIST:

Hey! Better late than never! I actually have been editing this list since november, but I lost some of the things I said about the last games and it took me this long to remember what I had written. The risks I run because my mind flows better when I write with pen and paper. So, seeing how well the last list did on my memory, and because I got bored of talking to myself, I shall torture the unlucky ones who have found this post with both my video game taste and my rambles about them. I am so sorry in advance.

It's the same as before: they are ordered chronologically, from first played/finished to last, not ranked in how much I liked them. If I dont say a lot its not because I didn't like it, or that it was bad. At times I didn't want to give too much away. This time I tried to write each segment right after finishing them, or the following days, so that's why I talk way more or in more detail about each game and my own opinions. And who knows, maybe this will be a yearly thing. I like it, I'm Having fun. And hopefully some of these games get the love they deserve by whoever reads this.

So, once again, and now with more words:

1) Mothmen 1966

Mothmen being in the title was enough for me to give it a go, so it's good to say that the game is also good. It is divided by chapters, each one from the perspective of one of our three protagonists, showing the perspective of these vastly different people even if they are connected in some way. The game goes from a visual novel style to changing the gameplay to be interactive while also maintaining its format, something that I found entertaining. Its visuals are a treat, and I believe they enhance the horror presented in the story. All of the parts in this game work in its favor. I cannot believe I am actually saying this, but to get an achievement you need to take an L. I am not joking. It is part of a puzzle and me being good at it made me miss an achievement. No hard feelings, I had a good laugh about it as I was going back to the save file and doing it again. Sometimes, sucking is the way to go. I may have spent way too much time trying to win the Impossible Solitaire. But I will, one day, you'll see.

2) Roadwarden

You know a game is good when I play it for hours uninterrupted and is the main reason I turn on the computer.

Roadwarden is, as the title image says, an illustrated text based RPG, in which you take the role of a Roadwarden who is tasked to explore an unknown peninsula to expand a merchant's guild's influence, establish its safety, and find out what happened to the missing previous roadwarden.

Let me tell you, this game is amazing from both a mechanical and storytelling level. Mechanically because the game keeps track of so many things, it will remember even an answer you gave at the very beginning, and it'll become an integral part of your character. Even little thoughts as you are about to sleep will shape who you are playing as. On the story telling level, so many of the quests and towns are interlinked that holding back on finishing certain quests is the way to go, although in some cases having as many done as possible will no doubt help. The characters and towns are all unique and memorable, each with history that shapes them and how they interact with each other and you, the outsider. Both gameplay and story service each other to present an experience unlike any other, enhancing each other at every opportunity. The art and soundtrack set the perfect atmosphere for each moment. And the world building. Man, the world building, it's just. So well done, you actually believe this is a real place that existed before you arrived, and that it will continue to do so after you leave. It wasn't waiting for you, it did not kick into gear just because you showed up. It has its own issues, its own history, its own people, nature, culture, and you can feel that with each written word, each piece of information. I can't even explain properly just how good the world building is.

I just really fell in love with being a guy on the road taking care of these settlements' problems, getting to know their inhabitants and gaining their trust, all while falling in love with the game. There is one quest that I do not want to spoil, but the ending was so. Fitting, in a way, that I was surprised I didn't see it coming. Even as I saw the achievement name once I completed it, I looked back and just. I just smiled like damn, good job.

If you want to really take in this entire world and its people, I would personally recommend playing in Casual, since any other difficulty setting will put a limit to the days you'll be allowed to stay, and I must stress that this experience must not be rushed. Unless you dont mind a time challenge, in which case you do you. Also don't know about your memory, but I needed to take notes, and some highlights are: "Efren marry me", "We should have all stabbed Thais full Julius Caesar style", "Eudica and Efren my beloveds" and "Thyrsus is my Warlock Uncle". With that being said, the Journal mechanic is a god sent, and I can't be more grateful that it exists. Finally, a journal that doesn't get stuck in the first sentences of a quest from when you first got it.

Oh boy, those are a lot of words. Can you tell I really liked this game? I can't wait to see more from this developer.

EDIT: THE GAME HAS RECEIVED A HUGE UPDATE THAT I HAVE YET TO PLAY, BUT OH BOY IT'S MAKING ME WANT TO REPLAY THE ENTIRE GAME AGAIN.

3) Exhibit of Sorrows

A short game set in a clown exhibit, with a point - click and drag gameplay. I'll keep this one short, since this game can be played for free in both browser and for download in Itchio, and it is a neat little thing that you can beat as fast or as slow as you want. You interact with each exhibit, clicking and dragging the mouse depending on what you need to do, each with a little buddy that you need to help or have fun with to get the key, and proceed to the next screen. Its length and artstyle make for a fun and interesting experience, pacing itself beautifully. It is effective in every way. And come on, they are clowns, they are so cute and look like plushies. I love them all.

4) The Firebrand

A game about a detective interrogating a woman with different word prompts that he writes down in his notebook, all which branch into more questions and answers. You'll uncover the story and the truth of this conversation as you play along, finding out stuff about the woman, the detective, and even the world they live in. It is an interrogation against a clock that keeps on ticking, and luckily the developers give us the chance to check out a dialogue tree and how to get both the Normal and True Ending. With that in mind, the questions that don't lead to either of these are worth reading, as they serve to paint a bigger picture. And hey, you can also get the Bad Ending while you do it.

5) Royal Alchemist

Royal Alchemist is a visual novel in which you, the protagonist, are tasked with tutoring the three princes of a nation. You will fight for your life against the challenges this new position presents and also the stat checks you will have to pass at different points of the story, both of your character and the princes. Speaking of, each one of them represents a different route, with their recommended order (which I highly request following as stated by the creators: Aurelius, then Serin, and finally Nazir. Trust me, they were made to be experienced like this, you wont regret it). You will experience the constant back and forth, the battle of swords and wits with Aurelius, the emotional build up with Serin, and to describe the main appeal of Nazir's route before playing it would be a spoiler. The romance in this VN is some of the best I've experienced. I have never read about two characters holding hands in such an intimate way, it made the pure build up of a route worth every second. And the Princes aren't the only interesting characters, this visual novel is full of fun and complex characters, all with their own personalities and roles. From Raphael, the butler who might as well be the patron saint of patience, to Viola, the infamous head merchant. It has a mechanic of stat raising and, as stated before, there will be points in the story where you will need to reach a certain level of a skill to be able to pass. But don't worry, there is an official guide made by the developers which is a life saver, which not only has each stat requirement for each route, but also with neat additions like character profiles and more. The only criticism I'll give it is that some scenes are cut short when they could have been expanded on and it would have had a better effect, not only in terms of an emotional connection, but also to further enforce the bond between the player and the relationship developed in the route. But besides that small complaint, this visual novel is one I would gladly recommend.

6) Fear & Hunger

God, this game. This game hates you on a mechanical level. This game will put the fear of god in you every time you get further away from a save point, every time you think "yeah I can take this enemy no problem" and next thing you know you are eating dinner with your creator; every time you think "oh neat, a new area" and proceed to eat shit and die for the next hour because you just lost a fucking arm and a leg and can't outrun your enemies anymore. And you refuse to start another run because you are just that stubborn, and you will suffer through the consequences of your early game actions. No this is not my personal experience what are you talking about. It is a bleak and grotesque horror rpg game, made with RPG Maker. You will accompany whichever poor soul you choose as your playable character in their trip to the dungeon of Fear and Hunger, for whichever the reason their story presents. Should you play this game? Be mindful of the triggering content, first and foremost. This is a dark game, and it does not shy away from depicting it. From enemy designs, gameplay mechanics, to the way of worshiping gods, to specific game overs, and so on. Its hard and you will feel it unfair. This game will not hold your hand, and when you think it does it will put its teeth around your wrist and tear it off your body, its saliva infecting your wound with poison and leaving you to rot. I love this game.

7) Clash: Robot Detective

Fun fact: I never look into games that much before playing them, which in this case led to the asssumption that I was going to play a robot. So I named my character Flesh, because I thought a robot named Flesh was funny and also cool. Turns out, I ended up playing a human named Flesh. Which was somehow even funnier, and ended up becoming a pattern when I played the extras, which have a different protagonist, and I decided to commit to the bit and named them Blood. Flesh and Blood, my favourite human beings.

You play as the extremely new assistant to our titular detective Clash, who asks for your help in solving a mystery taking place in the cruise ship you are vacationing on. Depending on the different dialogue options, you can play as the good or the bad cop, and Clash will balance you out in this act, which leads to different and interesting outcomes.

I have to say, the artstyle drew me in. I am a sucker for these types of illustrations, and I'm glad that the writing and story were as good. I was invested not only in the case, but also on Clash as a character, who I will longingly stare at from a distance because I respect his boundaries and preferences.

Keep on going, you majestic robot detective, I can't wait to see what kind of trouble you get into in the future.

8) EXCUSE ME SIR (Demo)

Long awaited (at least for me) DEMO from Airdoft (creator of FAITH) and , and it all came about because of her videos and a single tweet.

The demo is short, but it shows the great potential of what a game like this could grow into, and I cant wait to see it become a finished project.

EDIT: Sadly, the game has been canceled, so we won't be able to see this concept grow into a finished game. Hopefully it'll inspire others with its style and presentation.

9) (Don't) Open Your Eyes

In this room, you know how everything looks. Does that include your midnight intruder?

This entire VN is a one sided conversation between you and something that may or may not be there, shaped in the darkness of your closed eyelids. Both of you are gripped by the same question, the intrigue eats away at you. Your imagination runs wild trying to give shape to this anomaly, and it is so desperate for you to find out.

There is only one way to do so:

Don't open your eyes.

10) Fortress

Man, short and effective is the way to describe this one. It has such a fantastic grip on atmosphere and tension that I admire. It truly captures the feeling of returning to a place where an impactful childhood memory took place.

Using the same location and making you play through it at different times of the story was done so well. I was ready for things to happen just because they did in the past, the first half of the game, and expected them to happen again.

In the past, I was ready to shoot on sight. As an adult, I couldn't bring myself to pull the trigger, not even to see if I could. I don't know why, months after playing it, this little thing has stuck with me the most.

11) The Shadows That Run Alongside Our Car

You leave the gas station with a stranger, either on the wheel or sitting next to you. The silence hangs heavy between you two, the road is empty, the sun is setting, and the end of the world is now. Time to break the silence, you get to choose who. In this visual novel you get to decide how this conversation at the end of the world unfolds, a game of perspective between our two characters, who may hide certain details about themselves or reveal them, if they give you the choice. After all, what would you gain by hiding a secret in this car ride? It could be your last.

12) Attack of the Murder Hornets

Hornets are evil, evil things of nature. They are coming for your bees.

They are coming for you.

BE READY

13) Baldur's Gate: Enhanced Edition (+ Siege of Dragon Spear)

There has to be a saying that goes: If you can't play the game everyone is talking about, go play every single game in it's series that came before it. Because that's what I did, even if I already wanted to play the Baldur's Gate games before the third one came around. But it was definitely a good push. The game's story has a much smaller scope than I expected, or maybe that's just how I feel now that I am currently playing the second game, but I think it works in its favor.

I think the reason I don't have much to say, besides the fact that I had lots of fun, is because my head is still processing Siege of Dragon Spear (with its much bigger scope) and what I am currently seeing in the second game. What all I'll say about that one now is man, what a way to start a sequel.

My suffering came mostly from the ruleset used (which I was unfamiliar with) and the fucking paralysis spell. Fuck it. ALL MY HOMIES HATE THE PARALYSIS SPELL.

In terms of characters, I didn't end up using most of the available NPCs in my party, even if I made the effort of recruiting them all, mostly because the ones I had I liked a lot. I liked Rasaad and I was pleasantly surprised he had a romance in the expansion AND the second game, which I am enjoying a lot. Jaheira and Khalid never left my party, same with Imoen who I kept treating like a sister because come on, the setup of being raised in the same city since birth and being childhood friends was perfect. I love Baeloth an unhealthy amount, he is so perfect in the expansion I made an effort to keep him in the party even if I had high reputation. In the expansion my party was insane looking. Like Oh yes, the Hero of Baldur's Gate, her monk companion Rasaad, Jaheira and... a gnome nobody knows why he is around, Baeloth the entertainer I guess, and a GOBLIN? At one point I did switch Jaheira for Viconia, only because Baeloth was one point of reputation away from leaving the party. I swear, the grip that man has on me. The story from Viconia's POV must be so funny: She gets recruited and instantly tells me she is fucking off, gets recruited again only because I dont want an idiot entertainer to leave; and then when she is about to be killed, who comes to her rescue? THIS DUMBASS. She must be like: GOD, DAMN IT, I CAN'T ESCAPE THIS BITCH. I am her surface curse.

My closing thought for this game is: Whoever made the TOSC maze... Who the fuck hurt you? Same goes for whoever made that final boss. WHY?!

[sparkleboi24]

I need help crafting head canons and backstories for a BSD au I'm creating

I'm working on making head canons for a normal world no mafia no Ada or whatever au. For the most part I'm trying to take canon events and adapt them in a way where they could realistically happen, but for characters with more unknown or vague pasts I'm great for any HCs

Starting with Dazai, Dazai is not an orphan he was removed from his home by CPS when he was about 2. He was in the foster care system for a while, tossed around until he ended up in a home with Mori from ages 9-16. Mori was abusive, so Dazai ran away and lived in a shipping crate for a bit. Eventually he was taken in by Oda, who was a foster parent to mostly younger kids. He was there for 6 months but when he was out with Oda, Oda was killed in a mass shooting.

I know Dazai "improved" in canon after Oda died but I didn't give him a chance for this big long speech and there wasn't any reason for Oda to anyways, so Dazai completely spiraled after that. I have like a whole story written about that. But short things is his alcohol addiction got worse, he often spent days just not moving from Oda's grave and since you see him inject himself in season 5 and pop a pill in season 2, I have him experiment with drugs like fenty, shrooms, and heroin. Not addicted, just trying them out. Dazai is my most fleshed out in the au I'm creating, idk why.

Dazai bullies Akutagawa in school because of course he does.

Now for Chuuya I haven't finished stormbringer so my HCs for him might change. But.

He was also in foster care. I haven't fully fleshed out his life yet and I want some ways to integrate the sheep some how? But he entered the system when he was 8, I don't know why because I haven't finished storrmbringer. It varies from Verlaine killing his parents to them dying in a car crash so. Working on that. Verlaine went to a different home from Chuuya, he doesn't know him well he just hates him. I've been debating between having Kouyou be his sister or foster mother, but since I put Dazai with Mori I figured Chuuya could go with Kouyou and she'd just be a younger foster mom. I was also thinking I could find a way to make them in the same house? I really want the whole betrayal thing where Dazai leaves Chuuya and I thought it could be cool where Dazai left Chuuya in an abusive home to deal with it himself but I'm not sure, would it even make sense for him to have been with Mori?

Chuuya is in college, Dazai is struggling to get by. They still have their personalities obv so Dazai isn't like this sad mopey mess he's just a sad mess who mopes when he's alone and everyone doesn't really realize where he's at mentally

Mori has also fostered Yosano and Q, while having Elise as his bio daughter.

Atsushi and Lucy's backstories are basically the exact same as they are in canon

Akutagawa is homeless ofc, he just moves from place to place with his sister. His clothes are shit and he smells because he never showers so he isn't treated well at school. I'm tryna think if he'd go to college, also he's still got his terminal illness. I'm not sure how his need for Dazai's validation would come out in this au

Ranpo was adopted by Fukuzawa. His life was also basically the same. Yosano was also adopted by him.

I'm thinking Kunikida has a normal ass life with normal ass parents, just too much of an overachiever and on the verge of burnout but not allowing himself to burn out

Poe is rich. He was born rich, he's got money, that's all. I've got for him lol.

I'm trying to find ways to add the rest of the cast, I want to get all the characters in and get them lives and stuff made up.

If you have any suggestions to how I can expand this world I want to write fan fiction on it once I've fleshed it out a bit. Feel free to be like "actually no I dont like your idea, I think this would be better" because I'm open to any criticism on this, I just want it to be good and I'm not stuck on my ideas

[johannestevans]

Whats your perspective on names?

Do you have any specific thoughts about them? how did you find yours? did it take long to? how many have you had? also your characters! obligatory "I Love Your Work!" (and i enjoy riffling though new and also rereading old), So from amaethon to cecil to danny to the King family and the Laithes family, their names are one aspect that have always stuck out to me because they all integrate into their stories while still feeling unique in contrast to each other! i dont miss that a lot of it is influenced by your interest in fae lore and your welsh heritage either. where does the name come in during your writing process, is it the first or last thing you think of? do you have a mish-mash of where you find them? any pettier more low stakes opinions on names?

(all this started bc i'm struggling to find a name, and want the perspective of another trans person :) !)

I changed my name when I was about 15 - it comes from a similar biblical root as my deadname, so basically I shortened my deadname and then looked for other names that it could be a nickname for.

For me, it really wasn't a long or involved process - it happened quite smoothly and easily, and I've never felt like I needed to try other things or find something that fit me better.

Johannes is a Dutch and German name - it's an older form of John and is like Ioannes / Yiannis in Greek, and it comes from Hebrew for God is gracious. It can be shortened to Johann, but generally my actual loved ones either call me John or Johnny, or they call me Hannes.

"Johannes" in German is kind of a stereotypical old man's name? A German friend was laughing a lot about it because she said that to me and I was like "Yeah?" and she was like, oh, yeah, that fits, lmao.

I do play around a lot with names, and I'd say that I take them from a lot of different sources and get creative with them. Multiple times I've called a character "Henry Sutton" without realising I've done it multiple times, which is why I've got a few Henry Suttons knocking about.

For more established characters with deeper backstories, I play around a lot with the naming process - I normally have a particular mouthfeel or aural impact I'm going for, such as a certain number of syllables or a particular "flavour", like a name that has a feel of a particular class or country or profession.

With that said, I think most of my names I pick quite quickly and feel out early on in the process - it's rare that a character of mine is more fleshed out and lacks a name, because I find a name is such a useful part of someone's identity and informs a lot of how they move in the world and are perceived and treated. Something like their appearance is far less important, funnily enough.

I like to employ some literal stuff - Valorous King, for example, is very aptly named in a way that can sometimes feel like a curse to him; Amaethon is actually one of the children of Dôn, but people don't really know old Welsh gods and goddesses very well, so it just feels like a random elf name; Ganymede Cavendish is named for a beautiful young lover of Zeus, and he is just as beautiful and victimised in the same way as his namesake.

Other times, I go with more irony or play with juxtapositions - name a character for joy or ease when they're generally miserable or tortured; name them something small when they're very big or vice versa; name them for darkness when they're very light, etc.

I'll often take forenames or surnames from things I'm watching or playing or listening to - when I want to pluck a name out of the air at random and am worried I'm using too many of the same names, but want like, "real" names that real people use and live with, it's fucking great to pick names out of the credit sequences of TV or movies and mash them up.

Sometimes I scroll through census records and stuff, but the problem with the number of characters I have is that I can't always do that - as much as it's realistic for many characters to be called Jones or Evans or Williams, I'd need to make a thing of it in fiction. Census records are great for older characters, especially from the 1700s-1900s.

The ones that are actually hardest for me is Latin names - Greek ones I'm a lot more comfortable handling, but my Latin grammar is fucking dogshit, and I often worry about mishandling a name or reusing one that's too commonly written already. Medieval Latin is alright to play with, but when I'm writing old Roman characters I just feel like I'm kicking my own ass the entire time.

I will say that some shit in that regard is just fucking lazy. I abhor the lazy tendency in fiction to introduce a Black character and call him Mr White or Mr Chalk or something similar, especially when it's contrasted with an evil white character and/or that character's best friend who's named Black or Ebony. It's not in itself that awful, it's just the fact that it's so overdone and clichéed, and comes from a really basic humour and sense of irony that doesn't really build on or create anything, just lazily says "haha, this guy's Black and this other guy's white, isn't that a thing?"

I don't actually have a problem with reusing some names a lot - John, Henry, Daniel, etc - and I will often just search "common names [country]" and play with similar names that jump between and change from different languages or change throughout history. It can be worth looking up legends or stories from a certain region or like, old wives' tales and stuff, because like...

Sometimes, the benefit of a common or uncommon name is in its cultural impact - a name like mine, a name like John, is ubiquitous, but that means you can draw loads of parallels to it; on the other hand, if you grab a word that's very much not a name, but is a place, an object, a common noun, an animal, a turn of phrase, etc, you create a tension around that character with the other characters around them, even if people aren't commenting on it directly and even if you don't tell the reader immediately that their name is unusual or noteworthy.

When you're playing with a name that has a lot of cultural impact within a culture you're writing, as a name or otherwise, it can be fun to have a name that will have a lot of resonance for the characters you're writing, but doesn't inherently have that same impact on the reader (or only has that impact if the reader is already familiar with them culturally, or is familiar with the niche historical/religious subject you're working with).

An obvious one in mine is Esben's pets, for example, are called Kottr the dog and Hundr the cat - Kottr in Old Norse means cat, and Hundr, dog. A lot of English speakers will notice the cognates there if they think about it, but I've had people who speak Nordic languages comment on it a lot because it's just a fun little thing.

Gellert Osgodby has named himself after Gelert the dog - but in Welsh, we don't use two Ls to make an "l" sound. In Welsh, his name would be pronounced more like Geshert (the ll sound isn't easy to transcribe in English). He's fucked that up, and that's part of how you can tell he isn't Welsh himself, and isn't a Welsh speaker.

I definitely am influenced most by Welsh and Irish mythologies and stories, and I do tend to play with some Jewish cultural elements a lot as well, if not directly with Jewish mythologies.

Part of that, I regularly say, is because of the way that Welsh and Irish stuff tends to be treated by US American creators who identify as Welsh/Irish/Scottish/ "Celtic" or whatever and just go for random butchery of everything in sight - it's not their fault they don't have any sense of cultural respect, because that's not the culture they were raised in, but it does irritate me, and like...

Because I get so snippy about Welsh stuff, I try to be a lot more careful handling other cultures, particularly in various ways oppressed or minoritised ones, especially who are often misrepresented in media in similarly clumsy, lazy, or just entitled ways.

For names in cultures I'm less familiar with and coherent with, what I actually do is regularly search the full name I'm using, but also like, search Wikipedia entries for famous celebrities that use that language, come from that country or culture, and are of the same caste, religion, or ethnicity as the character(s) I'm working on and basically just read a bunch and contrast and compare.

Sometimes I very explicitly go against a lot of cultural stuff depending on which cultures I'm drawing from - Velma Kuroda, for example, has picked a name very much at odds with the more traditionally Japanese name her brother has picked, and that has to do with family beef that I'll get into later in Little Devils.

In Derek Landy's Skulduggery Pleasant, people have three names - their regular name, their magical name, and then their true name written on their soul, by which they can be commanded and coerced; in T.S. Eliot's The Naming of Cats, cats have three different names - the name by which their human family call them, the name by which they're known to other cats, and then their secret, most innate name, known only to themselves.

Many of us have multiple names and go by different names in different circles - many Jewish people have a Hebrew name, and gerim might pick one when they convert; in Ireland, a lot of people have their names as Béarla different to their names as Gaeilge.

Some people go by their middle names or are called a completely different name to the one they were named at birth - Hell, some people don't even realise until they're adults that the name everyone's always called them isn't their official documents name.

And that's not even considering queer people and how many names we might cycle through, feeling out the ones that fit or don't, using different names in different circles or for different personas, using different names online or offline.

There's a lot of power in a name and in a naming, but there's also a lot of leeway and flexibility, and one name isn't the same to all the people who might use it - I try to reflect that living quality in lots of the characters I write and play with.

With a name, I would say it's important to think about how it feels in your mouth and in your hands - how it feels to say your name, how it feels to write it, how it might feel to write your signature, what spelling you choose or what characters it's made up of, what your initials might be, etc. What nicknames you might or mightn't like.

How does or would the name strike people, depending on who they are or where they're from or how old they are? Are you named for someone - someone people would or wouldn't recognise? A figure from myth, from TV, from books, a historical figure, a religious or cultural figure, someone you love, a relative, an ancestor? Is your name usually a name at all?

I know so many people with so many beautiful names, many of them unexpected, either because their parents or family chose them, or because they chose them themselves, and I know there's a lot of choice out there, but good luck with the hunt! I hope you find something that fits, and feels like it sings to you!

[cometblaster2070]

madeline xylophone hatter is such an insanely intriguing and funny character like??

she's the comic relief. she's the fan favorite. she's a main character. she's raven's best friend. she's probably the reason raven didnt go batshit crazy evil. she's the most amazing person ever and will always offer you tea. she has a mouse named earl grey. she has a magic hat. she speaks in riddlish and doesnt make sense to many people. she's incredibly brave and she loves her dad. she can break the laws of reality unless told something's impossible. she can hear and interact with their world's narrator.

and it's just in the sense that maddie is the 'funny' one. the one who goofs around and says strange things that everyone else brushes aside because 'oh that's just maddie', when she's actually one of the smartest characters that there are and the one who arguably knows most about their world and the situation they're in??

maddie casually interacts with the narrator; the person who is narrating their lives, like it's nothing?? she can walk through walls and eat rocks if not told otherwise?? she is incredibly wise and offers excellent advice??

and maddie was the closest to figuring out the fact that they aren't real. imagine raven reacting to that. imagine apple. they would never be able to handle the absolute batshit crazy amount of knowledge that maddie technically has.

maddie knows so much and it's such a brilliant thing that she's not utilizing the plot to her own benefit, because she honestly very well could, but she doesnt because maddie is not someone who is there to change the system like raven, and she is not someone like apple or briar or ashlynn, in the sense that 'oh things must change and i must be the one to do that'.

she leaves that for others such as raven to actually pursue and by god will she actively support raven like hell for it. what she will want to know, however, is what exactly is happening.

this is not to say that maddie is not important or that she's someone who takes a backseat to others. she's quite the opposite really. but i find it interesting just how maddie's influence works.

maddie is not the 'main character' per se. she is not the protagonist of this story and i dont think she'd like an integral part of the; without which it might fall apart, but she is not the one actively doing the main character things and furthering the plot. if anything really, maddie technically does keep things running behind the scenes?? and her ability to communicate with the narrator is no small thing to brush over too.

man, just, madeline hatter as a character.

[waywardsalt]

small little thing abt botw/totk and the future of zelda games considering it seems likely that future zelda games might be in the same style as those two and how i feel like botw/totk don't actually feel like zelda games (kind of messy i just typed this out in a kind of informal or whatever way) (this post is long af btw so uhhhh yeah)

im part of the group that claims that botw/totk aren't 'real' zelda games but... i guess they are technically 'real' zelda games, but... they sure as fuck don't feel like it, and because of that, i'm not at all excited with the idea of future loz games being in the same style, especially with the pitfalls these last two games have fallen into having been things that past zelda games did especially well, it feels like things have been sort of flipped on their heads in terms of what's being valued or whatever

like... the best parts of older zelda games were things like the story and the characters and the puzzles and the dungeons and stuff like that... the best parts of botw/totk right now are just the gameplay. people enjoy these new characters, but they dont have the narrative backing that older games do, they don't have the same impactful arcs or roles allowed by a more linear story

the point i want to get at though is how botw/totk honestly don't feel like direct evolutions or steps up from past zelda games but rather just... entirely different game styles (open world games) with the zelda flavoring and worldbuilding and story styling slapped on top.

i mean... i feel like a half-decent example of some other well-known franchises that have jumped on this (honestly kind of thoughtless) open-world bandwagon are mario (mario odyssey) pokemon (sword/shield and scarlet/violet) fire emblem (kind of. with some free-walking segments in 3 houses and engage) and the soulsborne type games (elden ring), these are all other well known and storied game series' that have somewhat made the move to open world, and i think that switch was a bit smoother, kept the core and integrity of the games that came before much better than botw/totk did

elden ring is the easiest to explain- the gameplay loop and core mechanics are the same and build upon past games' you just have more room to run around and get killed in with some little open-world flourishes like material gathering.

fire emblem is... a bit less flexible in terms of changing up the core gameplay, and the addition of open-world segments are added to add bonuses to the strategy gameplay and allow for more support-building oppourtunities and little minigames, and its more or less evolution from echoes' dungeon-crawling bits and the customizable castle in fates. the core gameplay still effectively works the exact same, just with some little class or mechanic tweaks and additions.

mario odyssey, though each world was pretty massive, still had your typical 3d mario platforming, and the new hat stuff fit in pretty well with olderpowerups and gimmicks, and the boss battles feel and work pretty similarly to the way they used it- odyssey does feel like an evolution from past mario games (ps. playing two-player with one person as cappy snaps the game in half. its the secret easy mode lol)

the new pokemon games are pretty much just the same as past pokemon games, theyre just open world and buggy as fuck rip have extra little open-world flourishes that build on what past games set up. the battling works the same as ever and the progression is the same with a number of powerful trainers you have to battle to continue forward.

with botw/totk... the progression is dramatically different in terms of power-scaling, world presentation, item-gathering, puzzle-solving... pretty much everything in the established zelda format. i get that it was pretty much the aim with botw to have a fresh start and throw out a lot of the old standards but it just makes them feel so dramatically alien to past zelda games; theyre completely different experiences in pretty much every single way, and as such they dont feel like what we've (well, people who have started with and spent a lot of time with other loz games) learned to associate with the zelda titles.

with open world games in general it's a bit harder to have a truly impactful narrative akin to those in past zelda games, anyways. i will admit that botw was a good execution of trying out something entirely new, and the narrative and gameplay and world actually complement each other very well, so despite what i've said in the past I can't really fault it's narrative too much since it's a less traditional sort of narrative and effectively does what it aims to do very well.

totk, on the other hand, proves that this style of game does not mesh with the old style of storytelling at ALL. linear games can have proper narratives with coherent stakes, developing characters, twists and reveals and building emotion and mood- and all of that is thrown out the window with totk when they decided to try and have both a more linear story with actual reveals and development and emotion, while also letting you literally spoil it for yourself out the gate.

you can't really have a well-executed story when players are capable of doing things drastically out of order and of jumping into story beats without the prior buildup and straight-up ruining what could be otherwise emotional reveals, and players being capable of doing this is hard-baked in how the game fundamentally works. I honestly feel bad for people who found the fifth sage by accident before anything else.

you can't effectively have a linear story with character growth and plot developments and impactful moments while also allowing it to be experienced out of order and with massive time gaps in between; with this kind of stuff, you can't really have your cake and eat it too. say what you will about the linearity of past zelda games, but i bet you that midna wouldn't be as beloved as a character as she is if it weren't for the linear order of the story and its events. certain parts of storytelling may demand for a linear manner of telling that story.

botw's story works because none of the memories reveal anything groundbreaking taht you don't already know; they are optional and merely give you more information about these characters from link's past and simply inform you about the girl keeping ganon at bay. if you find a late memory first, that's fine- it technically doesnt reveal anything too important to you, it just fills in some gaps for you and your player character. it makes sense within the story itself for the world to be so open and for you to be able to do what you can; the story is not the focus, nor is it even needed to beat the game. the story was made with the gameplay and what you are allowed to do in mind, and as such doesn't include things such as in-depth character development or important plot-twists.

on the other hand, you can easily spoil totk's biggest plot twist in a handful of different ways completely by accident, just by getting curious about the world around you. this can shatter a lot of the mystery or tension in the plot and this can happen completely by accident to someone playing the game organically and blindly. the story itself doesn't take this into account, it reads more like a linear story that would be more suited to a linear style of play, coming across things in order to ramp up the stakes and let things be revealed at the best possible time. (tbh totk's story doesnt seem to take the player into account in general, if the game forcing you to watch basically the same long cutscene four fucking times says anything, jesus christ)

narrative pitfalls aside, botw/totk put heavy emphasis on gameplay, but not in the same way older zelda games did, and as such trade away the unique items and gimmick-y game-specific mechanics for a small toolset handed to you out the gate. what botw/totk do- giving you everything you need from the start and having very little true varation in the gameplay from then on out- make sense and works just fine for an open world game. there is, however, a lack of actual depth to that gameplay that other open world games do have (off the top of my head, the ability to unlock and upgrade abilities and have general character upgrades in fenyx rising as well as the impressive depths of elden ring's combat and character customization system). the most depth botw/totk has to the actual gameplay is just the fourish different weapon types and the ways you use your fourish abilities (saying fourish bc for real ultrahand and fuse are fundamentally the exact same thing). there is also just raising the little defense numbers on your armor and getting more stamina and health, but that does absolutely nothing to the actual gameplay but make link more durable.

i mean, sure, health in past loz games just makes link more durable, too, but thats how health upgrades in any other game work.

the gameplay switch makes sense, considering the switch from a linear puzzle-adventure concentric game to a more sandbox-esque open-world game, but it does not mesh with the former loz formula at all, so while the shift in style makes sense, it makes me think that you can't have a previous-style loz experience in an open-world sandboxish sort of game. especially with how in totk you can very easily bypass most of the fire temple just using the mechanics handed to you at the start. you can't have the same type of zelda dungeons in a game where you are allowed to do it 'wrong' and the game itself does not allow for the same kinds of puzzles.

i am of the opinion that so long as future zelda games work the same way botw/totk did, we will not get old-school zelda-style dungeons again.

the loss of a variety of items used for specific puzzles and environment switches is the loss of a varied dungeon experience and the loss of the same kind of world and character progression as past zelda games.

you are handed everything you'll ever need at the start of botw/totk. the only thing that will meaningfully change is how much damage you do. there are no alternate strategies opened up by new items that can double as weapons, no new traversal options or routes opened up by things such as grappling hooks or clawshots or whips or specific wands. even the battle system is drastically different, instead of being enemies that take specific amounts of hits to die while you can obtain progressively stronger swords, enemies are just damage sponges and you can get all kind of weapons that just do different numerical amounts of damage.

the bosses themselves- big staples and draws of zelda games- also work extremely differently. instead of having to leverage specific items to expose weak spots or having to fight in a specific manner to do damage, you are just asked to... do damage. even in totk's bosses, where sage abilities are most certainly helpful, the only boss i found to truly require a sage ability was the lighting temple's boss; the others i either hardly used the sage at all (i didn't use yunobo at all in the second phase of the fire temple boss and hardly had a need for tulin with the wind temple boss [esp considering i was using a 3-shot lynel bow to make the poor fucker a cakewalk]) or found that alternative solutions felt better, like resorting to splash fruit on repeat water temple fights instead of wrestling with having to activate and use sidon's ability. the sages are honestly fairly poor replacements for dungeon specific items.

this kind of causes botw/totk to play more like a poor man's dark souls or just like any other open world rpgish game. i don't play botw/totk for the experience of a zelda game, i play it because it's an open world game that i can walk around in for five minute before switching to something else because i liked something in that other game better.

the combat in botw/totk isnt designed in such a way that makes it feel good. mineru's mech is fucking dismal, but since it's just either shooting with a bow or attacking with one of three types of melee weapon with some timing for a dodge, it can get stale fast. it doesn't necessarily even feel good, since there's not enough variety for it to get really engaging. (this is def an uneven comparison, but elden ring's combat feels considerable better with the different dodges you can do and the amount of attack options you have with just one weapon, not to mention the amount of control you have over your general fighting style.) combat in botw/totk at hour 1 is the exact same as combat in botw/totk at hour 100, the only different being the amount of damage you do or how much of a beating you can take.

it just... the styles of botw/totk can't allow them to feel the same as older zelda games. the shift in style was clearly a good move to draw in series newbies and shake things up, but it comes at the caveat of making them feel distant from their predecessors and uncomfortably similar to other games like them. it's hard to avoid comparisons with elden ring when on the surface they are very similar games, one just feels more true to its core identity

this all is said without mentioning the way in which botw/totk lore feels almost dismissive of past series staples and seems intent on not looking back while also taking every fucking attempt to nudge you and say 'hey, remember that zelda game' and honestly all that shit does is make me want to play a different zelda game.

botw/totk seem altogether very desperate to distance themselves from past zelda games while also being unable to really tear itself from what came before and it just culminates in me spotting linebeck island on the map and going 'damn i miss linebeck' and turning the fucking game off to play phantom hourglass instead. say what you will about phantom hourglass, but it certainly handles its story progression and character development infinitely better than the game that lets you accidentally shatter the impact of the story by deciding to check out that cool temple in the distance of the depths

[gontagokuhara]

Just went on Instagram to look at more DR art (because tumblr won't let me see a lot of DR art for some reason) and saw hinanami discourse out in the wild which made me say, out loud, "oh, are we still doing this 💀"

Like idk if I've just aged out of the fandom (on Instagram) but just seeing that hinanami rant made me realize I've been spoiled by the DR community on Tumblr bc I'll scroll on here for 2 minutes and see a text post that will literally SHIFT my entire view of a character/ship and CHANGE my LIFE in just a small analysis that was probably written by op while they were on the toilet💀

Anyway it made me think of the post about Maki and Chappel Roan that I actually recited by memory out loud to my friend last night [gooning over wlw content together after watching Muriel's Wedding], And also that one post abt Monomi and Monokuma being Junko's satire of her own rivalry with Mukuro, and Junko not liking that her friends don't appreciate her fursona doing stand-up 💀💀 and like compare that to Instagram discourse and it's like "Komahina is stupid bc hinata isn't straight" like 💀

Anyway maybe it was the same on tumblr before [it probably definitely was] but now that I'm older I'm really appreciating mature convos/takes about danganronpa because good fanfiction/fanart/fan interpretations are truly adapting the story+characters in much better ways than the creators could ever imagine circa 2010 [pointy objects] [peaches and cream] [anything w/autistic nagito] [anything w/transmasc hajime]

number one rule of modern fandom experience (at the very least with media that has a propensity to draw Certain Crowds [looking especially hard at danganronpa and p5]) is CURATE YOUR OWN SPACE AND STRAY NO FARTHER ‼️‼️‼️ i personally escaped the early era dr fandom (pre v3 localization/the 2019 Danganronpa Renaissance) but time capsule posts tell me i dodged something of a bullet there ❤️ in that vein 2019/2020/covid era discourse was still crazy insane (<- was a part of it for sure LMFAO) but it had a much different Flavor than it did way back when. and the same is true of present-day: still a little kooky if you search hard enough (insta/tiktok/twitter/tumblr all have their own demons). but at least This go around i have largely avoided that by picking my people that i trust not to be Weird and just living in my own bubble wrt the dr fandom at large. and thats served me very well the past year+ since i got back into dr <3 and i have also seen MANY of those perspective-altering posts in that little curation circle that has deepened and made better my experience THE GOOD IS OUT THERE ‼️‼️‼️

THE JUNKO FURSONA POST ALSO LIVES IN MY BRAIN its so real and just one of many takes i’ve seen fly by in a post and been like This is so real and it’s mine now. many such cases <3 i follow people like that and simply block people expending energy on discourse i DOOOOOONT care about. like simply enjoy kmha (I SURE DO ‼️‼️‼️) if you like it and ignore hnmi/kmnmi if you dont (cant relate I LOVE YOU TOO HINANAMI + KOMANAMI ‼️‼️‼️) and live your life happy not angry ❤️

like re: maki lesbianism (which was written on the toilet no lie) she is The most lesbian of all time i could write 10,000 scholarly articles on her comphet + traumatic past of being made to hurt people keeping her from fully coming to terms with herself as a lesbian and as someone who wants to Protect the people she loves (an integral pillar of butchness!!!!!!!!) and it is so important to me. and MANY people disagree! and i simply just dont worry about it <3 but i DO think about the people that agree (and the people who i Influence to agree…..that makes me so happy to hear you talking about it with people :D) and that makes fandom FUN!!!!! not arguing over word of god or whatever that isn’t going to change anyone’s opinions anyway 😭

there is a LOOOOOT of good discussion and character/scene analysis and genuinely fun unique takes on tumblr (+ im sure other places but i rly only interact with dr on her & Occasionally by liking a twt post on my main) and that’s where i’ve made my niche <3 people having fun with the media they enjoy and trying to salvage its shortcomings and missteps because they love it!!

and putting little old Me up amongst the dr goats (transmasc hajime) (autistic nagito)………..framing this ask tbh the HIGHEST honor 4 me……..thank you my beloved cider as always KISS MWAH MWAH

[ruegarding]

(hi this is aroaceleovaldez it's a sideblog so i cant send asks from it hrg) a.) always love seeing your tags on my posts lol you have very good opinions [handshake emoji] b.) i'll be honest i wasn't even thinking about the awful pjo wwii stuff when i made that post i was thinking about the new, *different* antisemitism from TOA. of which there is. even more somehow. 😬 also fun fact Rick saying Reyna is allo-ace-coded on twitter might have actually semi been directly because of me, because he said that within like 2 hours and 2 tweets of replying to an open letter i wrote where i literally said that the way he wrote Reyna in Tyrant's Tomb falls into aphobic tropes and Isn't Great. despite replying to it i dont think he actually read it, lol. he then almost immediately left twitter for like 4 years and he also has since deleted his reply. fascinating stuff, truly.

anyways please excuse me digging through your hazel tag cause i am constantly dying trying to find hazel-focused fanart and you have one of the few good hazel tags i've been able to find. picture me scurrying away like some sort of small creature here.

hi thank u!! i appreciate your posts abt disabilities/ableism especially bc it's such an integral part of the story and a lens that gets lost despite that

i'll be honest, i haven't read toa (only short snippets when i want to see a specific scene), so i just read this article abt it, and it's frustrating that almost every example of diversity rick includes is riddled w harmful stereotypes. like, google is right there to help you avoid at least some! (psa to anyone else reading this, google "harmful [x] stereotypes" before making a character you're unfamiliar with!) the wwii stuff...rereading the series again like two years ago shocked me bc i had completely erased the entire plotline from my memory as a kid. some of these choices have me questioning the editors at the time, bc there were definitely things an editor should've pointed out if they were reading the full text.

your power! lmao but that behavior is exactly what makes it so difficult to give rick real feedback. i know some fans claim the older fandom is too cynical, but if we've been trying to give the same advice for years it's going to get old fast. every good change is accompanied by something else (especially noticeable in how percy is treated), so it always feels double-edged. but i'm glad you said this actually bc i didn't know he specified allo-ace! i had assumed he said aro-ace, but that actually makes the way ppl behave abt lesbians identifying w reyna more alarming...regardless i'm glad he's including ace rep bc it's rare, but the way reyna and the hunters were handled is...confusing at best.

please enjoy! i love hazel sm and i recently just went thru someone else's blog and queued a bunch of posts in a very similar fashion lol

[rietveldbrothers]

the problem w/ SAB s2

i finished the season about 30 minutes ago, so here are some thoughts

Heavy Heavy Heavy Spoilers under the Cut for all 8 episodes of Shadow and Bone season 2 as well as TGT, SOC and KOS duology. 

I’ll be honest. I think if I take my feelings on the source material out of the question, I really enjoyed the season. I know my friend and my sister who haven’t read the books really liked it. So theres that for one. I’ve said a handful of times that I dont mind if they change plot points as long as the bones stay true, and that remains true, the problem is, that they DID change the bones. for TGT:

To be honest, I was really alright with pretty much all of the changes up until the aftermath of the darkling/the folds defeat. Look. I know a lot of people want Alina to keep her powers at the end of TGT, its one of the most common complaints I see, and to be completely transparent, I too thought that when I first read the book when I was much younger than I am now. But I KNOW and I think you do too deep down, that she has to in order for the book to say what it is meaning to say. The entire lesson of the grisha trilogy is that power corrupts. Is that if you go against the laws of nature, if you push the boundaries of what is natural, of that power, that there will be consequences. And we see that to a point in the show right, we see that the darkling faces consequences for his use of merzost, and we see right at the end that Alina’s power has been corrupted presumably by her own use of merzost to bring Mal back. But this doesn’t quite work right. Because the whole point, is that Alina gave up her power knowingly, that she chose it because even though she loved her power, she loved Mal more. And she RECOGNIZED the path that pursing that power was leading her down, and she didn’t want that. So she accepted the consequences willingly, and took Mal and they led a happy peaceful life. so her a) not losing her power, b) sending mal away to be sturmhond (we’ll get there in a minute) and c) staying with Nikolai, just totally goes against what the story Bardugo was trying to tell was.

So WHY did they make these changes? I think so they could have more seasons. So that they could do KOS and include Alina (and Mal). By replacing David(rip)’s role in the triumvirate with Alina, they allow her to be present in the KOS plot. So I suspect (or maybe I just deeply hope) we will see Alina lose her power and fake her death (with Mal) within the area of the plot that should have been held by David. But again, this doesn’t really work right? Because David, being the one to work w/ Nikolai on his inventions is directly impacting the plot, and David’s death, after he and Genya are married, has a different impact both on her and on the audience. and on ZOYA, whos whole Garden scene is much less meaningful if the death she’s just endured is a fake one (presumably in this case Alina). Now I realize they’re probably goign totally off book now, but Nikolai and David’s inventions were integral to that plot, and Zoya’s garden is a big big big part of the BONES of the KOS duology. So… what now. I dont know.

Mal going off to work as Sturmhond just feels lazy in a way. They needed to keep Alina active in the plot for future seasons, and couldn’t rationalize him staying if he wasn’t with her (which is BS but I digress) and it also gives them an easy way to connect the two sides of the story by having Inej on the ship with him.

Which brings me to the THE CROWS

I went into it not expecting much from the crows storyline. I really didn’t. And until the very last moments I was starting to think that they weren’t going to do the jurda parem/ice court saga at all. But they clearly are. So. Here are my overall thoughts:

Not sure what the hells,they’re going to do since they used most of the plot points from CK in this. I mean, the whole takedown of Pekka, and the plague, and even a knock off slat fight and a knock off kanej bathroom scene. I mean really, the two best scenes in the entire GRISHAVERSE and they ruin them like that??? uhg. AND INEJ LEFT!!! Like the ice court heist requires her… and the OG jesper is a fabrikator reveal is so good, and now we have established relationship wesper? and I just dont know how any of that is gonna make any sense at all, and it just seems like they took all the best parts of SOC/CK and just… ruined them. Which, whatever, like I said, I didn’t have super high hopes, but its just they’ve now worked their way through most of the character arcs (particularly for Kaz and Inej) for the crows during that duology so like what now, ya know? I dunno.

Also pretty disappointing to see Inej without her own ship. But, I digress. I thought the whole shadow killing sword side plot was a bit contrived, and unncessary, could have spent that time building up Tamadia better, or dropping more hints about Zoyalai. Or… about a million and one other things.

I thought that by far the best part of the season was Nikolai. He was, far more than anyone else, the most true to his book character and character arc. I thought Paddy did an excellent job. He was the highlight for me 100%.