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moistwithgender · 5 years

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Monthly Media Roundup (April 2019)

April was a bit of a disaster month for me, and as such I didn’t get much of anything finished. Old wounds got reopened, I was sick all month, I had an unavoidably bad birthday, and a lifelong pet died. I didn’t engage with a lot of things, and mostly slept. I did play a lot of Breath of the Wild, but seeing as I didn’t finish that, I’m not including it yet. Here’s the things I did finish:

Games:

Blaster Master Zero (Switch): I actually first bought and finished this two years ago, and since the sequel has come out I decided to replay it with the Shovel Knight DLC character. While I genuinely like this game (I 100%’d it both times), I was not really in a good spot to enjoy this playthrough, and just kinda mindlessly pushed through it for nine consecutive hours, beating it in that single sitting. Playing as a DLC character removes the story, which is fine since they’re intended for replays, though I wonder if it added to my emotional disconnect. SK doesn’t receive fall damage, and so the precariousness of navigating the world outside of the highly-mobile tank doesn’t exist nearly as much, though the trade-off is that SK’s combat abilities in dungeons are hindered by an overall lack of range. The game is still rather easy, though, so I can’t say any particular level cadences or combat scenarios carved their way into my memory.

To the game’s credit, though, the things that are good about it are still good. If you have an attachment to the original NES game, or an interest in retro properties, or just want a nice, breezy platformer, it’s very good. It’s interesting in how it repurposes the altered plot of the US version of the original game (where it was its most popular), including even the plot of the little novelization that came out because Gotta Get Those Video Game Kids to Read Something. It has a fake out ending, and if you 100% the maps it unlocks a final map that is genuinely surreal enough to be the highlight of the game. Despite my sighing, it is a genuinely good time, and I’m very curious to play the new game, somewhat hilariously titled Blaster Master Zero 2.

Anime:

That Time I Got Reincarnated as a Slime: I chewed through the last four episodes of this so that I could say I finally finished the season. I didn’t watch the post-season recap episode. TenSura (the abbreviation of the Japanese title, which I will use to refer to it because satisfyingly abbreviating the english title is impossible) is not a very good show, but for about half the length of the 24-episode first season, it fascinates due to how it functions at all. TenSura is an isekai show, much like the other isekai shows, where a person dissatisfied with their life is brutally murdered (usually by a truck. USUALLY by a truck) and is reborn in a fantasy world that coincidentally gives them an absurd advantage over other people, allowing them to live out all the decadence they felt they deserved in the real world. If this sounds like the most boring kind of wish fulfillment possible to you, that’s because it is. It’s also extremely popular with consumers. Which is interesting! I think the isekai boom is indicative of how late-stage capitalism everyday people the world over, that we envision or escape to worlds where your efforts actually return appropriate reward. A bonkers concept, to be sure.

In TenSura, the formula doesn’t stray much. The main character is a man in his 30s (?) who has never fucked and gets knifed to death while HEROICALLY saving a coworker from a plot-irrelevant stabber dude who was running down the sidewalk with his knife out for no reason besides Main Character Needs an Inciting Incident Now. It’s actually pretty weirdly violent for the start to a show that is almost entirely light-hearted. Dude dies, his coworker dumps his hard drive in the bath out of respect (lol), and he wakes up in a fantasy world that works on videogame logic, including loot, skill trees, and class upgrades. He is reborn as an adorable slime a la Dragon Quest, but the personality traits he had in his previous life (and I guess his choice of dying words) scan to obscenely convenient passive abilities that ensure he’s not only invincible, but will never stop experiencing exponential power growth. Also he immediately makes friends with a final boss-level dragon and then eats him. That’s how he makes friends in this sometimes.

I’m being very cynical here, but the core narrative loop (and it IS a loop) of the series kept my interest for longer than I expected. Rimuru (the name of the reborn protagonist) goes somewhere he hasn’t been, astonishes the nearby (sometimes violent) inhabitants with his overpowered abilities, makes friends with them, and then improves their lives with community. Goblins, direwolves, orcs, demon lords. It stacks and builds upon itself to absurd degrees but it’s interesting that in a genre loaded with very problematic stories of disenchanted dudes finally getting the underage harem they’ve always wanted (aaaaAAAAAAAAA) that the main concept of this series is improving the lives of others and giving them closure for the ways life has hurt them. Even if. Sometimes that hurt was the main character’s doing? Like Rimuru absolutely decapitates a direwolf leader and then adopts the pack who from then on absolutely LOVE the dude. Also one of Rimuru’s abilities is that if he gives a monster a name, it class upgrades, which is generally and reasonably seen as a life improvement. Though, these class upgrades are almost always decidedly “less-tribal” or outright human, which smacks of some imperialist thinking. It’s also something I’m sure I never questioned in old videogames growing up. Meanwhile, there’s also a bit with a woman who came from Japan during that one really bad war, you know the one, and the closure she’s given as she’s dying is handled with actual delicacy. It’s a weird series! It’s only a shame to me that after most of the first season, there was less to talk about. Sometime after the halfway mark, you realize the show is never going to maintain tension for more than half an episode, that all problems are solvable (yes, even terminally ill children), and that the show isn’t going anywhere you can’t predict. It’s a checklist show, and the plot points are a list of achievements being checked off one episode at a time.

I don’t think I would actually recommend the show to most people, despite how popular it is. It’s not a great show, but it does weird enough things for a while that it generates conversations. Which is honestly pretty okay. It’s a pretty okay show. Also, Rimuru is effectively nonbinary (with he pronouns), and that’s… somethin’! (24 episodes, finished 4/17/19, Crunchyroll (Funimation also now has the dub I think? Clips I saw were pretty weird, Rimuru seemed to be characterized differently.))

Manga:

Nejimaki Kagyu Vol 1: You would think a manga that immediately starts with a reference to Phantom Blood would be, well, at least interesting.

Okay maybe invoking a beloved work doesn’t actually mean anything. I just wanted to share this blatant callback. Nejimaki Kagyu is a seinen manga about a highschool teacher whose tragically cursed to, uh, have all teenage girls fall in love with him. And the highschool-age childhood friend of his who has spent her whole life obsessed with him and learning super martial arts to defend his chastity. Her supers make her clothes explode.

…

I take no joy in this travesty.

Anyway, uh. The biggest tragedy here is that the art is actually really good, though the paneling is regularly squished around to hilarious degree. Let’s look at some pages and then forget this manga exists forever.

That horror face is how I feel the entire series should be portraying itself. The manga has a distinct lack of self-awareness.

The fan translation for this series appears to have dropped off halfway through and hasn’t been picked up for years, and based on reviews I saw on MAL talking about the directionlessness of the later volumes, I wonder if the translator got fed up with the series. Oh well!

Kyou no Asuka Show Vol 1: Oh god damn it I just got done with talking about a series about ogling the youth.

BLEASE STOP

Okay so. Kyou no Asuka Show, or “Today’s Asuka Show” is an older slice of life manga by the same author I mentioned previously who is doing an edutainment series about people working in a condom factory. Innocently-minded women in comedically lewdish situations appears to be his whole bag. I think Asuka is pretty charming, but I also know she’s designed to appeal to my monkey male gaze. Obliviously sexy is very much a mood, and in a more adult context I would be all for it. There have been a few chapters where I find myself at odds with the wisdom the author is attempting to impart, sometimes through Asuka’s father, who works as an adult photographer, and doesn’t want his daughter involved in anything that could cause her to be ogled. Like, that’s already something that requires a lot of unpacking in the modern day. Aforementioned wisdom sometimes takes the form of Asuka doing something stupid and innocent and ripe for objectifying, like wearing a school swimsuit in a rainstorm. Or she’ll work a job as a cute girl courier and inadvertently turn a shut-ins life around. Situations where, if it were in real life, I’d think “wow that’s weird and charming,” but by being a work of intentional authorship, it inherently loses some of that innocence, and becomes something well-meaning but problematic. Is that the second time I’ve used the word “problematic” in this post? Is this 2014?

I may continue reading this, but I really can’t recommend it to most people I know in 2019 without several disclaimers and also without probably getting some side eye. I think it’s worth a couple chapters to feel out what its doing before you decide whether you can siphon the charm from it, or would rather move on to something else.

Me enjoying myself when this manga tries to suddenly get up to some shit.

Blue Period Vol 1: This is the last thing on my list, because I don’t want to expand this list beyond the three mediums I’ve already assigned to it. Also, I actually finished this May 1st, but I wanted to talk about it now.

If I had the power to actually get people to engage with a specific work once per month, Blue Period would easily be the one I pick. That doesn’t mean as much when all the other things I finished this month were conflicted experiences, but I really think everyone would benefit from this series. Or at least anyone with even a passing interest in visual arts.

Blue Period (named for Picasso’s Blue Period) is about a highschool delinquent who has a knack for studying, a safe social life, and no interests in pretty much anything. He’s on the road to do fine in his life, and he doesn’t question it much, but that’s it, until he discovers art and realizes it’s the only way he’s ever been able to truly communicate his feelings. It changes everything about him, for more emotionally satisfying reasons, but also riskier ones. He only has one year of highschool to go to decide what he’s doing with his life, and Japan has a very strict education system. You’re not really allowed to just “get around” to things.

Apologies in advance if you’re tired of me spamming full pages but I really do wanna show this off. This is another series with an educational angle to it, though the emphasis is definitely more rooted in a personal narrative of growth. The explanations of art practice and the functionality of exercises and tools are both very informative and relevant to the characters, never feeling like the story is taking a backseat to explain. The characters are, hilariously, everyone I’ve ever met in an art class. There’s the kid who would rather exclusively draw the things they like, there’s the kid who likes art as a hobby but haaaates being given a project, etc etc. There are students who have an innate grasp on how to draw but haven’t internalized the Why of the exercises, and students who are receptive to the lessons but don’t have the ability to match. The narrative is extremely even-handed towards all of these different levels of skills, and places a lot more importance on why, emotionally, you should totally care about drawing apples and water pitchers for five hours at a time. It’s GREAT and I want to force it on every creative I’ve ever known.

Another thing I appreciate about this series so far is that while there has been something resembling sexual/romantic tension, it’s kind of not like that at all? In the first volume I haven’t been able to pinpoint where a potential relationship subplot would go, if at all. Two possibilities are this girl:

...who is a very likable character but surprisingly doesn’t fit into that box of “standard love interest”. The protag’s interactions with her have been exclusively respectful and admiring, which doesn’t even necessarily imply a romantic subplot, but would be pretty cool if it did? And the other girl:

...who is featured in decidedly more sexual tension-y contexts, is actually TRANS. The manga actually portrays them so uncompromisingly feminine that I didn’t realize they were crossdressing (the term used in the text) until the author’s notes at the end of the volume. I will partially blame this on me being out of it this month, since I just went back to their introduction and yep, they got misgendered and contested it. Given how the character is regularly framed (confident, attractive, skilled, nonstereotypical), I’m… pretty okay with this! If a romance blooms between a delinquent boy and a trans girl, that’s amazing.

I hope y’all understand where I’m coming from in expecting a shoehorned romantic subplot. I’m not hoping for one, I just know the product by now. And if it happens, the options are considerably more interesting than usual.

These are pretty good kids.

Manga licensing is a lot better nowadays than it ever was before, with lots of obscure series being picked up, old series getting re-localized, and translations being better than ever. I really really want this series to get licensed so someone can be compensated for it, and so more people might read it. Until then, I think you should look up the fan work.

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So that’s all for April. If these posts included live-action movies, I’d have talked about Endgame, but I also don’t want to go spoiling anything for someone who still wants to go see that (it’s probably one of my favorite MCU movies, though). I read most of 1970-71 in Marvel comics, or at least most of the issues on my reading list, but I semi-liveblog about those, so you can just search my “curry reads comics” tag for that. Here’s hoping I have more interesting, more positive things to say about May in a month. I expect to finish Breath of the Wild by then, so I’ll finally talk about that. Thanks for reading, if you made it this far! Go check out Blue Period.

#curry reads manga #curry watches anime #curry plays games

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seeksstaronmewni · 6 years

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Saving the Day before Bedtime in Style: The Powerpuff Girls Then vs. Now

THE CITY OF TOWNSVILLE!

I remember growing up a little with The Powerpuff Girls, namely the pre-2002 episodes on CN and a promo for the show on my VHS of Animaniacs: Wakko’s Wish. That show is a part of my childhood. My sister had an Easy-Bake Powerpuff Girls “Cookie Makin’ Bake Set” and a Burger King 2002 figure of Bubbles. The length of the series’ run is now 20 years old, though the franchise as a whole is over 25 years old, if you count A Sticky Situation.

In the past, I watched little of PPG because I neither understood nor appreciated action at a very young age; the same went for Samurai Jack & Star Wars: Clone Wars (2003), though I did watch Star Wars: The Clone Wars (2008), which included a former PPG writer, Brian Larsen. Now, “Cartoon Cartoons” like @crackmccraigen‘s Foster’s Home for Imaginary Friends, Dexter’s Laboratory, Grim & Evil, Courage the Cowardly Dog, The Marvelous Misadventures of Flapjack, Ed Edd ‘n Eddy, Chowder... I grew up on those. I remember little about 2 Stupid Dogs (now officially available on MOD Disc DVD) and Captain Planet. I didn’t see the PPG marathon in 2009 with the final McCracken-produced episode so far, The Powerpuff Girls Rule!!! (my sister watched it, though). I began to return to PPG as I saw excerpts from the show on Netflix in late 2015, prior to the reboot. Tara Strong’s tweet of dismay, I think, was how I heard of the new PPG episodes.

The first time “Painbow” was encored (that is 2nd airing), during like 6 in the morning, I began to love Ms. Keane, their teacher, who’s voiced by Jennifer Hale (I knew her best for voicing Gladys, Billy’s Mom, in Grim & Evil / The Grim Adventures of Billy & Mandy, whose voice is nearly identical to Keane’s). What I love about Keane is that she’s sweet, somewhat perky but usually mellow, and kind, in addition to her voice, big blue eyes, and hair style, that I find to be attractive, but ultimately she is very nurturing to her students, like a mommy. Ms. Keane is why, in 2016, I became really into The Powerpuff Girls... and, including regard for the former CN Studios team, hyped for the return of Genndy Tartakovsky’s Samurai Jack (season 5, which featured Craig Kellman and other familiar creatives). However, though The Powerpuff Girls is my personal favorite of Craig McCracken and I grew up somewhat more on Foster’s Home for Imaginary Friends, I do feel that Wander Over Yonder is Craig’s greatest achievement as it excels at not only humor--both slapstick and... well... “modern”--but also some very important life lessons and ultimately the heart.

Now, many PPG fans were upset with the new episodes for many reasons that were, in my opinion, nostalgically incorrect. Personally, like many fans, I mostly prefer the former art styles of the series (specifically the 2002 movie and episodes, as well as the following designs by art director Paul Stec and character designers Carey Yost & Stef Choi) but I also highly admire @cheyennecurtisart for adding more defining details to our favorite crime-fighting and now ex-kindergarten students (and also for designing my other favorite woman, Star Butterfly, whose title show @crackmccraigen, creator of The Powerpuff Girls, wanted to produce for CN). The main reason for the hate is apparently that the new actresses replaced the former ones for the title characters. They are fairly good voices, but I still prefer the former, namely Tara Strong as Bubbles (No offense, Kristin Li, but, to me, it feels impossible to turn down Tara’s acting). Natalie Palamides as Buttercup is probably the closest-resembling to the original voices, but she still stands out differently; likewise Ms. Keane’s voice, though akin to the voice direction of Jennifer Hale by Craig McCracken and later Colette Sunderman, also has an accent that stands out, while Tom Kane is generally true to the nature of Utonium’s voice. Of course, once the casting and/or voice direction changes, maybe Cavadini, Daily and Strong will return. Also, E.G. Daily said in an interview that Cavadini, Daily & Strong originally did record for, I believe, Escape from Monster Island, until someone else replaced them; if bonus features exist on future season releases of the Jennings-Boyle PPG episodes, then an original dialogue recording track for the episode should totally be on it.

WHAT LOOKS DIFFERENT ABOUT THE POWERPUFF GIRLS?

Another reason for dislike from PPG fans is all about the art direction. Although @eusong Lee worked with Craig Kellman on Storybots and current art director Roman Laney designed and painted backgrounds for Craig McCracken’s Wander Over Yonder, their art direction resembles that of a more streamline, smooth, round, futuristic, not-so-cartoony look contrasting with the simplistic, storybook-like art direction of Craig Kellman, the cartoony but simple art direction of @donshank, and the defining and Hanna-Babera like art direction of Mike Moon, Paul Stec and Sue Mondt. The buildings in the Jennings-Boyle episodes are more straight, detailed and lineless, whereas the former designs were more extreme and exaggerated with building shapes.

Comparing the designs above of Andy Bialk & Stef Choi (whose designs were of many shapes and sizes; former monsters had sometimes simple but also very wild designs)...

...with those of Alan Stewart & Steve Lambe and Dean Heezen & Carlos Nunez reveals great contrast. The character design of current Townies, like the backgrounds, are more round-edged and of more simplistic, specific shapes and sizes. The monsters are different too; props are more realistic and explosions usually look simpler and more streamlined, round-edged, etc. Also, character & prop outlines aren’t really thick, which many CN/H-B cartoons are know for having. As the current designs from Memory Lane of Pain show, the Mayor and Robin Schneider are seen, along with an elderly woman who looks similar to the usual one in former episodes and a kid who somewhat resembles Mitch; next to those 2, there’s also a big guy whose model appears... shrunk for some reason.

Now, some Season 8-9 designs look a little more familiar, like the disguise character of an alien in Never Been Blissed, Locan Logan. He looks fairly akin to the works of Craig McCracken. Could the alien be disguising himself as Mac (from Foster’s) at an older age?

Not belittling @cheyennecurtisart‘s contributions, character designs developed for The Powerpuff Girls Movie are some of the finest ever done for the series, lead by Carey Yost; these designs were eventually implemented into the series, supervised by @andybialk and Chris Reccardi and designed by Stef Choi. Ultimately, though, @cheyennecurtisart and Carey Yost plus Andy Bialk (2002-2004 only for the latter two), did my favorites.

As you can see here, Man Up 2: Still Man-ing was the one of the few current episodes where the Mayor’s mouth is visible... but it wasn’t the first time. Paul Rudish storyboarded the Mayor with his mouth for transition in Boogie Frights; some official models of him (as well as a comic book cover) show the mouth as well. It’s unorthodox, but honestly I’m not hating on the new creatives for that. In most of the episodes excluding Man Up 2, it’s probably a mistake, since in those episodes he also does the mustache lip-sync thing he tends to do.

On the bright side regarding nostalgically correct art direction, the Pokey Oaks flashback in The Wrinklegruff Gals (art direction by Eusong Lee) was very true to that of Paul Stec (I’d think that Ms. Keane’s in the first shot, but these shots are 1.78:1 and not “letterbox” widescreen like the DVD covers of most CN shows in the last decade claim them to be in). They included students Mitch Mitchelson, Elmer Sglue, Robin Schneider, Harry Pitt, Suzie Jenkins, and Clara (the African girl in purple dress, called by Ms. Keane in ’Twas the Fight Before Christmas; in other episodes Jennifer Hale voiced her and the other dark-skinned girl in a pink dress). The new art creatives were so good at that, that I wondered if they’d contribute to season 5 of Samurai Jack. Speaking of that, the series finale of Samurai Jack, EPISODE CI (as did EPISODE II and Comic Issue 19), referenced The City of Townsville with the city of dogs that Jack saved! I also recently noticed a background from The Powerpuff Girls Meat Fuzzy Lumpkins in Aqua Teen Hunger Force, cleverly called “Powerpuff Mall” (tweeted here), and the episode “Universal Remonster” features a PPG with a mohawk on a Spring Break Cancun shirt!

Also, there’s the reference to Abracadaver in Memory Lane of Pain, where Blossom realizes how different she looked then and a re-orchestration of the PPG’s theme plays in the background, as in the new intro itself. The shot in reference is a digitally traced, cleaned-up version of a shot with models by Andy Bialk & Chris Battle.

Relatively, former character designer @chrisbattleart designed for the PPGs in the Teen Titans GO! episode “TTG vs PPG” which were true to the improved designs of @cheyennecurtisart...

...though they sometimes resemble the pre-2002 models, which he reflected in the last Craig McCracken-produced episode, The Powerpuff Girls Rule!!! As with both specials, the PPGs have thick outlines & black-colored mouths and are in model-rigged or “puppet-ed” animation.

Also relatively, Wander Over Yonder, which referenced both PPGs & Samurai Jack, featured @lambebeardo, who storyboarded the PPG-referencing episode The Boy Wander, who did some character design on season 8 PPG episodes.

The new theme song implements the general PPG theme within, as I said before, but there’s more nostalgia than that: the extended version of the current intro/theme song, “Who’s Got the Power?”, opens up like the original intro, with the original Tom Kenny narration, score and certain sounds. “Sugar, Spice, and Everything Nice. These were the ingredients chosen to create the perfect little girl, but Professor Utonium accidentally added an extra ingredient to the concoction...” Yes, except that Utonium didn’t break the bottle of CHEMICAL X by throwing his fist in success, though; Mojo rammed him into it. That is an error of continuity, which some episodes have, namely The Power of Four (regarding a rival of Utonium, Netronium, creating the perfect little boy)... though there is one thing that that episode did right...

TV PUPPET PALS PUPPETS! These character originally appeared in a few episodes like Mommy Fearest, and were created by either Genndy Tartakovsky and/or @crackmccraigen for The Justice Friends, whose pilot was about TV Puppet Pals. Once again, some nostalgia is preserved; thanks to Prop Designer Nathan Alexander Rico (and/or the act’s character designers/storyboard artists)!

In case no one noticed: I refer to the current seasons of The Powerpuff Girls, produced and directed by Nick Jennings & Bob Boyle, as the 7th, 8th, and 9th seasons, since, to me, it’s still the same show; despite different art direction and other styles. The other reason is that some episodes did call back to former events, like I said about Memory Lane of Pain.

Another thing that seems to be lacking in The Powerpuff Girls is the visually cartoony stuff. Memory Lane of Pain is the only episode to use a “pow” cloud as the Rubber Bandit streaks out of a shot. This was common in earlier episodes, often accented visually with words like “POW”, “ZIP”, etc. In most current episodes, characters run out of a shot more realistically.

WHAT’S WITH THE ANIMATION?

Additionally, most of the animation direction, though still with Robert Alvarez, Randy Myers and Richard Collado, is pervasively slow-paced, compared to the pre-2016 episodes, namely those of seasons 5-6 and, of course, The Powerpuff Girls Movie, on which Genndy Tartakovsky was the main animation director. Unlike most current CN Studios programs, however, Samurai Jack season 5 did its “sheet timing” very well, particularly in EPISODE XCVIII and its scene of Ashi owning a whole army of orcs (Sheet Timing by Rob Renzetti & Robert Alvarez; storyboarded & written by Bryan Andrews & Genndy Tartakovsky).

As with that and most CN Studios programs, both Samurai Jack and The Powerpuff Girls have animation that is checked by CN’s Sandy & Julie Benenati. Speaking of creatives still involved, there’re at least 25 people still working on The Powerpuff Girls just as they did decades ago... including @joltumblingart, a former BG/Prop designer! At least us nostalgia-craving fans can appreciate that! (By the way, if you crave classic CN Studios projects, you can watch the ENTIRE series of Samurai Jack here!)

WHAT OF THE NEW GIRLS AND GUYS ON THE SHOW?

Now, I can say that some of the new creatives could serve The Powerpuff Girls well:

Character designer @cheyennecurtisart did designs for Star vs. the Forces of Evil; the show’s art direction (namely season 1/Joshua & Justin Parpan, but also including Israel Sanchez, who all worked on Wander Over Yonder) is similar to the works of @crackmccraigen and closer to the Mike Moon / Paul Stec styles I prefer, specifically elements of background/location design and character design. Some designs of Princess Bluebelle in the Emmy-winning episode Once Upon a Townsville seem to resemble the looks of Star Butterfly. Also, SvTFOE location designer Larry Murphy did background design for PPG episodes “Save Mojo” and “Substitute Creature”. A number of creatives from SvTFOE should work on current PPGs too, regarding art direction/design/storyboarding action, in addition to former creatives involved with Samurai Jack (including season 5) and Paul Rudish’s Mickey Mouse, including clean-up artist king Robert Lacko. Relatively, SvTFOE location designer @peteremmerich served as the art director on Netflix’s Harvey Street Kids, whose background design is very much like the PPG locations under Paul Stec’s art direction.

Character designer @lambebeardo did storyboards for Disney’s Wander Over Yonder, created and executively produced by @crackmccraigen, as mentioned before, including “The Boy Wander”, which ends ala “The Day is Saved!” segment. There’re 2 specific creatives for a season 7 (or, in reboot terms, season 1) PPG episode...

Power Up Puff features storyboard artist Roque Ballesteros, who storyboards for Star Wars: Forces of Destiny and did animation/layout on CN’s Enter Mode 5 at Ghostbot. One could compare that to Bryan Andrews who did storyboards for Star Wars: Clone Wars (2003-2005) at Cartoon Network Studios, where Power Up Puff was produced; Brian Larsen, who worked with Bryan Andrews, also did storyboards for PPG and Samurai Jack, as well as (the non-Cartoon Network Studios) Star Wars: The Clone Wars (2008-2019)...

...and then there’s animation director Shaun Cashman, who did animation/sheet timing for another CN Studios original, Genndy Tartakovsky’s Sym-Bionic Titan. Cashman also supervised the timing on Disney’s Star vs. the Forces of Evil and produced Grim & Evil AKA The Grim Adventures of Billy & Mandy for CN. I think that there’s some good animation timing in Power Up Puff, which’s rare due to the way CN Studios and SMIP do the animation these days.

One episode I intend to note here is Save the Date, which’s about Ms. Keane, as was Keen on Keane. A few aspects on design are covered below. One is about the title cards as shown above (which uses props/characters to reflect the episode’s subject/theme) and below.

These cards swipe to the right, rather than having the PPGs beam by and then reveal the storyboard artist/writer and art director. Originally the text was still, until after the movie and they’d zoom in slowly, not italicized and even glowing the tiniest bit. Also, some of the writers aren’t storyboarding, and the art director’s listed on the credits.

Lastly, of course, every single episode is directed just by Nick Jennings and Bob Boyle, aside from a supervising director. Can’t someone from Samurai Jack, Wander Over Yonder, Star vs. the Forces of Evil direct instead? Often, an animation director like Robert Alvarez or Randy Myers would direct The Powerpuff Girls, Samurai Jack, Grim & Evil, etc. For that matter, someone on the show should get, like, Genndy Tartakovsky (currently at Sony Pictures Animation) to direct. High-octane action and slapstick are a big part of his direction.

Since the Season 7 episode People Pleaser, @deanheezen is the main character designer, in place of @cheyennecurtisart; @carlosluisnunez still contributes, but usually Dean Heezen or Gordon Hammond (and sometimes Steve Lambe and Alan Lambe) are the only designers for an episode. From the episode Save the Date onward, Ms. Keane has only one bang, when she usually has 2, though there is one shot in Keen on Keane where she has one bang, (in various shots of the episode, she has 3 bangs).

In Save the Date, Ms. Keane’s fashion is different from hers in Keen on Keane, which was modified in Octi-Gone. Also, Keane didn’t walk well in high heels in Save the Date, unlike Keen on Keane.

Pertaining to certain fashion, like Keen on Keane, more of Ms. Keane’s body shape is exercised, namely on her legs. Unlike Keen on Keane Ms. Keane’s calves aren’t as obvious if [one of] her legs are straight. Usually, her legs appear shorter as well... kind of stubby, which I think is cute. In some shots in Save the Date, Ms. Keane’s hands are sharper-looking, as were the designs by Carey Yost and Stef Choi.

Relative to both animation and design, compare Ms. Keane fighting the giant, radioactive ant in Save the Date with the aforementioned sequences in Samurai Jack EPISODE XCVIII:

Now, in these 2 shots, you can see more detail to the design/form of the legs in action. If Carey Yost did the designs of Ms. Keane like those they did in Keen on Keane, the look and form to Keane’s legs in action would appear maybe somewhat stylized, but far more realistic.

In the fight in Save the Date, there’re a few pieces of fast-paced animation, but only a few as, like I said before, animation in CN shows these days are usually slow-paced. In Samurai Jack, of course, there’s much balance between both fast and slow-paced animation which helps convey more realistic (and intense) action. Robert Alvarez was an animation director with Sherri Wheeler (supervising) & Randy Myers for Save the Date and did sheet timing with Rob Renzetti for Samurai Jack EPISODE XCVIII.

Now, like Samurai Jack, Ms. Keane here shows good form in an action pose. The lines in the PPG shot are similar to the shot of a falling catapulted rock in Samurai Jack EPISODE III, too.

Relative to Samurai Jack EPISODE XCVIII, the Dexter’s Laboratory episode Dexter Dodgeball has a very nice sequence of well-timed, balanced traditional animation including much fast-paced animation; Dexter’s hair animates somewhat as well. In addition to being filmed and animated with cels, the timing/animation direction gives to moments of this scene movie-level quality of traditional animation. “Additional Animation Direction” is claimed to be done by Robert Alvarez, @crackmccraigen and Rob Renzetti.

Ms. Keane’s homes vary in the series: Dave Dunnet designed 74A in Keen on Keane and another house in ‘Twas the Fight Before Christmas, while Santino Lascano & Clark Snyder revealed a much bigger home for her in Save the Date.

Speaking of location, current episodes have new places like The Snooty Rose and Penguin Pete’s...

...but what about Pete’s-a Pizza, Malph’s and La Donut King Donut?

One interesting thing to note about Save the Date is a matter of size (this’s also the first time in the entire series that sweet Ms. Keane cries). Of course, she’s not the only one with concerns of size.

The PPGs themselves were made to be giant by Mojo Jojo, too, in What’s the Big Idea?, one of the last McCracken-produced episodes (and starring @donshank as a protest leader. He’s the Townie in that fallen building).

The other thing notable about this episode... “WHAT ABOUT THE GIANT ANT” in Bubblevision? Of course, that was a different ant that looked more realistic and just gnawed on stuff at random, but I like that more. The giant radioactive ant in Save the Date was only pushed back by the heat ray of the PPGs, but in Bubblevision the giant ant totally burned up.

One thing I don’t like about the credits--aside from lacking BiS’s popular hit, The Super Secret City of Soundsville Song, which’s the PPGs’ End Title [Theme] Song--is that they don’t specify the voice of the episode’s lesser characters (such as “Todd”, who kind of sounds like Tom Kenny... just a hint of Commander Peepers in his voice). Of course, Samurai Jack season 5 sometimes did this too. Typically, they don’t credit sound designers or foley artists/recordists, either; at least The Powerpuff Girls Movie gave credit to Joel Valentine and his team for Sound Creation and Design and foley.

Now, there’re approaches to character design in current episode that I do enjoy. In this shot from Buttercup vs. Math, Blossom recoils from intense emotion with a very funny yet simple face.

Prior to that, of course, the former emotions are also very wild and creative...

...but that doesn’t mean that Andy Bialk, Carey Yost & @chrisbattleart didn’t do that either (though rarely), as this shot from A Very Special Blossom proves. Art Director @donshank and Models guy Carey Yost, like many great CN Studios creatives, were formerly involved with Spumco, particularly on The Ren & Stimpy Show, which could account for this wild, somewhat detailed design.

Unlike most of Craig McCracken’s former works, except for Wander Over Yonder, character reactions in design weren’t usually as exaggerated as they are in the new PPG episodes. Such design extremes tend not to apply to Ms. Keane as she’s rather mellow and more realistic with emotional reactions, and usually not in grave danger or needful otherwise, compared to another woman designed by Cheyenne Curtis, Star Butterfly, who tends to be highly poignant with emotion (in most ways I love her more than Ms. Keane because Star’s been through a lot, needful and emotional).

In very rare cases, though, like these shots in Keen on Keane and Speed Demon, Ms. Keane shows catchlights in a closeup, which may contribute to either intensely poignant emotion and/or close-up detail (including lighting). Her look in Keen on Keane (Carey Yost) does suggest a needful emotion, but not too exaggerated.

As I said before, I don’t care for the current art direction as much, except for @cheyennecurtisart‘s part; eventually Dean Heezen took over until Gordon Hammond started doing all of the character design, which aren’t really much different. Some others don’t like the designs currently with The Powerpuff Girls, including one artist who decided to re-design and re-animate the promoted scene from Man Up. The designs of the PPGs look very much like the SSN 1-4 models, and the rest vary; some resemble Andy Bialk/Stef Choi or Stephanie Ramirez. The backgrounds are very detailed but similar to the original art direction.

Tom Kenny’s famous, lovable narration that began and ended all pre-2016 episodes has been absent in most current PPG episodes (except for a few, like Painbow, Little Octi Lost, and Fashion Forward). Even worse is a talking snowman voiced by Maurice LaMarche narrating instead--and on-screen--which is one of the major crimes to The Powerpuff Girls in their second Christmas episode, You’re a Good Man, Mojo Jojo. “I BEGIN AND END EACH EPISODE OF POWERPUFF GIRLS, ME, THE NARRATOR!” he claimed at the end of Los Dos Mojos. Next to Scaramouche, Spongebob and Commander Peepers, his narration on The Powerpuff Girls is one of his finest and most memorable roles.

Also missing are more familiar and specific Townies like the Chief of Police, the Pokey Oaks students (excluding the flashback scene), Floyd & Llyod... Also, since Chuck McCann died, I wonder who’d voice the Amoeba Boys now. Perhaps former creative Lou Romano could, since he was their original voice in the pilot/Craig’s student film A Sticky Situation. Some creatives and production staff on the show made cameos, namely @donshank (voiced first by Tom Kenny and then Shank himself), who, himself, served as a supportive character in What’s The Big Idea? leading a protestant group against the PPGs. This Easter egg is rare in cartoons these days (though a recent Teen Titans Go! episode put @chrisbattleart and other creatives in a city crowd), but the episode Electric Buttercup implemented creatives like @cheyennecurtisart, Nick Jennings & Bob Boyle, Kyle Neswald, and others in “THE ROCK & ROLL HALL OF SHAME”.

In general, the approach to sound design on the show is a bit quieter but uses more Disney sound effects and other typical Hacienda Post sound design, as well as aural gags thematically associated with noting a certain subject (e.g. a cash register opening and ringing accents a thematic element pertaining to the Monopoly-esq game in Rainy Day, as money is a relative/thematic element). Although Hacienda Post (namely the team) has always been involved with the series since 1998, the original “Sound Creation and Design”, debuting on the episode Crime 101, was by Joel Valentine (Samurai Jack, Big City Greens, Wander Over Yonder), one of my favorite sound designers, who was only credited on The Powerpuff Girls Movie; episode credits would mention only Twenty-First Century Entertainment, Inc. for “Sound Editing”, though they obviously did sound design and foley too. Whether or Joel or all Hacienda, foley members are usually uncredited on the show, yet they bring our favorite Townies to aural life. Joel used his funny little castanet sound to accent many emotions, and the “SINGLE MAGIC WAND HIT” among other sfx to accent the PPGs beaming away. The classic H-B/Universal explosion often accented big feet, impacts and explosions, as well as the original title reveal in the intro; Joel would use some more tweaked variants of that sound too, and, next to Skywalker Sound, Joel is the only one whose consistent use of that sound excuses the general cheesy nature of that sound. Of course, in my opinion “ROCKET LAND SPEEDER: START AND AWAY”, which often accented the PPGs flying (usually for relatively fast/increasing speeds), seemed particularly exaggerated, but Hacienda Post seems to avoid overusing that.

Also, the music style often is more pervasive compared to former episodes, and Mike Reagan did some very nice cartoon-y music, like in the beginning of Rainy Day, though the style feels different from that of Thomas Chase & Steve Rucker in episodes like Pet Feud. The stylized sound of horn sections and strong techno beats in the score by James L. Venable (AKA “DJ Avalanche”) are very cool but aren’t so common in the current episodes, though respectively the action doesn’t live up as well as former episodes, like Live and Let Dynamo.

Near the end of this post, I note that I found great value in The Ren & Stimpy Show as many creatives on it/at Spumco worked on The Powerpuff Girls, Star vs. the Forces of Evil, Samurai Jack, Spongebob Squarepants, The Iron Giant, The Twisted Tales of Felix the Cat, Adventures of Sonic the Hedgehog, and many other great animation, including a gem of a Cartoon Network “Minisode”, Buy One, Get One Free*. My love for the work of John Kricfalusi/Spumco boosted with [adult swim]’s airing of the Yogi Bear/Ranger Smith episode “Boo Boo Runs Wild” on August 13th, 2016 A.D.

To conclude: The Powerpuff Girls is an iconic show that deserves to still have some design that feels signature to it, over 25 years after the pilot, @crackmccraigen‘s CalArts student film A Sticky Situation (originally with a mildly profane name for the trio, though Paul Rudish came up with their official name). In my honest opinion, there’re 5 original people whom I wish and pray would contribute to The Powerpuff Girls again: Carey Yost (with or without @chrisbattleart), Tara Strong, Dave Dunnet (with or without @shinypinkbottle), and at least Joel Valentine. Honestly, regarding Star vs. the Forces of Evil, I hope and pray that Joel Valentine, Genndy Tartakovsky’s band of excellent writers/storyboard artists, and even @crackmccraigen could/would contribute to that franchise’s future media. Additionally, the new creatives in season 5 of Samurai Jack, like Dustin d’Arnault, David Krentz, @stephendestefano and Amanda Qian Li, should contribute to these shows too. Again, I also suggest that the former voice of The Amoeba Boys, Lou Romano (in A Sticky Situation), should replace the late Chuck McCann. While Craig’s first words to me suggest that he may not return, more or less, to PPGs, still at least members of his team deserve to, and who wouldn’t want to come back? Meanwhile, at least Craig’s working on new stuff to be announced, including Kid Cosmic for Netflix.

I leave you with not only a petition image to suggest ways to bring nostalgia back to our favorite kindergarten crime-fighters, but also IMDb lists of appropriate creatives for future media of PPG, future media of Dexter’s Laboratory, and even future media of Samurai Jack (pre-Season 5 events to fill a more or less “50-year” story gap). Spread the petition (and/or IMDb lists), and perhaps our childhood days will be saved--thanks to fans like you! GO, POWERPUFF! [z, z, z-z-z-zuuu...] *cue H-B swirling star* (also a Tumblr post)

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samtheflamingomain · 3 years

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remember when tik tok was a song?

A lot has changed in my short time on this planet. I grew up to the sound of the ole dial-up and now I can watch someone talk about why the Earth is flat for an hour from anywhere on the disc!

The way we create, consume and criticize media is one of the things whose recent evolution is probably what piques my interest the most. Not necessarily the content of the media, which is always changing, but trends in the structure behind it.

Tech has obviously improved exponentially. Health, science, education - all significantly changed in the past few decades. But same goes for the past few centuries.

Media has, necessarily, been slower to evolve. Can't have TV shows without a TV. It basically went from book to newspaper to radio to TV to Internet. There's at least a few decades between all those things, if not longer. However, from TV to today is what I'm most interested in.

For decades, for generations, TV was channel-surfing via an antenna or a satellite dish served by your cable provider. A lot of those words mean nothing to a teenager now.

I'm 26. I started with cable (10 channels), then we got satellite (500 channels), then by the time I was 16 or 17, Netflix the streaming service came out. So I'm in a very small window of people who were young enough for all of these things to happen in my childhood. 5 years older than me and you didn't get Netflix as a teen. 5 years younger and you didn't have cable as a teen. Maybe 10 years. You see the point.

Then realize that the 16 year-old of today hasn't grown up without Netflix being a household word. If the 16 year-old of today wanted to watch Peter Pan, he would boot up Disney+. I would've gone to Blockbuster and rented it for $3. If he wanted to see a kitten falling down stairs and then doing a backflip, that's probably somewhere on Youtube. If I wanted to see that as a kid, well, I'd better start looking for a very gymnastic cat with all its lives.

So to sum up so far, a lot has changed very quickly - about how we consume media. What about how it's formatted?

And how we consume it always necessarily comes before what it is we're consuming changes. Remember when "Netflix Originals" didn't exist? The platform was built, the people came, and then new media came from it.

We've seen TV shows go from the binary of "22 minutes or 44 minutes" to "however long we fucking want". The disintegration of the binary of "comedy or drama". When I was a kid, sitcoms had seasons of 22 episodes, once a week, in the fall. Drama shows usually had 16 episodes. Now Netflix puts out "Mike Tyson Mysteries", with any number of episodes in a season, with each only 11-13 minutes long, pretty much at random. Letterkenny puts out 6-episode seasons once a year on Christmas. Back in my day, we never knew if this season would be the last. Even if the last episode was a cliffhanger, there was no promise of a resolution. Sitcoms kissed the rings of the networks every year hoping to be renewed. The other day South Park announced it was making 6 more seasons and a bunch of movies.

There are a few TV formats that I consider "evolution proof" - game shows (not reality, game), soap operas, late night and standup. All of these date back to radio times and have rarely if ever changed format. I'm personally hoping that, within my lifetime, I'm able to see a change in the way standup is done. We've seen very few attempts to break the mold, and the only example I can think of right now is Mulaney's Sack Lunch Bunch, and to be honest I think it left a lot to be desired. But that's to be expected if media itself is going to change formats - it'll take a lot of trial-and-error.

Quick tangent: I'm not talking about comedy itself. Comedy is constantly changing formats. Vine made absolute stars out of SIX SECOND-LONG content creators. I mean standup. I'd like to see its definition change from "70 minutes of uncut, unedited, scripted jokes told in story form on a stage in front of an audience with a microphone and maybe a few props done by one person, with pauses for laughter and applause, sometimes with audience interaction" to "long-format comedic content delivered by one person to an audience", taking away the mic, the stage, the very structured format. With the exception of maybe Bo Burnham, even if you've never seen a specific comedian, you know what to expect and when to expect it. You can Just Tell when the last joke is about to begin. You're not going to be surprised when the guy picks someone out of the crowd to make a few jokes with. You probably even know the definition of a call-back by name because they're so common. I don't know how it would necessarily change, but I don't think it's impossible.

Back to the main post for one more point: fandom. We've talked about the evolution of the consumption of media and what format we're watching it in. We know the content has evolved. But I think one of the most interesting changes in this category is the way we interact with shows now.

I'm currently sitting in my Simpsons-character-covered tracksuit I bought for $15 on Wish, next to my closet which contains about 15-20 t-shirts. At least 8 of them are Simpsons-themed. When I started building this collection, it started about 5 years ago when I saw my very first Simpsons shirt in a Bluenotes, and it was the only one I had for a few years. I would buy any Simpsons shirt I saw for a while. Today I went to the mall, and if I still had that policy I'd have blown through my savings in one trip.

I actually consider myself lucky; The Simpsons isn't as popular on merch you'd find at the mall as say Rick and Morty, Adventure Time, or Spongebob. I've seen giant stuffed Pickle Ricks, but never an oversized Homer.

My point being, I'm a superfan, but of a slightly older show that isn't nearly as popular as it used to be. If you walk into a Hot Topic, you can probably find any pop culture property on a t-shirt, mug, keychain and temporary face tattoo. This was not the case 10 years ago.

And that's just fandom with regard to the physical world. Did you know that John Mulaney, who did 3 Netflix specials 4 years ago, has THREE subreddits? Every time I get into something new it used to cross my mind, "Hey, I wonder if there's a subreddit for this yet". Now it's "I wonder which of the several subreddits that surely exist for this show/movie/vague concept is best".

A lot of the time when I see the concept of fandom discussed in mainstream media, it's still a severely outdated depiction. Even documentaries tend to stop at "and then Comic-con was invented. The End". I hate to praise it for anything, but if it did anything good, The Big Bang Theory did properly define "fandom" for the world.

I remember when 99% of people polled would not have heard of "fan fiction". I started writing it at 12 when the category for Harry Potter fan fiction on fanfiction.net had but a few thousand entries. My show of choice, Death Note, had a few hundred. I got in on the ground floor and built my way to the top. I abandoned that account 6 years ago and I still get 10-20 story comments or favorites per week.

Now try finding someone who hasn't heard of fan fiction. Find someone who's too old to have written on AO3.

Finally, and I know it's been a long ramble but bear with me, I want to address the homicidal, drunk-driving, pregnant-wife-killing elephant in the room: stans.

If you don't get the reference I just made, please google "origin of the term stan". Caught up? Good, so now answer me this: how did we take a term that refers so very, very obviously to a very, very negative situation and turn it into something someone says casually or even proudly of themselves?

Obviously when I say I stan Green Day that doesn't mean I'm going to write Billie Joe threatening letters and kill my girlfriend, it means I consider myself one of their biggest fans. I think in all of English vocabulary, there's only one other word that's taken such a 180 in definition and it's one I can't say.

Anyway, that's me done. Now that there's more streaming platforms than people who've fucked your mom, I'm interested to see where we go from here.

Stay Greater, Flamingos.

#media #media consumption #evolution of media #tv #sam

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joh-gaming · 7 years

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Why is this affecting me so much?

This is probably going to be an incredibly long post, one that I don’t expect many would read but that I feel I have to write. If not for Epic to read it at some point, then for myself, to remember this and why this game was so important.

I will have a lot of personal opinions, unfair comparisons and highly critical comments in those comparisons that may or may not be accurate. There will also be speculation as there’s more going on than what they’ve been willing to say.

If you care, then please, click on Keep Reading to continue.

How did I learn about it?

Honestly, I have no idea and that’s an issue that lead to its current situation. This is what I remember hearing back then. Paragon is a new game by Epic Games, creators of the Gears of War series (which I’m not really a fan of) and the Unreal Engine (which has always fascinated me) It was going to be a MOBA (which I hate, don’t like any MOBAs except Paragon but I’m getting ahead of myself here)

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Clearly the above isn’t enough to get me to try it, on the contrary. So what was it, I must have seen something that made me think, this is worth a try. As great as that announce trailer was, none of the heroes in it speak to me, not even Sparrow whom ended up as my first mastered character and the one I own the most skins for. It wasn’t a gameranx before you buy thing which to this day I haven’t seen nor plan to, nor Angry Joe’s first look which again, I have no interest in watching. I’m not being critical of those channels, it’s just that I already experienced the game, most if not all of its iterations, so I really don’t care what they had to say about it.

Well... funny enough it was Overwatch the reason I gave Paragon a try. While Paragon is relatively older than Overwatch, it was in closed beta for the first few months. After trying, and falling in love with Overwatch’s beta, I felt the need to fill that void but with another, hopefully similar game. Then I saw the announcement of Paragon’s own free open beta weekend

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I don’t remember if I took part on it or not, the next thing I wrote of Paragon after that was Digital Foundry’s graphic comparison of the game on PC and PS4 vanilla (at the time, the only PS4 there was) praising how a console game let you use mouse and keyboard.

Now, going back to Overwatch for a second, there are a few things you should know. 1. I have a friend that is part of the Overwatch team 2. I bought the game myself, no free keys and it was the PS4 version 3. I didn’t have enough money to buy it at launch, I ended up buying it late June or mid July, can’t remember and it’s not THAT important right now. 4. I tend to prefer cartoon like graphics as they are pretty much timeless

With that being said, this was my first impressions on Paragon, having tasted Overwatch.

“I feel really bad for the artists working on Paragon. Clearly a lot of effort was put into the design and modeling of the characters but good God they're so damn boring. The maps are also bleh with a palette that doesn't help things at all. Animations feel like over a decade old with awkward jump and run. I will be surprised if this game is actually successful 'cause it's a MOBA and what's the most important part of a MOBA? The damn heroes.“

I’ve been wrong before, but this is probably the top one. The map in question is what we now call Legacy. After spending a long time in super colorful maps in Overwatch, I found myself in this semi realistic map with ruins and a jungle that looked old and boring. Movement was too slow and I’m not sure what I was talking about with the animations, maybe they were bugged at the time ‘cause Paragon’s animations are impressive. Some of the best work in gaming.

Needless to say, I had a rocky start with Paragon, mostly because I didn’t understand it. I don’t know how long I tried it before I deleted it but that’s what I ended up doing. I got frustrated and instead of doing research I just quit.

So, going back to Overwatch for another second, how long was my honeymoon after I bought it? It lasted for about a month, after that I started seeing all the issues the game had and has (most of them are still there) especially on consoles. Broken heroes, Play of the game that encourages nonsense, the “scoreboard” that highlights the wrong things, lack of content, lack of heroes, easily exploitable on certain maps, etc. So I guess, thanks to Overwatch, not only did I dare to try Paragon, but fell in love with it. (btw, I did check, bought Overwatch mid June and by mid July I was sick of it, only made worse in August trying to get the limited time skins I wanted) And that’s not even talking about how Overwatch popularized Loot Boxes (yes, they have existed for a long long time, they just made it seem OK in a full priced game, ‘cause it was $60 on console)

Now, I couldn’t find this anywhere but I remember I returned to Paragon when Lt. Belica was announced. Gave it another go but again, failed to understand the character and gameplay. I will get more into the true problem for new people later on, but for now let’s go with why did I delete the game a second time. Well, it wasn’t out of frustration this time, rather than HDD space on my PS4. At the time it didn’t support external HDD. When did I return in a more permanent manner? When Countess came out.

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She became my main for a while, which is funny ‘cause part of her kit was taken from the hero that would completely grab me forever. I started understanding the design decisions of the characters and the graphics, I got past the part where they wouldn’t last a few years, I was wrong about that too. I think they found the right balance between realistic and somewhat cartoonish to make the graphics last. That and they weren’t shy on retouching characters later on.

On November 2016 I said this

“Now I have a better understanding of the game, mind you that if I were to read about it I MAY learn it faster, but I prefer to learn from my own mistakes rather than trying to play like someone else that is probably more skilled. I can accomplish a similar standard just playing with things that work for me rather than what is "optimal". Or that word that gets on my nerves, the META. Fucking meta...”

Funny, I still agree on that.

Paragon growing on me

I’m going to quote myself again, but I’m going to edit said quote for context purposes, not trying to say something different than I said before. For instance, the post was made with a video that I won’t include here, so anything mentioning the video is out of context.

“The more I play Paragon, the more I like it, but at the same time the more I notice its problems. Paragon currently has 24 heroes with a new one added every 3 weeks. Only has one map and one game mode, but it's free and high quality so no complaints here. However if you're like me, you tend to pick certain characters based mostly on looks not on play style. This is one of the biggest issues in Paragon and even Smite for that matter. The character design in Paragon is on point but at the same time it’s dull and boring.

You have your human characters, your robots and your beasts. They decided to go with a semi realistic look for the game instead of doing the cartoon like design from popular and unpopular MOBAs. Which is fine I guess, you want to differentiate yourself, especially when now everyone that does it is instantly going with "an Overwatch look". On PS4 they had to lower the graphics quite a bit.

Paragon has a hero limit since launch and you can't switch heroes of course. The character selection process is completely random (I was the first to pick this time by pure luck) there are no rules for this other than what common courtesy SHOULD dictate. Personally, even if I get to pick first, let's say if the third player selects Countess before I do, I consider that a priority so I leave Countess open for him. You should learn how to play at least 4 characters. Game actually wants you to learn five characters, that's why you get 5 deck slots by default.

I prefer to play Countess, but I'm better with Sparrow and already have experience with Belica. That being said, the whole mastery system induces people to rage quit when the character they wanted gets picked by someone else. It starts off fine, but eventually leveling up your character becomes a chore and a grind.”

This was still back in November 2016.

On December 2016, I had this to say about the game

“There were a few things keeping the game from being as good as it could be. One of them being the learning curve. This wasn't your go in spray and pray your way to victory while you press a button to get a highlight at the end of the match to feel great about your awesomeness. No, in Paragon you needed to learn a lot about the mechanics, you had to build your character from scratch, and you had to find a way to balance your build to be ready for what's to come. It was amazingly refreshing to be honest. Sure it took me some time to like it, mostly 'cause I still feel the graphics aren't what they should be and the characters, while having an interesting design, they lack a palette that makes them unique.”

“This past Tuesday, Epic Games decided to upload Monolith. Basically Paragon is now a whole different game. Taking into account player feedback, mostly for how slow the game was, they applied a lot of changes to the mechanics of the game. Some of the changes would have been enough in the Legacy map to make the game nearly perfect, but no. Monolith is a smaller map than Legacy, character speed is improved but then it creates other issues when you fight other heroes. Certain classes are now having a tougher time. You gain less card power, forcing you to stay on the map longer rather than going back to base to level up. That in theory would be great if you weren't so fucking weak for half of the game. So what are people doing to combat this? They basically have the same builds. Build for attack speed and power, then some life steal and you're good to go. It's boring now, it's more like a shooter. “

I ended up that paragraph with something I regret and therefore won’t repeat. Even if it didn’t happen... I didn’t uninstall the game and have no plans to do so. Not even after it’s gone (unless it keeps affecting my health, more on that later)

“The simplification of Paragon, as a whole, made it more accessible to regular players, you know your regular multiplayer bro. So it's kind of funny to see the rage quitters because the early game is so painfully slow (in terms of levels) and how easy it is to die when you don't understand how minions and towers work. They changed more things in Paragon than what Massive changed in The Division. Paragon is like a different game, one that doesn't require you to be as smart as before. You now stack attack and go play. That's why I'm a little disappointed with the update. Thankfully they are listening to the feedback so perhaps they can find a middle ground between this version and the previous one, because both have great ideas, they just need to remove the bad ones. A match in Paragon is still more fun than a match in Overwatch though.”

2017, a roller coaster of emotions

Last year alone Paragon went through at least 3 big changes. Many think these changes lead to its current downfall but I don’t agree. In a community corner video (I may edit this if I find it again) they said (a bit arrogantly I may add) that Legacy won’t ever come back. Keep in mind that while at first I was one of those that felt betrayed by the changes Monolith brought to the game, I was still playing and having fun. Originally the thought was, “we don’t want to split the community” and at the time I agreed. But looking back I failed to see the same thing they missed, the community was already divided. Bringing Legacy as a mode, or a more strategic version while Monolith would be more fast paced wouldn’t be bad.

Look at Smite and Overwatch, both games that wouldn’t want to have a split community, now their games have plenty of modes. Keeps players in because if they tire of one thing they could test another ‘cause at the end of the day, it’s the heroes that will keep you coming back. So it wasn’t the changes, more like a pinch of arrogance and a lack of modes. The player retention they later complained about, was of two folds, lack of ranked mode and a poor tutorial.

What made Paragon different and special, besides the heroes I will come to love even more than those in other games, was the card system. You’ll find videos from ‘tubers that are now jumping to conclusions just to talk about the closure of a game they never even heard of. You’ll hear them say something about it being pay to win with buying cards and what not, which funny enough was true in 2016, nobody said anything about it then, but all of that was removed when they added the card crafting system so long ago that I don’t even remember when that was implemented.

Building a deck was crucial to success in Paragon, just as much as understanding minions, towers, your role, buffs, rotations and kills. For most of the 2 years, the jungle was crucial too, that was changed in one of the latest patches. Some say for the worse, I’m not too sure it was. If it was simplification they were after, then the current jungle makes the jungler job easier to understand. Farm, get some levels and skills, then go help the lanes. True that had it been a mode in Monolith with Legacy being the more strategic match, it would have been better received, or at least that’s my perception.

People don’t like to feel dumb, even less to realize they actually are. If what I’m writing here makes me sound dumb, then perhaps I am, but it doesn’t matter as this post has nothing but my sincerest thoughts on the matter, even if I’m trashing Overwatch along the way. I think Paragon was a great game, unique in a sea of MOBAs, that people just failed to understand and that the developers didn’t support correctly.

Was Fortnite the issue?

Epic Games is often accused of doing popular things then scrapping them, fad chasers is what they call them. Paragon started when MOBAs were a big thing, just like Fortnite started when Minecraft was a thing. Sure at the time you had Cliffy B on board so he wanted a gritty and scary thing in Fortnite. Fortnite was one of those games that went through development hell, a game that if not by PUBG catching fire (see what I did there) and they being able to rip it off, it would have crashed and burned by now. Fortnite was sold as an Early Access game

I clearly bought into Fortnite’s Early Access, hence the screenshot of the banner unlocked. What made me buy Fortnite when I knew it wasn’t done? If there’s one thing I learned from playing Paragon, is that Epic will change everything trying to find the best system for the gameplay. I wanted to be a part of that too, I wanted to see the game change and grow (keep that expression in mind) over time. I also wanted to thank Epic for Paragon, so I thought this would be the best way to do so.

I was aware of Fortnite before I knew anything about Paragon, I mean like I said, it’s one of those games that went through development hell. I was watching one of their livestreams when they were giving away keys to almost everyone, they didn’t give me one (at the time it was a PC only game) so I never got the chance to try it myself. Over time I stopped paying attention to it as I never got a key, nor even acknowledgement that I wrote them asking for one. Why was I interested in Fortnite? Well, obviously the cartoon graphics as I mentioned before, then there’s the whole building thing which I enjoy a lot (main reason why I like Fallout 4) and Orcs Must Die 2 is one of my favorite Tower Defense games. (Keep that game in mind too)

If I had known that everything they said about working on developing what is now a mode (Save the World) was a lie, I would never have wasted money on Fortnite. The game is as incomplete now as it was on launch. Sure they have had events but almost every resource is going into the Battle Royale mode. Again proving that they are indeed fad chasers. If you feel like I’m wrong here, that it was a logical business decision and that justifies whatever you’ve spent on Fortnite, then fine, that’s what you think. But personally, I can’t recommend anyone to spend money on ANY Epic Games game from now on. This will sound like Blackmail and maybe it sort of is, but I do mean this, if Paragon is completely closed (as in I can’t play it in any way, shape or form) to me, I don’t see myself giving EG money again in the future. I don’t just say things like that and change my mind when it’s convenient, I haven’t bought an EA game since they burned me with SimCity 2013.

The Heroes of Paragon

Paragon has a bunch of great heroes, my favorite hero would come out in May 2017. That would be Phase. I’d say it was love at first sight but it wasn’t, it was love at first try. Before Phase there was Aurora, a controlled type character that had the looks and mobility, not to mention damage output. I often play range roles or control types, while Aurora was melee, I felt she has more mobility than Countess plus her control abilities were great to set up team attacks. I never thought a support would be far more interesting to me.

Phase’s kit was amazing, actually it was too good to the point where she broke the game for some people. One thing is a good support, another is a support good at everything. Good at healing, dealing damage and controlling the enemy. She got nerfed a couple of times, with her healing being affected the most, she’s still my main. For whatever reason, Phase felt like a part of the Phantom Thieves in Persona 5. Granted that after reading her lore I completely understand why that was the case, but the fact that I thought about it without reading it says a lot about the work put into the character itself

There are so many nuances in her animations, even her new launch pad animation. While not as involved or defining as most of the characters’, it still feels like a Phase launch. Her relationship with Shinbi was explored later, it was interesting but it didn’t change what I thought the character was like. She is the character I’ll miss the most, but don’t think she’s the only character I like a lot.

1. Countess 2. Aurora 3. Lt. Belica 4. Sparrow 5. Dekker 6. Serath 7. Morigesh 8. Zinx 9. Drongo 10. Wraith 11. Yin 12. Gadget 13. Muriel 14. Twinblast 15. Murdock 16. Shinbi

I will miss all of them. There are a few I haven’t even tried.

The greatest game I couldn’t play

From September 19, 2017 to January 9 2018, I didn’t have internet access. Hurricane Maria had destroyed our infrastructure leaving many of us in a terrible situation. Originally I was OK, I was prepared for around 2 months of no power, let alone net access. My house held fine (or so it did at first) and my family was OK. Then it started, the following days it started raining what felt like non stop and the damage Maria did, was now evident. Water was pouring in, my things were getting damaged, first I lost my bed, then my desk, well to cut to the point, I pretty much lost my house. I don’t have the money to fix it and with the situation my country is in, I don’t think it’s even worth it.

All I kept thinking about was, man I wish I could play Paragon again. Sounds silly but everyone has something that helps them disconnect from whatever terrible reality they are in. For nearly 4 months that’s all I wanted to do. Late October I moved to my brother’s house, it had power, water would come later but at least it had power. I started playing some games to avoid thinking of what I lost and had yet to lose, as I couldn’t save everything important. Nothing clicked, all I wanted was to play Paragon. I would watch my captures of my game time, over and over and the “music video” I did of my first coop match playing her

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I missed the October event, I wanted that mummy Yin skin. I almost missed the winter event skins, got net back right when they extended the event 1 more week, so I was able to buy Morigesh and Aurora’s skins. Those weren’t the last skins I bought, no. The last skin I bought was the Panda skin for Phase. The day before they announced that Paragon would close.

So you see, the answer to my first question, why is this affecting me so much? well, after losing my house and some of my things, the game I wanted to play the most is going away too. It breaks my heart, I saw Paragon from almost every stage in development, highs and lows I loved playing it, I still do. There are terrible games that somehow are still up (Day Z comes to mind) yet this amazing game that is making so many people cry, it’s going away. Or is it?

Were we lied to?

It all points to yes, something happened that they can’t talk about. In their open letter they said

Here inside Epic, we’re talking about the future of Paragon in pretty much the same terms as you’re talking about it. The core challenge is that, of new players who try Paragon, only a small number continue to play regularly after a month. Though Paragon has evolved, no iteration has yet achieved that magical combination of ingredients that make for a sustainable game. (As an aside, the problem isn’t marketing or how to make money with Paragon. We have good ideas that would solve those problems if we can find a way to make Paragon grow.)

So, if the problem wasn’t marketing (which btw it was, it wasn’t even promoted 1/5 of what Fortnite has been) nor making money with it, the problem was making it worth the effort. At least that’s my opinion. Fortnite success came over night, so it was an easy decision to ditch their less popular game even though it is their superior product. But is that even the case here? While Paragon is going to close for us, in China it started its closed beta

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What the flying fuck is going on here?

It’s hard not to feel betrayed, it’s hard not to wish Epic Games failure (I try not to) but nothing is harder than seeing a great game close, with some relatively true explanation but no real logic behind it. Closing Paragon, even if it was to make development on Fortnite easier, is a mistake. Leave it in life support until you can come up with better ideas for it. The rank mode they were working on was never implemented in Paragon, instead it was moved to Fortnite. So don’t tell me you did everything for the game, it died because you didn’t support it Epic. It died because you killed it not because we left, I never left. As the final months are quickly going by, and I try to enjoy my final moments with it, in an analogy I rather not say, I feel myself getting sick. I get this massive headaches now, Paragon may have nothing to do with it but coincidentally, they come after playing a few matches. It hurts to know it’ll be gone and that I won’t be Phase anymore.

On the other side, I hope Epic Games have realized that Fortnite is more of a platform than a game. Quickly being able to transform itself from tower defense building game to a battle royale with building elements. I mentioned Orc Must Die series, well their latest game was one of the many MOBA attempts that kind of failed. They had to add the classic gameplay that made them popular in order to keep their fans, because they were bleeding players like crazy. Now, the current version has plenty of modes, kept the MOBA, (EDIT: They removed the MOBA mode) added the classic and created a few more. Fortnite can be Paragonized if they wanted to, they could even add some of the Paragon characters to Fortnite, I would gladly pay for Phase.

Soldier Class

1. Belica 2. Murdock

Constructor Class

1. Terra 2. Greystone

Outlander Class

1. Phase 2. Twinblast

Ninja Class

1. Shinbi 2. Kwang

And clearly, I’m not the only one that thinks that’s doable. naastika.deviantart.com

Final thoughts

I may be angry and disappointed, and I do mean it, that if I can’t play Paragon or Phase (mostly Phase) any more, that I truly won’t support any more Epic Games games, but I do appreciate the rare opportunity to play such an amazing game. I’m too old to like video games for the gamey aspects of it, I prefer the media side of it, the opportunities it offers as a story telling device that surpasses books and movies. I started my gaming on the Atari 2600, I’m done with jumping around for hours or shooting for no reason. It is extremely rare for me to get attached to a game with no narrative, and the fact that Paragon pulled this off, speaks to the talent working on the game.

Thank you for Paragon, and fuck you if you do close it.

#Paragon #personal thoughts #Epic Games

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entergamingxp · 5 years

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15 Upcoming Indie Games to Put On Your Radar in 2020

January 16, 2020 12:00 PM EST

2020 looks to be another great year for indie games. Here are 15 of them to keep an eye on as the year rolls on.

Last week, we gave you 10 2020 releases that you absolutely shouldn’t miss. However, that list mostly dealt with the biggest games of 2020. What about all the awesome games being made by smaller studios? Well, here’s the list for them. Below are 15 incredible-looking games coming from the indie scene in 2020.

Before we start, it’s important to note that with the continually growing indie space in games, there are hundreds of games that could easily make this list. I’ve capped the list at 15 mostly for my sanity, but the initial shortlist for this article was a mile long. Here are a few extra honorable mentions you should give a look: TemTem, Boyfriend Dungeon, Griftlands, Minute of Islands, Sable, Roki, Baldo, Garden Story, Ikenfell, Knuckle Sandwich, and She Dreams Elsewhere. I also chose to not include Axiom Verge 2, as that was already covered in last week’s article. Anyways, on to the list.

Lenna’s Inception

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This Legend of Zelda-like from Bytten Studio is actually out this week. You play as an unlikely hero in a procedurally generated world that flips from 8- to 32-bit pixel art. It looks to turn the typical conventions of the genre on its head with a wild storyline that features multiple endings. You can also play the game with a friend in local co-op. A Link to the Past is my all-time favorite game, so any game that looks to iterate on that excellent formula is automatically something I’ll be paying attention to.

12 Minutes

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Time loops are all the rage these days after the excellent Outer Wilds took the world by storm last year. Interestingly, 12 Minutes is another Annapurna-published game that explores the mind-bending concept. While Outer Wilds had you exploring an entire galaxy, 12 Minutes’ experience is a bit more intimate. As a husband trying to share a romantic evening with his wife, you’ll discover the many secrets taking place inside your apartment. On the surface, it might not sound like the most thrilling concept on this list, but everything I’ve seen has been very impressive.

Cook, Serve, Delicious 3

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Before seeing this in action, I wasn’t really sure if the world needed another Cook, Serve, Delicious game. After all, how much more cooking, serving, and delciousing can a person reasonably expect to do? And then I saw that the game takes place in the post-apocalyptic US and you play as the owner of a food truck. As you travel across America, you must both cook food and fight off roving bands of evil cooks. It’s hard to imagine a cooking game with a better elevator pitch than this one.

Eastward

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Earthbound-like games are a dime a dozen these days. The SNES classic made a major impact on the developers of today, and we’re seeing that love play out in games like LISA, Citizens of Earth, and, of course, Undertale. However, there’s something about Eastward’s style that really sticks out to me. While other games have done a great job of capturing Earthbound’s charm and gameplay, Eastward also nails the look. If I close my eyes and imagine what Earthbound would look like in 2020, Eastward isn’t far off. Hopefully, the team at Pixpil can nail everything else it’s going for just as well.

Sports Story

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Golf Story is my favorite game for Nintendo Switch. Full stop. And now Sidebar Games is adding tennis and dungeons and espionage and buried treasure and a meeting with a queen? I need this game yesterday. If Golf Story wasn’t up your alley, this probably won’t be either, but for us beings of superior intellect, Sports Story is set to be one of the most exciting releases of 2020. I cannot wait.

The Red Lantern

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The Red Lantern basically looks like FTL except instead of crossing the galaxy, you’re racing the Iditarod with a team of the best boys. When I was a kid, I was obsessed with the book Stone Fox. So, a game that lets me play out the fantasy of racing Searchlight through the Alaskan wilderness is very much right up my alley. My only worry is how brutal the game looks. The trailer has a scene where a bear attacks one of your dogs and I really hated watching it. Hopefully, that’s a rarity or else this might just become an idea I love and not a game I play.

Spelunky 2

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Spelunky remains one of the best rogue-likes on the market. The platforming is tight and the game has so many awesome secrets for you to discover. The sequel looks to be more of the same and I can’t wait to join the community in uncovering all the weirdness that lies within. This spot could also easily go to UFO 50, which is another Derek Yu project I’ve been waiting for with bated breath. Crazy to think both games are likely for 2020.

Spiritfarer

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This is a resource management sim that is all about dying. You play as a ferrymaster to the deceased. As you craft your way across the world, you’ll have plenty of opportunities to improve your custom death ferry. Spiritfarer has a unique setting that is well worth a look. However, the thing that really made me pay attention is the game’s visuals. The hand-drawn art quickly catches the eye and seeing it in motion is even better. I’m intrigued to see if the game’s look and premise are matched by its quality.

Carrion

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Spoiler alert for 2016’s Inside. Carrion is like that ending sequence where you play as the gigantic amorphous blob except that’s the entire game. Oh, and this blob is straight out of a horror movie and is very interested in eating everything. Publisher Devolver Digital describes it as “a reverse horror game” and I have to agree. The way the blob moves through the levels is both deeply unsettling and incredibly cool.

Hollow Knight: Silksong

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Y’all remember how Hollow Knight is one of the best Metroidvania games of the last decade or so? Or how it was a perfect match for Nintendo Switch? Well, how would you feel if I told you Team Cherry was going to do more of that except even more polished? Great news! That’s what happening and it’s going to be great.

Ori and the Will of Wisps

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If you are a fan of sequels to tough-as-nails platformers with Metroidvania elements, 2020 is going to be a great year. Getting both Ori and the Will of the Wisps and Hollow Knight: Silksong in the same year seems like an embarrassment of riches. Plus, Axiom Verge 2 is coming, which is a bit different, but still sits in that same realm. Personally, Ori is the one I’m least excited about; however, I can’t deny that this will probably be great.

Mineko’s Night Market

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Mineko’s Night Market is maybe the cutest game on this list. The “adventure/merchant simulator” wears its Animal Crossing inspiration on its sleeve. However, developer Meowza Games aims to put a much bigger emphasis on narrative and crafting. You play as a young girl named Mineko who has arrived on an island filled with cats. Your options for what to do are varied, but discovering the game’s secrets and preparing for the weekly Night Market is paramount. Mineko’s Night Market looks like it could fill a similar space to games like Stardew Valley. Great experiences to sit back, relax, and let wash over you.

Cris Tales

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Cris Tales is billed as “a love letter to classic JRPGs”, but with a big twist. The game lets you simultaneously see the past, present, and future of your actions, which results in some fascinating situations. Maybe you warp your enemy into the future to make them older and weaker. Or you warp yourself to the past to make you shorter and are able to more easily dodge an attack. It’s an innovative idea that has major gameplay and narrative implications. The best part about Cris Tales is that there is a demo out on Steam right now. So, if you’re interested, you can go check it out and see if this game is up your alley.

Murder by Numbers

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Picross is one of the best types of puzzle games in video games. However, outside of Picross 3D, there haven’t been that many innovations in the genre. Murder by Numbers looks to change that by adding a murder mystery narrative to the game. What a perfect marriage! And the whole thing is set to a score from Masakazu Sugimori who counts Phoenix Wright: Ace Attorney and Viewtiful Joe among their credits. I need this game now.

Emily is Away <3

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Both games in the Emily is Away series are incredibly moving experiences, especially for those of us who grew up in the time of MSN Messenger and AIM. The third game takes the series forward to a Facebook analogue. It’s tough to say if this release will hit as hard as the first two, but given the pedigree, I’m pretty confident in saying that Emily is Away <3 will be worth your time.

Obviously, the number of video games releasing in 2020 is vast. It would be a herculean task to try and cover everything. However, this list should be a great reference point for games to put on your radar. Of course, the best indie game of 2020 might not even be announced yet, but you can rest assured that when it is, DualShockers will be there to cover it.

January 16, 2020 12:00 PM EST

from EnterGamingXP https://entergamingxp.com/2020/01/15-upcoming-indie-games-to-put-on-your-radar-in-2020/?utm_source=rss&utm_medium=rss&utm_campaign=15-upcoming-indie-games-to-put-on-your-radar-in-2020

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torentialtribute · 5 years

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Peter Shilton at 70: England’s most capped player opens up on Clough, Clemence and being pro-Brexit

England & # 39; s most capped footballer sits in a quiet corner of an Essex hotel and asks Wonder why the experience gained during 125 gigs is no longer used.

Peter Shilton is week 70 on Wednesday, but does not look. That compact squat frame still looks in good condition, his black hair now only slightly flipped with gray.

He played his football in four different decades, won the first division and the European Cup and represented England in three World Cups. He was not exactly lost in our game, but he has not really been there – since he had retired on the other side of 1000 games.

Peter Shilton has thought about his life in it football as he prepares to turn 70 on Wednesday

Recently he made a video of goalkeeping techniques that were fundamental to a career that only ended when he was 47. He has the & # 39; Shilton & # 39; s Secrets & # 39; mentioned and not sure what to do with it. If there are no customers, he can simply put it on the internet.

& # 39; I'm older now, so I obviously don't want to throw balls on a training field every day & # 39 ;, Shilton said. "But I recently told my wife Steph that I do not want the techniques I have built up for more than 30 years to be lost.

" Many of the exercises that coaches now use are those I have developed . But I'm not sure if they understand current techniques.

& # 39; I made the film two years ago and I would not mind using some consultancy, using the film to explain some tips.

& # 39; Many people do not understand anything about keeping. I look at a keeper and know what he is doing or should have done. Don't you get anyone explained on your TV?

[194590011]

Shilton believes he could improve modern keepers with & # 39; 15 or 20 percent & # 39;

[194590012]

Shilton has compiled a video of keep techniques he wants modern keepers to use

& # 39; All modern keepers are very fit and make great saves, but it's the one they let in that I'm watching. I think they can improve with 15 or 20 percent with the right techniques. & # 39;

[194590014]

Shilton was not coached at all until he was coached at all was played by Bobby Robson in England in the early 1980s. The gloves he wore with Leicester and Stoke in his early days were of rope and were bought at a garden center. He had designed the black he wore when he made a famous rescue at Wembley from Kenny Dalglish from Scotland in 1973.

But Shilton was always talented and always worked desperately hard. His rival and friend Ray Clemence – with whom he came to England for ten years – called him & # 39; the perfectionist & # 39; and Shilton doesn't mind.

& # 39; It was funny, & # 39; Shilton told Sportsmail. & # 39; People said Ray was natural. He didn't train that much. He would get a shot and & # 39; wide & # 39; shout instead of diving.

& # 39; But then Clem got coaching coaching in England and I stood at the side of the field for Sky when he worked with Paul Robinson. He did all my exercises! I shouted at him and he admitted.

& # 39; But we were good friends. We are still laughing and giggling. We were in England for ten years and never talked about football.

& # 39; We were different keepers, but I like to think we can play. As Brian Clough once said: & # 39; You can train anything you want, but you need a little talent, son & # 39 ;. I think I had a few. & # 39;

Shilton remains great friends with keeper and former roommate Ray Clemence (left )

Shilton & # 39; s youth hero was Gordon Banks (left) and he was delegated to him in Leicester City

Shilton & # 39; s hero was Gordon Banks. As a child growing up in Leicester, he was invited to come and watch the wonderful man who trained on Filbert Street.

& # 39; Usually I was just fetching the balls, & # 39; he remembered. & # 39; Gordon thanked me. Little did he know that I would join the club. I joined at 15 and made my first team debut at the age of 16.

& # 39; Gordon was away with England. They did not then suspend the competition matches. I was still a student so I did odd jobs on the floor, explained the set, swept up and then went home for a sleep and a little tea.

& # 39; Then I played against Everton for the entire house that evening. We won 3-0 and I had a solid game. The next morning at 7.30 am I was behind cleaning boots. & # 39;

Shilton had a legendary career and will always be remembered for the league title and two European cups that he won with Clough & # 39; s Nottingham Forest.

But he is a Leicester boy and a Leicester fan. From the age of six he wanted to play for his hometown club and when Leicester finally had to choose between him and Banks, it was the star of England who had to be stunned to make way.

Shilton was part of Nottingham Forest & # 39; s first division winning side under Brian Clough

"Arsenal and Manchester United were enthusiastic about me and I think Stoke and West Ham saw that situation and Gordon came in," Shilton said.

"He was sold to Stoke and yes, he was a little surprised. But then he came to me and said: & # 39; I did pretty well & # 39; that was the only way on which you once received money by leaving. & # 39;

Coincidentally, after eight years in Leicester, Shilton Banks followed to Stoke, and the £ 325,000 compensation in 1974 was a world record for a goalkeeper. a challenge at the top of that season, but when a storm blew the roof of the main grandstand on Victoria Ground, players had to be sold to finance repairs, Shilton stayed on, but Stoke was relegated in 1977 and it wasn't long before he started a relationship was building with Clough that had its roots in a meeting between the two men a year earlier.

When I was in Stoke, I felt sad when I was out of the English team and we our best players had sold out, & # 39; revealed Shilton. & # 39; Brian Clough asked if I could come over to chat. I knew he had tried to sign me when he was in Derby and in Leeds.

I did not know him, but he invited me to a meal at a hotel behind Trent Bridge. We chatted away and had a lot in common. He made me feel better. He signed me a year later. & # 39;

When Forest won the first division in Shilton's first season, he gave only 18 goals in the 37 league games he played. That year he won the PFA Player of the Year Award, the most recent goalkeeper to do that. He was then part of the Clough team that surprised Europe.

Shilton says he does not like being associated with the notorious goal of Diego Maradona in 1986

& # 39; I actually thought I had a better season in the year that Stoke relegated, but what happened in Forest was a miracle, & # 39; he said. & # 39; I could have ended up in Man United from Stoke. Jimmy Greenhoff called me and said that Tommy Docherty had agreed to Stoke for me. Two days later, Tommy received the bag. So maybe it was my destiny that I went to Forest. & # 39;

Clough & # 39; s Forest team has been immortalized in books and in movies. Shilton says he finds it hard to say what the best performance was, Forest & # 39; s or Leicester & # 39; s winning the Premier League in 2016.

Both parties had an incredible team spirit and a never-say-that-die attitude , & # 39; he said.

He feels a bit like diplomacy and it's hard to blame him.

Regarding his relationship with Clough, he was as personal and contradictory as we are used to.

& # 39; I always strip at the door next to the shower, & # 39; Shilton smiled. & # 39; My gear and boots would be set up at 2 p.m. on Saturday and I would concentrate on the competition. That was me.

& # 39; But Brian would have played squash – top rugby, shorts and filthy trainers – and he would come in, pushing all my stuff out of the way and time for his shower.

& # 39; He would drag himself down and there would be a large pool of water where I had to stand.

& # 39; He had something like & # 39; Hold on, Pete, won't be a second & # 39 ;. and then I would sail past me as he walked away and say: & # 39; I hope you didn't mind. & # 39;

& # 39; All the boys would growl chuckling while I opened the water. They knew that I would be irritated. But I would just mumble a little.

& # 39; But it did me good. It kept me sharp. He wanted to make sure I didn't get over myself. It was called management and how can any of us look back and say it was wrong? & # 39;

Shilton says he would not shake Maradona's hand if he met the legend of Argentina today

The English team that traveled to Spain for the 1982 World Cup was the best Shilton feel he played in . If Kevin Keegan and Trevor Brooking were not injured, he believes they might have won him.

As it is, Ron Greenwood went out on what was then a second group stage. Inevitably, however, Shilton remains forever associated with one of the most notorious moments of the World Cup, Argentine striker Diego Maradona jumps with him to hit the ball at a quarter final in Mexico four years later. Argentina won the match 2-1 and then won the World Cup.

& # 39; I don't want to belong, & # 39; Shilton shrugged. & # 39; It was so blatant. He first started running, so I had to rush out. But I was always there first.

& # 39; I made a good decision to get out of my line, but couldn't get close enough to jump in like I normally would. He knew he was being hit.

& # 39; You are in a quarterfinal of the World Cup and you watch the officials. Everyone saw it separately from them.

& # 39; People say he scored a great second goal afterwards, but we still didn't focus well when he scored. & # 39;

The two men meet periodically, but Shilton has never been interested unless an apology is guaranteed.

& # 39; Some things he has said since then and the fact that he did not apologize is not good, & # 39; he added.

& # 39; His attitude is what some of the boys don't like. Gary Lineker says he's not bothered, but me and Peter Reid and Terry Butcher and others are and we wouldn't shake hands with him. In coincidence.

Shilton ended his career on 125 England caps and he also made more than 1000 club appearances

& # 39; Eventually I achieved that this has become a point of interest and I don't like it.

& # 39; If he had wanted to meet and apologize, I would have, but he refused. & # 39;

Next year it will be 50 years since Shilton made his debut in England against East Germany. His record of 10 clean sheets at the World Cup Final is only matched by Fabian Barthez from France.

& # 39; I would only have that record if I had not been for Diego, & # 39; he said.

England lost the 1990 semi-final on penalties against Germany – & # 39; they were brilliant penalties & # 39 ;, Shilton says – and he stopped the international match after the tournament.

His club career continued until the age of 47. He said he was & # 39; desperate & # 39; to reach 1,000 games and he eventually played for Leyton Orient against Brighton in November 1996.

An enchantment in management with Plymouth had actually preceded that milestone and it would not have been repeated.

He said: & # 39; I was interested in the job in Blackpool and they just asked me to send my resume. That was kind of, well, you know … & # 39;

Nowadays he settles near Colchester with his second wife Steph. He is noticeably pro-Brexit on Twitter.

& # 39; It's just an honest opinion & # 39 ;, he said. & # 39; I am British at heart. I loved the England Women at the World Cup and currently support the cricketers.

& # 39; I have always followed politics. You have a view and I am not ashamed of mine. You get idiots on Twitter, but I have thick skin.

& # 39; As a goalkeeper you are used to it. I always got worse behind the goal. & # 39;

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#Peter Shilton at 70: England’s most capped player opens up on Clough #Clemence and being pro-Brexit

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