#switchpoint

[retrosofa]

Here's trivia for Cutie Honey episode 14: Ah, The Last Day of School.

Screenwriter: Masaki Tsuji

Art Director: Mataharu Urata

Animation Director: Eiji Uemura

Director: Kazukiyo Shigeno

The episode title could possibly be a reference to When Worlds Collide. In Japan, it's known as "The Last Day of Earth" or 地球最後の日. Thanks to @brickme for the heads up!

In addition to the Elvis and National Geographic posters in Honey and Natsuko’s room, there is another that says “Musik, Mante Banye.” Mante Banye is probably a botched transliteration for “Mantovani,” as in the famed musical conductor and composer, Annunzio Paolo Mantovani.

Thanks to Switchpoint for the heads up!

The January 1974 issue of TV Magazine mistakenly claims Natsuko was murdered by Dynamite Claw. This mistake was also made in the Cutey Honey Roman Album, released in 1980.

Danbei mentions Sanada Yukimura, also known as Sanada Nobushige, who was a samurai from the Sengoku period. He’s probably most famous for being the leading general on the defending side of the Siege of Osaka.

As the school begins burning to the ground, Pochi jumps up and yells “Nippon Chinbotsu!” or “Japan Sinks!” This is a reference to the 1973 disaster novel of the same name by Sakyo Komatsu. 

In the next scene, Miharu wonders if there’s a revolution or internecine violence happening. The term she uses is uchi geba (内ゲバ)  which comes from the Japanese word uchi for “within” and the German word gewalt for “violence.” Miharu is likely referring to the student protests that occurred at Japanese universities during the late 60’s.

This is the only episode in which Honey doesn't kill anyone.

See you next week!

[pandapoles]

Switchpoint Overview - Final from Zion Media Lab on Vimeo.

[intrahealth]

Dam Water

Adventurers at IntraHealth’s SwitchPoint 2018 visited a vintage working hydroelectric dam on the Haw River in the Dam Water microlab. 

Led by Kevin Meehan, a Saxapahaw resident and local farmer, the cohort trekked by the riverside to reach the dam and took a peek inside at several large, noisy, heat-producing turbines that generate power—power that the local electricity utility purchases from the owners of the dam.

Outside the facility, Fekadu Moreda, a hydrologist at RTI International, spoke about some of the interesting ways scientists use hydrological models to manage water usage. He reminded the group that only about 1.2% of the earth’s water is usable for human use.

“Most of the earth’s water is oceans and sea water,” he said. “About 2.5% is freshwater, but much of that is unusable due in part to ground pollution and other factors.”  

Moreda focused on the hydrological model in Latin America, Hydrobit, as he and his colleagues are working to apply hydrology successfully in the low- and middle-income world.

“We want to build the capacity of the developing world stakeholders to use their own models and manage their own resources using Hydrobit,” he said.

Photos courtesy of Ryan Ausman for IntraHealth International.

[teas-of-trin]

“The monstrous mother is a figure who harms rather than nurtures her children. She stands for a transgressive woman who subverts the image of a loving devoted mother and challenges the constructions of normative femininity… Like the monstrous mother, the missing/dead female is often depicted with sordid family history and trauma. The missing/dead female narrative stands both as a parallel and in contrast to that of the monstrous mother. Both narratives are used to navigate complex issues of femininity, motherhood, criminality, and agency.”

“Flynn’s thrillers are structured around female characters who constantly walk the line between victimhood (due to these characters’ long and distorted history of personal and family trauma) and agency (as perpetrators of vicious crimes). The oscillation between the female identities of the victim and the criminal creates the tension, reinforces the mystery and is central to the plot of Flynn’s thrillers.”

“Both works depict female characters  as bad mothers and/or in constant struggle with their mothers—Camille and Amma are in a battle of survival with their mentally unstable mother in Sharp Objects…In both works, the “bad mother” and the “dead girl” are significant for the characterization of the female criminal and the conflicting questions of victimization and agency.”  

“The “Pathological Mommy”…is an integral component in Flynn’s thriller scheme. The focus on motherhood sheds light not only on family dynamics and the economic and class background within the family but also on issues of femininity, womanhood, and the perception of the sociocultural standards of good versus bad mother.”

“Barbara Creed also argues that when a woman is defined as monstrous, it is often related to her role as a mother. Creed speaks of various faces of the “monstrous feminine”: the archaic mother, the monstrous womb, the witch, the vampire, and the possessed woman. In terms of the monstrous mother, Creed described her as the “parthenogenetic mother, the mother as primordial abyss, the point of origin and of end.””

“ Gillian Flynn situates the monstrous mother at the heart of her narratives as a figure who pushes the boundaries of the representations of women, particularly criminal women in the thriller genre.”  

“Flynn’s work also casts doubt on female victimhood by portraying female characters who perform the role of the victim from a position of dominance (Amy in Gone Girl) or assume a victim identity but one that is tied to or born out of criminality (Amma in Sharp Objects). This confusion between victimhood and criminality in the portrayal of female characters allows for complex female representations and demonstrates how they struggle with a difficult and traumatic family history. This uncertainty, as far as the roles of women are concerned, is also evident in the missing/dead girl trope found in Flynn’s work.”

“…missing/dead female narrative, which reveals the cultural obsession with missing or dead, often murdered, [white] females suffering a violent death. It exposes the morbid fascination with stories of missing abused, tortured, and murdered women as well as the interest in their bodies, especially the sight of discarded, wounded female bodies. It points to…”wound culture,” which is a “public fascination with torn and open bodies and torn and open persons, a collective gathering around shock, trauma, and the wound.” Trauma, as far as “wound culture is concerned, becomes the “switchpoint” between bodily and psychic functions and between the private and the public, where the body is the signifier of the “national malady of trauma and violence”. The female body in crime narratives is often a site of investigation as well as trauma for those involved in her death… the “dead girl” presents “existential knowledge” and a kind of purity that stands in sharp contrast to the violence committed against her. Girls are shown as “wild, vulnerable creatures who need to be protected from their own sexualities.”

“Brofen speaks of the cultural stereotype of the dead female victim where she is “killed again” in representation; the threat of both death and femininity is “recuperation by representation […] because this means appeasing the threat of real mortality, of sexual insufficiency, of lack of plenitude and wholeness.” Claiming that because “death is at work in the cultural construction of femininity” the death of the woman becomes a “social sacrifice,” and the “ equation between femininity and death is such, that while in cultural narratives the feminine corpse is treated like artwork, or the beautiful woman is killed to produce an artwork, conversely, artworks emerge only at the expense of a beautiful woman’s death and are treated like feminine corpses.””

“Flynn uses the missing/dead female in both Gone Girl and Sharp Objects to highlight the centrality of the female body and the link between criminality, trauma, and femininity. This way Gone Girl and Sharp Objects reveal the gender ideologies that surround women in relation to media and violence. The conjunction between the trope of the missing/dead girls and the malevolent mother in these two narratives is performed through female protagonists who represent complex dynamics of agency and victimization and, at the same time, in relation to the trauma that lies behind these dynamics.”

-From, Monstrous Mothers and Dead Girls in Gillian Flynn’s Sharp Objects and Gone Girl by Maysaa Jaber. [Part 1]

[aanlaiias-s]

affective structure is what points the attribution into already-distributed directions

affective structure of racism, for instance : irritability turned out from the white subject and dumped onto a racialized subject, through whom the bad affect may be vented without any risk of damaging a circuit of social exchange — dissociative structure of racism?  — yet irritability, at once crawling over the surface of the skin and coloring an outlook on everything, seems like a switchpoint where embodied sensitivity and something like a psychic disposition cross over one another, multiply or amplify or keep one another in equilibrium — so in that sense we shouldn’t jump too quickly to an operating concept of dissociation as a withdrawal of psyche from sensorium — a retreat into fantasy as that which frames (and thereby cuts off) the flux of sensation — rather, given that irritability hovers/bleeds from organic (nervous) response to perspective or psychic attitude, as a form of dissociation it actually depends on the association of one with the other —

anyway i’m thinking about irritability / irritation vis-a-vis euphoria through Kierkegaard (canonical bedfellow with Schopenhauer) — the state of euphoria can switch over into a scene of irritation — its fragility is the impossible / inevitable consequence of the speculative endlessness projected by the buoyancy it lets the body believe will last forever — until the bubble bursts euphoria rules irritation out — any possible irritant is absorbed seamlessly into the overall effortlessness of doing anything — it’s an attitude or mood that saturates everything one sees, everyone one may run into, any issue that may arise — yet for Kierkegaard it’s this infinitizing mood that makes the state of euphoria vulnerable — because when something does go wrong the unhappiness-cause (as Ahmed would put it) cascades and can wreck everything — a wedge / leak of irritation can blossom into dysphoria — something in your eye can make the asymptomatic cloud of good health (all body processes aligning) dissipate

it seems as though, unlike the abrupt/awkward/disjunctive interface of the tactile and the attitudinal in irritability (thus a switchpoint), the state of euphoria is one that dissolves the interface — each touch is immediately a pleasure or it doesn’t impart any pressure at all because you’re flowing and streaming through the world with such minimal resistance — a cross-dissolving

it’s perhaps the susceptibility of euphoria to collapse (ruin, crash, offloading, panic, cascading divestment of the body’s ease in relating to the world as something nobody needs to possess) that differentiates it from happiness — not just because euphoria is a more extreme version of happiness (though perhaps we can see an inherent fragility in happiness too, its minimal difference from being ok — but it’s not as dramatic, more ordinary — though maybe euphoria isn’t so drastically set off either — it can be ordinary in the way an episode is ordinary — esp. if you like getting high) — but also because that extremity is posed as an excess or inflation — feeling too good — over-optimism, over-confidence — happiness corresponds to a sort of reconciled finitude, whereas euphoria infinitizes that relation and takes its idealizing tendency (which can bypass fantasy, sometimes, it feels so good) past the reality of the situation and thus lapses into unreality — maybe happiness and euphoria are on a sort of spectrum — but how can a spectrum run from the finite to the infinite? their magnitude is different, or we should say that one can be sized up and the other can’t, exactly

just to squeeze one last drop out of this passage: intensification as accumulation of intensity — again, this would suggest that we can see euphoria as the accumulation of happiness — if it’s just an intensification of it — but it’s more like where happiness goes wild, goes off the rails, comes ungrounded — and thus no longer feels happiness as an accumulated disposition, but just something that radiates from everything or suffuses the flow that puts one in everything — i think i’m interested in that always displaced threshold : between the finite and infinite, a non-space / not a liminal space because it’s as if there’s no in-between — yet, in an ordinary way, euphoria pulses into happiness as an episode of unconditionality —

on foxy Rue says “I’m so happy” — she cries happy tears, which are also cosmetic affects: scintillating glitter -- as if in their sheen (Renu Bora) the tears betray the gravitas of her underlying depression — pathos — i’m skeptical of that reading, though — in part because it tries to get out before it’s too late — that is, prematurely — as if to say: not to burst your bubble but this is actually really sad — this plays out formally in a really graphic way — Rue evicted from the scene by overdose, spewed out of the entactogenic seclusion and slumped into a numb, cold dissociation — blanket of intimacy ripped off — to restore that condition i think fails to take the episode seriously as a narrative/affective enclosure — or rather it’s necessary but it’s important not to just read the immediate boundaries of the vignette but also to look back to Rue’s fantasy / premonition about what taking foxy would be like — notably, though, she doesn’t anticipate happiness — Jules and Rue don’t take the drug to find happiness, they just think it’s cool —

anyway the point of bringing this scene up here is to say that the lightened bearability of a euphoric sensorium in some ways puts it on a spectrum with happiness — such that Rue can say “I’m so happy” — to name the feeling as happiness — when it seems like it’s something else — namely euphoria — which is also the moment getting overcoded by the name of the show, awkwardly — like when they say the movie title in the movie —

yet saying “I’m so happy” (I’m dwelling on this bc Ahmed talks about the  normative transparency and queer opacity of self-reported affect) in that moment is not really an index of a feeling — it’s not really naming what she’s feeling but rather is a substitute or approximation for something she doesn’t even need to say — the ineffability of a euphoric state — (also skeptical of this, btw, but…) — this sort of ineffability is represented in the scene by inarticulacy — nose to nose, Rue and Jules feel each other’s faces and coo “whoa” — as if preverbal (fitting with the thing about queer infinitude — felt as / filtered through / running away from maternal love for infinite plasticity) — and sort of infantile (the blanket tent) — “I’m so happy” is where happiness and euphoria converge, but it’s also where language fails or melts into affective/oral/tactile goo — gushes, without feeling possible insincerity — so fitting that it ends in abjection of vomiting, sure, (too much milk, cloying pleasure) — the abjection of vomiting and the induction of voiceover (acousmatic orality: abstract, at a narrative remove, in a non-scene, an unexposed voice) but also how euphoria separates the senses from a fantasy of happiness — how it recedes from language / the symbolic order of moral/medical consequentialism — recedes into what though? — it’s not enough to say “flux” (infinite plasticity, which is actually no longer plasticity because no form takes), it’s not enough to say polymorphous narcissism swap, it’s not enough to say the senses — maybe in reaching for ineffability i’m reaching for a negative theology — but euphoria isn’t ecstasy — it’s a somatic / neurochemical effect — it’s a phenomenological texture, maybe — or more precisely the texxture of shine, which alludes to texturelessness, unconditionality — in other words what’s important is the effect-as-effect — a technically produced, designed state — a special effect, an effect that makes the moment feel special — this is why i’m interested in Ngai’s gimmick book, i guess — also why i’m interested in ASMR

[ferretshark]

Meet Me In St Louis

By: @ferretshark

For: @wonkystank​

Rating:General

Relationships: Peter Parker & Tony Stark

Characters: Peter Parker, Tony Stark, Happy Hogan, May Parker 

Summary:

Peter really wasn’t looking forward to Friday, May was working and he already knew that Tony was going out of town because Lab and movie night were cancelled. He should just take the time to stay in and catch up on sleep. The problem was he couldn’t sleep because he couldn’t stop thinking, but he couldn’t think effectively because he needed sleep. The cycle was vicious and he wasn’t seeing a way out.

He looks up to find Tony watching him.“You know I’m going to St Louis. Why don’t you come with?”

“Go with you? I thought it was a business trip.”

Ao3 link 

Peter stares into space, unfocused. He’s tired and everything he needs to do stretches out in front of him. Lately sleep has been hard to come by and the days are blurring together, even Spider-manning has lost some of its charm. He sighs.

“I’m sorry. Am I boring you?” Tony’s voice is teasing.

Peter blinks, eyes snapping back into focus. “Um, no. I'm not bored.” It was lab day, not that they’d accomplished much. The lethargy that had been plaguing Peter all week iswas still there sapping his creativity. He starts to offer up an excuse but settles for honesty. “I’m just... tired.”

Tony’s eyes darken with concern. “Yeah, May and I have been worried about that. Maybe it’s time for a break, Bud.”

Peter narrows his eyes a bit. He’s not sure how he feels about this new development where Tony and May consult on the regular about his welfare.

“So no school on Friday.” Tony ventures. “Happy said you’re o-ff.”

“Yeah, it’s a teacher work day.” He slumps forward, resting his cheek on his hand.

Peter really wasn’t looking forward to Friday, May was working and he already knew that Tony was going out of town because Lab and movie night were cancelled. He should just take the time to stay in and catch up on sleep. The problem was he couldn’t sleep because he couldn’t stop thinking, but he couldn’t think effectively because he needed sleep. The cycle was vicious and he wasn’t seeing a way out.

He looks up to find Tony watching him.“You know I’m going to St Louis. Why don’t you come with?”

“Go with you? I thought it was a business trip.”

“It is. All the more reason you should come along.”

Peter considers. Seeing the in and outs of running SI could be cool, but the  travel sounds exhausting. “I’ll have to see what May thinks,” he mumbles out.

“She thinks it’s a good idea. “ Tony crosses his arms at Peter’s unimpressed look. “Might be fun to do a little light interning?” Tony’s phone chimes and he glances down. “Happy’s here.”

Peter stands, stretches and starts gathering his jacket and backpack. He’s not really sure where the afternoon’s gone.

Tony walks with him out to the garage, it’s something that’s started to become a bit of a tradition lately. “ See you bright and early on Friday. And, Pete, leave the suit at home.”

—-

Peter tries to go to bed early on Thursday, he really does. He only patrols to nine thirty , comes home, showers and packs his duffle.

He’s in bed by eleven but sleep won’t come. Tossing and turning well past midnight, he checks his phone again, up in three hours. He flips the screen down and passes out close to dawn.

By some miracle he’s awake at five thirty, grabs a quick breakfast and is downstairs ready when  the black Bently pulls up to the curb. The door and trunk locks disengage.

“Quick! Get in.” Happy yells through the windows.

Peter barely has time to throw his bag in the open trunk and get the door shut before Happy’s veering back out into traffic. He peers at Peter in the rear view mirror. “Buckle up!”

“Ok, ok I‘m working on it.” Peter pulls the belt and snaps the buckle into place. “Where’s Mr. Stark?”

“He’s meeting us there.”  Happy answers, accelerating through a yellow light.

Sometime later, they pull up in front of the private jet hanger. Peter hops out and waits while Happy grabs their bags. The jet sits on the tarmac, and it gives Peter flashbacks of another trip not so long ago. The steps to the passenger cabin lower and Happy hurries inside with the luggage only to poke his head out again.

“Can you tell Tony we’re ready to go? His stuff’s already here but I think he’s in the hanger.”

Peter looks over to the tan building waiting off.  “Uh, sure.”  He steps inside the open building and sure enough Tony is there, tapping away on his mobile.

“I thought you said no suits.” Peter gestures to the Iron Man suit standing in sentry mode over in the corner of the hanger.

“Do as I say not as I do.” Tony says flippantly, not looking up from his phone. “Anyway, he’s staying here.”

The fact that Tony always talked about each of his suits as if they were wayward children but also proclaimed them synonymous with himself privately amuses Peter. He looks fondly at the suit.

“So still not sleeping?” Peter looks up to find Tony’s gaze sweeping over his face.

“Not really.” He shrugs, he doesn’t want to get into it right now. “Happy says it’s time to go.”

Tony looks out at the jet. “Yeah, probably. Come on.”

______

The flight time stretches out as Peter stares out the window. Mr. Stark mouths an apology but ends up spending most of the time on his phone. He can see Happy hunched over in the back, sending emails.

At least the WiFi is plentiful. Peter spends his time wisely watching tik toks and scrolling through tumblr. He wishes he could rest a little, but even as tired as he is, actual sleepiness seemed out of reach. The tiredness he carries lately is settled down deep in his bones and leaves him feeling like he’s taking tiny sips of rest when he really needs to drink deep. The  resulting exhaustion sits heavy in his mind, weighing down his shoulders. Trying to ignore the feeling he  stretches out, putting his feet on the seat across from him.

Slipping his earphones in affords him some semblance of privacy,  He starts up his Spidey playlist and dives back into the wonders of the internet. He’s not really aware when he starts singing, until he launches into an energetic chorus and suddenly he remembers. He bolts upright to find the other two airplane occupants regarding him with everything from amusement to irritation. In fact, it was exactly those two reactions, amusement and irritation.

“Oh, um sorry.”

Tony laughs and goes back to his work, still smiling.

Happy is playing a mean eyebrow game as he finishes his phone call.

Peter clears his throat and settles back into his seat <i>quietly.</i> He also studiously avoids looking around the passenger cabin. Fortunately, within thirty minutes, they're on the ground at the airport.

He stands and stretches while Happy and Tony disembark. He’s learned by now that the most important thing to do in these situations is stay out of Happy Hogan’s way. The man is a ball of energy as he secures their ride and gets the luggage put away.

Tony slides into the back seat and Peter slips in beside him. “Let’s go, Hap.”

Peter marvels at the views of an unfamiliar city through the car window, far off he catches a glimpse of the Gateway Arch, the city’s most famous landmark. There’s factories and abandoned houses, museums and concrete, but it’s also beautiful and green in a way that parts of Queens aren't. Maybe it’s not a fair comparison but, hey, Peter hasn’t been too many places.

They pull up at the Four Seasons Hotel because, of course, Tony always goes first class. Peter takes a quick panoramic shot and sends it out in a text to his best friend. Ned was going to die.

The lobby is all light and glass and Peter tries hard not to be intimidated. He’d stayed in some reasonably nice places back when he was in band, but really nothing close to this.

Tony goes to the front desk and comes back with keycards. He passes them out to Peter and Happy.

“We have early check in so go make yourselves at home. Same floor.”

Happy looks a little surprised, “They didn’t have your suite-”

He’s cut off by Tony. “It’s good, we’re good,” he calls over his shoulder, heading to the elevator. “Let’s go.”

They get to the right floor and exit the elevator and Tony hovers while Peter finds his room number easily enough. Tony lingers behind him in the hallway until his door swings open, making sure his keycard works.

Peter pushes inside to reveal a tasteful decor in green, gray and olive. The room opens up at the end with an enormous picture window, framing  the far off bridge and graceful sloping Arch. His first thought is that he’d love to swing from it. His second is that he must be in the wrong room.

He leans back out in the hallway. “Mr. Stark?” He can see Tony down and across the hall balancing his phone while he tries to work his key card from its little paper sleeve.

“Yeah, Pete?”

“I think I have the wrong room. There’s the view um..the Arch?” He gestures back toward the room.

Tony’s smile is soft with understanding, “I know kid, I’ve seen it.” He disappears into his own room. “Try a nap, if you can.”

Peter turns back, his eyes riveted to the skyline.  Slipping into the room, he drops his bag on the floor. “Holy shit.” He whispers and then executes a pivot and falls backward onto the incredibly soft bed.

He reaches into his pocket and pulls his phone out, thumb sliding across the cracked screen. The plan is to send a few quick texts to May, but the muse strikes him and he steps over to take a few pictures from the window.

There’s a sharp rap at the door and Peter surges to his feet. Outside in the hall he finds Happy, looking not very happy at all. The man was all business.

“Ok, at midday we’ll be heading over to Switchpoint Services. We’ll do lunch there. The meeting’s at one.” Happy hands him a packet. “Here’s your security badge.” He slaps a laminated piece of plastic into Peter’s hand,  “Wear it,” he stresses. “Do not lose it.” He gives Peter stern look, bulging out his eyes to make his point.

“That was, like, one time.” Peter tries to defend himself.

“If you don’t have the badge, they won’t let you in.” Happy doubles down on the dire warnings. “And don’t think you can sweet-talk your way upstairs like you do with that lobby guy at SI.”

“Ok, ok Happy, I got it.”

“Meet us in the lobby at 11 and we’ll head over.”

Happy turns and heads off down the hall. Peter shuts the door and sets his packet out. He should probably familiarize himself with the company they were going to.

There’s an olive chaise and he sits down on it. He spends a lazy half hour reading over the history of one Switchpoint Services, a poly-global tech company. Their latest innovations were extremely noteworthy. No wonder Mr. Stark wanted to partner with them.

He flips listlessly through the pages again. Maybe he should take a nap, like Mr Stark suggested. He glances over at the bed, but the thought of laying there, wanting to sleep but being unable. His new unwelcome normal. No, Peter turns his head back towards the window, then leans his head against it. He watches the flow of people and traffic below him.

A brief pattern of soft knocks sound at the door, and Peter’s head jerks up.

“Come in,” Peter calls.

Tony sticks his head around the door. “You busy?”

“Oh, it’s you.”

Tony just gives him a look before stepping into the room. He walks over to where Peter is.

“You just standing here?” Tony’s brows draw together.

Peter shrugs, “Yeah.” He wants to confide in Tony and tell him about the lack of sleep, the inability to rest. He feels like if anyone would understand, it would be Ironman. The words won’t come though, but in the end he doesn’t need them.  

Tony hooks the edge of the olive green lounger and pulls it in front of the window. He pats the seat beside him. Peter joins him and they sit together, staring out at the mid-morning crush. Everyone outside was hurrying, trying to get somewhere but in this moment, in this space, Peter found he could finally just breathe.

There’s something in the shared silence that does more than any amount of talking could have.

Eventually, Tony’s phone beeps and he leaves, telling Peter it’s almost time to get ready.

Peter changes into his “work” clothes. His standard blue-gray sweater over a collared shirt and khaki pants. Not snazzy, like whatever Mr Stark will wear, but it works. He picks up the packet Happy gave him, slips his keycard in his pocket, and goes down in the elevator.

Downstairs Happy and Mr. Stark are chatting quietly. Happy is in his standard gray suit. Mr Stark is wearing a fitted black suit with a white dress shirt and red tie. His eyes are somewhat masked by the fashion shades he’s wearing. Peter fidgets, feeling underdressed.

Ton smiles when he catches sight of Peter, “There he is. Right on time.” He claps Peter on the back and they head to the parking lot.

Happy ushers them to the car and they drive through the busy city to a square building with blue mirrored windows.

Peter steps out, looking up at the office and swallows, tugging a bit at his cuffs.

Tony catches his eye, “Nerves?”

“Nah, I’m good.” Peter says with a little more confidence than he actually feels. He checks to make sure he has his security badge and that it’s visible.

There’s nothing quite like stepping into a business with Tony Stark. He’s instantly recognizable and between Stark Industries and the Avengers, his celebrity has launched into the stratosphere.

Happy takes immediate charge or coordinating with the personnel on site. Peter follows close behind Mr. Stark as they are ushered into a brightly lit, but currently empty, conference room. It’s bigger than Peter had expected and he wonders for the first time just how many people would be joining them.

After quiet discussion with their guid, Tony settles in at the head of the table and directs Peter to the seat on his right. The chairs themselves are a dove gray with a surprisingly comfortable seat. Peter leans back and stretches his legs out in front of him.

“You hungry?” Mr Stark asks.

“Mm, yeah. I could eat,” Peter answers politely.

“Yeah me too,” Mr. Stark steps out and has a word with Happy. When he comes back, he has food.

“The finest box lunch ten bucks can buy. Complete with mystery cookie.” Tony tosses down a  box lunch in front of Peter. Tony leaves and comes back with bottled waters.

They open their boxes and Peter pulls out his ham and cheese. This was one of those fancier lunches with the really good bread. He takes a bite and sighs. Hunger well on its way to being sated, he roots around to find his chips and a wrapped dill pickle slice.

“Chocolate, white chocolate chunk.” Tony comments, unwrapping his baked good. “What did you get?”

“Looks like white chocolate macadamia.” Peter keeps his expression neutral because, sure, he’d eat it. He generally wasn’t in the position to be picky.

He looks up to find Tony holding the chocolate cookie out,  “Trade?”

“Um sure.” He knows he sound less enthusiastic than he feels but he is grateful - chocolate cookies were the best.

“ Macadamia nuts. You know,” Tony muses. “Back in the day, they used to serve pouches of these on flights to Hawaii.” He takes a bite of the cookie, chews and swallows. “For the greater good and all, but I still kinda miss ‘em.”

They clean up their lunches and Tony reads over his notes again. As the meeting time grows closer, the room starts to fill with people. There’s polite murmuring among the group and Peter does his best not to eavesdrop. It’s full to capacity by the time, a woman greets them both warmly and then calls everyone to attention.

“I want to turn you over to our esteemed guest, Mr. Tony Stark.” Applause from around the conference table and Peter wonders awkwardly if he should be clapping too. As he’s puzzling over the implications of clapping versus not clapping, the group moves on, their attention completely focused on Tony, at the head of the table.  

“You know who I am so we won’t waste anymore time on that.” A confident smile curls at Tony’s lips. “I do want to introduce you to my intern Peter.” He gestures to Peter, who in lieu of saying anything, settles for a quick wave. He hopes he wasn’t supposed to say anything.

Tony continues talking, “I have a lot of proposals come across my desk, but this one was exceptional, the possibilities of application are endless…”

Peter zones out a bit as the meeting winds on. There’s a back and forth, then question time before the meeting ends around lunch time.

Tony drops back in his seat after the last person, a chatty man in a silver tie, files out.

“That went well.”

Peter is watching him and playing with a pen between his fingers, “Yeah, it seemed to. These guys are really smart.”

“Did you get a copy of the prospectus?” Tony asks, glancing over at him.

“Oh, no I didn’t get one.” Peter glances around his spot at the table, just in case he’s overlooked it.

“Here,” Tony slides the thick packet over, “read it.”

And Peter does, it doesn’t take him long to get to the particulars.

He pores over the details. It’s for a mobile robot that could source its own energy needs. It consumed metal by breaking down its chemical bonds and converted it to stored energy, like a battery.

“This is so cool.” Peter marvels. He could think of several applications just off the top of his head.

Tony smiles, “I knew you’d appreciate it.”

“Are you buying the patent?”

“I’m buying the company.” Mr. Stark smirks but then he holds up a finger. “That’s confidential, it’s not official. Gotta convince Pep first.” Tony had a leather satchel and he slips his documents inside. “Ready to head out?”

“Yeah sure.” Peter gathers his own papers. “Where’s Happy?”

“I have him running point on a few things.” Mr. Stark doesn’t elaborate and Peter follows him out. They drop their badges off and head out into the late afternoon sunshine.

There’s a silver Audi parked in a reserved spot and Peter doesn’t waste time wondering how it got there. As with most things involving Tony, it just was. They get in and buckle up.

“Any idea what you want for dinner?”

“I’m good with whatever. “

“Any thoughts? Now’s your chance.” Tony merges into the flow of traffic and accelerates, the engine purrs as it picks up speed.

Peter shrugs, he doesn’t really know any places up here aside from fast food restaurants and he doesn’t think that’s what Mr. Stark would want.

Tony drums his thumbs on the steering wheel, thinking. “You ever been to The Cheesecake Factory?”

Pete blinks. There was one in Queens but it was more for tourists and proms. Plus it was kind of pricey. He and May frequented the quieter, family owned restaurants around their apartment.

“Maybe once with Ned?” He really wasn’t sure.

“So it’s been a while?” Tony shoots him a look from the corner of his eye. “Sound ok to you?”

“Sure, sounds good. I’m totally good with whatever, Mr Stark.”

They park near the restaurant and Tony sheds his jacket and tie, tossing them in the back. They’re seated right away and the waitress drops off bread.

Peter is happy to find that the portions are huge and the bread basket bottomless. By the time they finish their cheesecake, he’s actually comfortably full.

“I didn't know Tony Stark ate anywhere like the Cheesecake Factory.” Peter teases

“Jokes on you, Tony Stark once ate a two day old cheese burger off the floor. Not one of my finer moments and also one I’d encourage you not to repeat.” Tony’s self deprecating smile almost masked the flash of emotion behind his eyes but not quite.

Peter falls back on a joke to head off any awkwardness,  “You only do that with gummy bears, Mr Stark.”

Tony gives him a long look and then narrows his eyes.

“I was eight!” Peter says defensively.

Tony’s tone is pure skepticism. “Sure you were.”

The waitress comes back with the bill. . “ Here’s this whenever you're ready. Your to-go order and cheesecakes are coming. We’re just getting them bagged up now.”

“Piece to go?” Peter wonders.

Tony’s mouth quirks, “A piece? I got a whole cake. Pep would kill me if I didn’t bring her some.”

He flips open the card holder and signs the top copy with typical flourish. Peter notices in spite of himself that the tip line has a couple of extra zeros for their waitress. Tony slips his card back into his wallet.

“I don’t know why they don’t take Starkpay.” He mutters to himself as much as Peter. “We gotta make that more of a thing.”

it makes Peter feel funny to have Tony pay for him. He’s aware that Tony foots lots of bills but he doesn’t want the man to feel like it’s expected.

The drive back to the hotel is in comfortable silence. Peter doesn’t feel like he needs to fill the space with words, he feels valued and  understood. He can count on one hand the places in his life that fill him with this kind of contentment.

“The Midwest isn’t a bad place to live.” Tony ruminates. “I’ve blown through here a couple of times, used to stay at the Omni. There’s a great little curry shop downtown, only open for two hours a day, but that is some great pakora.”

“What’s it called?” Peter’s curiosity gets the better of him.

“Mr. Curry.” Tony answers and then grins.

Peter’s laugh surprises him. There’s nothing really funny about it but everything seems light and easy right now.

“Next time, remind me to take you up to the bakery in Kirkwood.’” Tony says thoughtfully,  “The cookies? You’ll love ‘em. He’s a fully trained chef with a little hole in the wall shop. It’s pretty cool.”

The sun had set when they were in the restaurant and the world was muted and dark. The lights from the stores and other cars blur together and Peter is overcome with a feeling somnolence. He can suddenly barely keep his eyes open.

Tony pulls the Audi into the hotel lot and parks it in a smooth motion.

“Hey, Pete,” He calls, his voice low. “We’re here, bud.”

Peter blinks slowly and wipes at his eyes with his palms. “Ok.” He picks up his things and they head inside. The lights of the lobby are a little blinding after being outside, causing Peter to squint under the glare.

Tony hands off his cheesecake to the front desk and they take the elevator upstairs. Peter slumps against the wall. He notices that Tony still has a bag in his hand and when Peter looks at it, he lifts it up and smiles.

“Happy. He’s a late eater,” He explains.

Peter nods, but doesn't speak, words are just a bridge too far right now, which is very unlike him.

He gets his ley in the reader and the door opens. Tony lingers for a moment.“You need anything? Glass of water? Pillow menu?”

“P- There’s a pillow menu?” Peter’s not quite sure if Tony’s teasing or not, but he considers, “Nah, I'm good, Mr. Stark. Thanks for dinner.” Thanks for everything.

“Sleep tight, kid. You did good today.” Tony’s smile is warm and fond. “See you in the morning, he heads off to find Happy.

Buoyed by the praise Peter shuts his door, showers and brushes his teeth. He nearly forgets to set his alarm, but catches it before collapsing into bed and falling into a deep and dreamless sleep.

When Peter wakes up, he feels well-rested for the first time in a long time. He has to admit that this has been a nice vacation from New York. He showers, dresses and packs up his clothes and phone charger. He pushes the curtains back and takes in the view one more time. He’s kind of going to miss it here.

Gathering up his bag, he looks out the window one, more time before texting Mr. Stark and Happy that he was on his way down stairs. When he steps off the elevator, he finds Tony in the seating area and he’s just sitting down when Happy shows up.

“You’re looking better.” Happy comments, setting down a coffee carrier and handing him a cup. “Got your usual.”

“Oh thanks!” Peter takes his. It’s sweet and hot and he sighs into it happily. Only to look up and see Tony watching him with gentle amusement.

“Coffee, Am I right?” Tony smiles and reaches for his own cup.

“Yeah.” Peter takes another drink. “So the beds here are amazing. It was like being eaten by a marshmallow. Or maybe a cloud.”

Happy snorts and Tony grins at his phone, “There might be a future for you in advertising.”

They take their coffee and drive over to what amounts to an elaborate networking session with brunch being served. Of course, everyone wanted to talk to Mr. Stark so Peter kept close to Happy and munched his way through all four flavors of bagel. Not quite up to New York standards, but passable.

A few people do talk to him and ask about his internship. Fortunately, they’d worked the particulars of that cover story out long ago. He sticks mostly to the script, but tells one woman that he’s also into web design, only to be interrupted by Happy choking on his orange juice.

It takes a while to extricate themselves. Mr. Stark seems intent on making himself accessible. Although he’s not big on shaking hands, he does listen carefully when people talk to him. It strikes Peter that Tony Stark the businessman is a very different animal from Tony Stark, the Avenger, who shows up late for briefings just to troll Captain America. He’s glad he’s in a position to witness both.

They make it out mid afternoon, just beating rush hour.

“Pepper wants you to sign these.” Happy hurries up the steps and thrusts a leather portfolio at Tony.

Peter falls back in his seat, he’d slept last night but drowsiness persists.

The jet is dimmer than he remembers and warm. He can hear the scratch of Tony’s fountain pen against paper as he goes over the contracts. It relaxes him

He finds his eyes slipping closed. At some point he wakes up to find a blanket tucked around his shoulders and Tony watching him with a warm expression full of fondness.

“Go back to sleep, bud.”

And he does, easily.

He wakes to Tony gently shaking his knee. Peter stretches,

Happy’s head was rolled back against the seat, snoring solidly, but as soon as he realizes where they are, he springs into action.

It takes a while but they finally make it into Queens and Happy sits idling in the street while cars weave around them, honking

“This is for May.” Tony casually hands Peter a Cheesecake Factory bag.

“Oh wow.” Peter sniffs the bag, its definitely chocolate.

Tony regards him through the rolled down window, “Ok, take care. Stay out of trouble.”

Peter scoffs, “Of course.” They both know that’s a lie, Tony laughs.

“Bye Peter.” Happy calls impatiently, but Peter doesn’t take offense.

“Goodbye, drive safe!” He calls after the Departing Bentley.

Peter turns and bounds up the steps with the bag.

“May?”He calls when he opens the apartment door.

“Hey Baby.” May lights up when she sees him and he closes in on her for a quick hug.

He pulls back and shows her the bag, “Tony sent you a cheesecake.”

“That was thoughtful. Put it in the fridge.” She tucks her hair up. “You’re gonna help me eat it, right? Right?” When he doesn't answer her immediately she nudges him with her elbow.

“Depends on what flavor it is.”

“Thai tonight?”

“Sure, you know how I love a good larb.”

“And the larb loves you.” She quips pulling a plate from the drying rack and putting it up in the cabinet. “So how was your trip?”

“Good!” Peter washes his hands and grabs a handful of silverware to toss in the drawer.

“It worked.” He makes short work of tossing everything into the various slots and turns to look at her.

“What worked?” Her face is the picture of innocence.

“Come on.” Peter gives her a look.“You guys think I wouldn’t figure it out?

May’s eyes take on a serious tone and she reaches up and shifts a couple of his curls back into place. “He was worried. We both were. And for the record, you look less like the walking dead and a lot more like Peter.”

“Yeah, I feel more like him too,” He smiles.

“Ok, I’m going to go get ready for dinner.” She sweeps out of the kitchen, “be ready in ten!”

Peter grabs his bag and heads to his room, his phone starts ringing and he accepts the Facetime call.

“Hey!”

“ Just wanted to make sure you got home ok.”

“Yeah, Mr. Stark. You just saw me like an hour ago,”  Peter teases.

“Well you never know, it’s a fast paced world, Mr. Parker.” Tony is leaning back with a washcloth covering his eyes.

Peter frowns, “Are you ok?”

“Just winding down after a hard couple day's work.”

Peter hears the soft sloshing of water, “Wait, are you in the bathtub?” He demands incredulously, squinting at the screen, were those <i>bubbles?</i>

“Yep, creature comforts and all, don’t knock it til you- oop, oh shit.”

The view shifts as the phone falls sideways, then a distinct ‘bloop’ and the viewscreen goes a blurry iridescent to blue then black.

“Mr. Stark?”

Friday’s voice comes over the blackened screen. “Mr. Stark is no longer connected.”

Peter blows out a laugh and then he chortles, he so cannot wait for the next lab day.

[ri-afan]

I am a fan of puberty being a natural switchpoint for people who do not subscribe to their birth gender any longer.

In my head

Boys can grow into men just as well as boys can grow into women or people (others, non binary and beyond).

Girls can grow into women just as well as girls can grow into men or people (others, non binary and beyond).

Was I only introduced into this perspective this year? I think. Not the best time-keeper though. Will there likely be other perspectives for me to try to wrap my brain around later? I guess. Will there be people who disagree? Always.

But will that stop me feeling that this is the easiest way to reconcile my feelings that started to feel like they were disconnecting around puberty? So far, no.

don't use "ftm" it's outdated and offensive. it implies that the trans person was their agab, which we never were. i was always a boy, never a girl who became a boy.

i'm 35 years old. i've been IDing as trans or something similar to trans for nearly 20 years. i was probably calling myself FTM while you were playing tag during recess, anon.

i WAS a girl. i IDed as a girl early in my life. i recognized myself as a girl, called myself a girl, lived as a girl, and was a girl. who then IDed as a man. hence, F t M.

spend more time worrying about yourself instead of strangers on the internet, anon.

sorry not sorry if this comes off as needlessly hostile, but i've been getting a lot of shit from a lot of teenage trans kids about the language i use to describe my own goddamn experience, and i'm growing real fuckin weary of it.

i have elder trans friends who call themselves transsexuals and transvestites and trannies. are you going to seriously go to a 60-year-old trans person who survived the reagan years and tell her she's not allowed to use certain language to describe herself because it might offend the delicate sensibilities of some teenager on the internet?

do yourself a favor and log off, find some real-life trans people who are over the age of 20 or 25, and spend time talking to them instead of getting all holier-than-thou at random strangers on tumblr.

[theswitchpoint]

Switchpoint and Flattmeister Talk about Kakegurui

[roofingli]

RoofingMag: Werner announces the ProForm SP Full Body harness with SwitchPoint technology, designed for post-fall safety and rescue. @wernerladderco https://t.co/SpShA2JYbx

RoofingMag: Werner announces the ProForm SP Full Body harness with SwitchPoint technology, designed for post-fall safety and rescue. @wernerladderco https://t.co/SpShA2JYbx

— Roofing Long Island (@roofingli) Jan 25, 2023

from Twitter https://twitter.com/roofingli January 25, 2023 at 07:14PM via IFTTT

[nankaitorahu]

西村知巳  Tomomi Nishimura

東京と高知に拠点を持って活動している。 写真に文章を添える作風が特徴的。 集団制作「キクプロジェクト」などで、映像制作にも取り組んでいる。

1978年　山口県生まれ 2002年　東京造形大学造形学部美術学科絵画専攻卒業 2004年　映画美学校ドキュメンタリー初等科修了

主な個展 2020年　「コミュニティアート」 　　　　　久通地域総合コミュニティセンター、すさきまちかどギャラリー 　　　　（高知）

2019年　「AWARE」switchpoint（東京）

2018年　「写真占い」ArtCenterOngoing（東京）

2012年　「アニマ」3331Gallery（東京）

主なグループ展

2021年　「１０年目の今、考える」藁工ミュージアム（高知）

2020年　「超たまたま」シャトー2f（東京）

2019年　「イノビエンナーレ」いの町（高知）

2019年　「CSP６」東京造形大学付属美術館（東京）

2019年　「Nnrikabe」てつおのガレージ（栃木）

2016年　「ネオシチュアシオニストの前日」URANO（東京）

2015年　「ヤマガタ・ラフカット！」 　　　　　山形国際ドキュメンタリー映画祭（山形）

[oupacademic]

While destructive, war is a generative force like no other. It is of fundamental significance for politics, society, and culture. War occupies historic junctures and switchpoints, the birth and demise of eras. There is little in social life not touched by war, as its presence in the spheres of gender, economy, and technology indicates.”

Why does the Anglo-American academy lack a discipline of “war studies”?

Explore the ISA Journals’ Annual Convention Collection on this year’s theme, “Power of Rules and Rule of Power.”

Image credit: submachine gun rifle by WikiImages. Public domain via Pixabay.

[pandapoles]

Switchpoint - Bill Miller from Zion Media Lab on Vimeo.

[intrahealth]

SwitchPoint + Virtual Reality

IntraHealth International hosts monthly meet-up events in the lead up to our annual SwitchPoint conference in April. 

SwitchPoint is where humanitarian innovation, technology, and global health collide. The meet ups are an opportunity to engage the local community, reconnect and network with SwitchPoint attendees and presenters, and do fun activities.

Here, at our last meet up, Maureen Corbett, IntraHealth’s vice president of programs, tests out the virtual reality (VR) games at North Carolina’s first VR arcade, Augmentality Labs.

VR is currently being used in teaching, training, rehabilitation, empathy generation, and many other fields and disciplines. While the games played at the event were primarily for entertainment (Space Pirates!), experiencing VR technology and its immersive capacity allows players to understand the power VR could have in bridging the gap between training and realities on the ground.

IntraHealth recognizes the power of VR for training public health and humanitarian aid workers and preparing them for the realities of disaster zones, war-torn countries, and health centers under attack, for example.  

Nola Paterni, IntraHealth’s development officer, is part of the team planning SwitchPoint meet ups.

“VR is interesting to me because it seems like it’s one of those rare technological advances that is progressing at the same rate that our global troubles are unfolding,” says Nola. “And, of course the hope is that the technology outpaces the global problems! So, if you get a chance to play a VR game, have fun and marvel at the technology, but think also about ways VR could be used in your industry or to help solve an issue you face. See you on the other side!”

Join us for our Robot Vs Human DJ Battle on December 12 at The Pinhook in Durham. And get your ticket to SwithPoint 2018 today!

Photo by Nola Paterni for IntraHealth International

[theguitarloversa]

ما رأيك بتوجه المطور في ريبوت Saints Row وهل أنت متحمس للعبة؟ | آراء اللاعبين (مُحدث)

بعد غياب لسنوات وتخبط واضح لفريق Volition بالتعامل مع عنوان Saints Row عبر تغيير توجه أجزائها عدة مرات عاد الاستوديو هذه المرة مع إصدار ريبوت أي نسخة معاد تخيلها من اللعبة تشمل عالماً وشخصيات جديدة. المطور برر قراره هذا برغبته بتقديم لعبة تقدّم قصة أكثر حداثة مع التركيز على طاقم رئيسي من الشخصيات.

الفريق يرى أنه قد حان الوقت للسلسلة لتنمو وتتغير مع مرور الوقت ولكن مع المحافظة على الجنون والفكاهة التي عُرفت بها السلسلة وبنفس الوقت أشار أن اللعبة ستكون أكثر واقعية من الإصدارات السابقة أيضاً. هذا التوجه أحدث انقساماً بين اللاعبين كما تلاحظون من خلال وسائل التواصل الاجتماعي.

فسبق وسمعنا أن عرض ريبوت Saints Row لم يلقَ إعجاب الجمهور آنذاك ذكرنا بأن هناك 15 ألف إعجاب على الفيديو مقابل 21 ألف عدم إعجاب، طبعاً الانتقادات طالت التوجه الجديد بتصميم الشخصيات فالبعض اعتبر أن هذا دمر اللعبة. وهناك من انتقد غياب الشخصيات التي اعتدنا عليها بالسلسلة معتبرين بأن هذه الشخصيات الجديدة لا تملك نفس الكاريزما لشخصيات مثل Johnny Gat و Pierce. وحتى مع الرغبة بتغيير الشخصيات فإن هؤلاء يريدون شخصيات تبدو وكأنها رجال عصابات بحق وليس كهؤلاء الذين رأيناهم بالعرض.

وهناك من اعتبر بأن المطور يحاول أن يراعي الأجندات لا سيما النسوية من أجل تحصيل دعم هؤلاء المجتمعات والحصول على مدح الإعلام. حتى التوجه الواقعي بعض الشيء لم يكن مرضياً للبعض معتبرين أن اللعبة كانت مميزة بجنونها وعليهم ترك الواقعية لـGTA

The original games looked nicer and the cartoony aesthetic makes them timeless New Saints Row just doesn't have the style pic.twitter.com/zxPyEl6WYR

—

Silly Senshi Switch

(@Switchpoint) August 26, 2021

البعض تساءل لم التغيير الجذري طالما الجماهير تطالب بنفس النمط السابق والشخصيات؟ بالعموم، الانتقادات الأكبر جاءت عبر قناة اللعبة الرسمية، ما يشير لكون محبي السلسلة معترضين على التوجه الجديد أكثر من اللاعبين الآخرين، الكثير من اللاعبين أعربوا عن عدم رضاهم عن الريبوت ولا على الناحية الجمالية فيه، وهناك من بدأ بالقول بأن حتى الجزء الرابع السيء هو أفضل منه.

 بينما أوضحت تغريدات اللاعبين على مواقع التواصل الاجتماعي اعتراضهم على التوجه الفني للعنوان ومستوى الرسوم، والتغييرات الضخمة التي لا تتماشى مع ما قدمته السلسلة سابقًا. كذلك بعض التعليقات ذكرت بأنهم كانوا بغاية الحماس لعودة هذا العنوان ولكن ليس هكذا، معتبرين بأن هذا الريبوت هو Saints Row بالاسم فقط.

pic.twitter.com/SLcoK801vL

— Saints Row (@SaintsRow) August 26, 2021

من ناحية أخرى البعض لاسيما ممن ينتمون لفئة اللاعبين الجدد على السلسلة أعجبهم هذا التوجه وخصوصاً مع تأكيد المطور بأنه سيتخلى عن التوجه الذي قدمه في الجزء الرابع الذي اتبع الأسلوب الأركيدي مع تقديم القدرات الخارقة وكأن أبطالها تحولوا إلى سوبر هيروز، بجانب تواجد للفضائيين كلها عناصر لم تلق ترحيباً من جمهور السلسلة الذين طالبوا المطور بالعودة للجذور.

بالريبوت حرص الاستوديو على تأكيد عودته للجذور مع المحافظة على الطابع الفكاهي وتخفيف الجنون وحدته واستهداف واقعية أكبر كما ذكرنا أعلاه. فالتوجه الآن أقرب لجزء The Third كما قلت، بدلاً من الجزأين الأول والثاني اللذين استنسخا GTA، وكذلك بدلاً من الجنون المبالغ به في آخر الأجزاء.

فريق التطوير حاول أن يهدئ من روع الغاضبين فنشر مقطعاً لأسلوب اللعب يمتد لثمان دقائق، كي يعطي هؤلاء لمحة أكبر عن اللعبة القادمة، ولكنه بذات الوقت حرص على الرد على المنتقدين بالقول بأنه لن يغير توجهه بريبوت لعبة Saints Row حتى إن لم يعجب الجماهير، وهو ماضي بخطته نحو توجهٍ جديد للسلسلة باللعبة القادمة بشهر فبراير 2022. هذا الرد طبعاً زاد من حدة الغضب واستفز الجمهور أكثر.

We are not backing down on this game. We get it, it’s new and it’s a shock reaction to a reboot like no other. The gif was supposed to convey that.

— Saints Row (@SaintsRow) August 26, 2021

بالختام ننتظر مشاركتكم في حلقة آراء اللاعبين هذه، وإخبارنا عن رأيكم بتوجه الريبوت الجديد هل تؤيدون المطور أم كنتم تفضلون أن يحافظ على الخلطة السابقة، ولماذا؟ بانتظار آرائكم عبر الرد على التغريدة أدناه أو من خلال قسم التعليقات.

بعد الكشف عن ريبوت Saints Row – هل نالت اللعبة إعجابك؟ أم أنك تؤيد حملة الانتقادات ضدها؟

وكالعادة بنختار أبرز الردود ونضيفها بالمقال اليومين الجاية

— سعودي جيمر (@saudigamer) August 29, 2021

  خلاصة الآراء

نتائج التصويت جاءت متفاوتة حيث ذكر ٣٨٪ بأن اللعبة نص نص، مقابل ٣٥٫١٪ وجدوا بأن اللعبة محبطة في حين أن ٢٦٫٩٪ ذكروا بأنهم متحمسون للعبة ويرضيهم التجديد.

  رجعت مثل اول جزء الي بعد ما الشركه غيروه الفانز كمان زعلو على وقتها

— LAMA | لمى (@Lazera93) August 29, 2021

احسها صارت تشبه فورتنايت تمنيت لو كانت شويتين ستايلها زي ال gangsters

— HAPPY (@SAEEDhottt) August 29, 2021

اذا كان فعلا يبون يشيلون الخيال الي كان بالاجزاء القديمة زي الفضائين والمصارعة وزومبي والخرابيط هاذي فاهلا بريبوت حق السلسلة

— اله الموت GOD OF DEATH (@GODOFDEATH55) August 29, 2021

يأخي سوو الگيم بلاي حلو و متميز بالجزء الرابع ليش يخربوها هسه

— عَلاء (@3mocj) August 29, 2021

الشخصيات شكلهم طلاب جامعة و مو عصابة حقيقية و التوجه الفني ما يتميز بي شي مقارنة بي الاجزاء القديمة

— Jaybo709 (@jaybo709) August 29, 2021

عن نفسي متحمس ماكنت مهتم بقصتها من الاساس لانها كان مره واقعيه و مره خياليه

بس كان جيمبلاي ممتع جدا ياريت تكون لعبه زي جزء الثالث كان الافضل بالنسبه لي

— Abdo Khalifa (@1nlzx) August 29, 2021

الصراحة تعودنا على حركاتهم من ايام سينتس ٣ دايما يغيرون اتجاه اللعبة من نواحي مالها داعي ولكن احيانا تضبط، ٤ وقات اوت اوف هيل كانت جيدة ولكن ابدا مو بمستوى اللي قبل. بس الحين؟! الحين سووا °180 الجهة الثانية. ليتهم خلوها لعبة لحالها مالها علاقة بالسلسلة…

— خويليد بن خوان آل تراستامارا (@arabian0nyzk) August 29, 2021

شفت التريلير السينمائي وبحكم اني ما اعرف اللعبة من قبل ولا شفت الاجزاء القديمة، اقدر اقول هذا التوجه الدارج حاليا وشكلهم كانو ناوين يجذبون جمهور اكبر

— Dhari (@__Dhari___) August 29, 2021

لاحكم حتى نشوف نظام اللعب

— T H A M E R / テーマー / ثامر (@Thamer8) August 29, 2021

ما لعبت غير …. و الله ما اذكر اي جزء لعبت لكن هو واحد ما في غيره و اللعبة ما علقت في ذاكرتي بعدها .. انا ما متابع للسلسلة فما عندي علاقة بالانتقادات و لا مهتم لها لكن و كما علمتنا سايبربنك حأنتظر و اشوف اللعبة و بعدين احكم ..

— عَبّاس صَالح (@yabshr) August 29, 2021

The post ما رأيك بتوجه المطور في ريبوت Saints Row وهل أنت متحمس للعبة؟ | آراء اللاعبين (مُحدث) appeared first on سعودي جيمر.

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