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roomwithavoid · 2 months

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i didn’t like it. i didn’t like world of goo 2 and i want to fucking cry about it. i AM crying about it.

world of goo is literally my ALL TIME comfort game. it was my favorite game as a kid. i played it hundreds of times. i have it on my childhood wii and on mobile and on steam i’ve bought it so many times because i love it so much. coming home from school in kindergarten and seeing my brother playing it on the tv, how it was revealed to me my family now had a wii, kickstarting my love of video games. it literally might be one of my earliest memories. one of my first special interests. hell, i had a world of goo themed birthday party in kindergarten! my mom made cupcakes that looked like goo balls with marshmallows for eyes and a cake with donut holes connected with sticks to look like a stack of goo. i played this game before i could read. hell, playing this game is part of what TAUGHT me how to read. i still remember accidentally deleting my save file because i didn’t know how to read the words “erase save data” and crying for days, learning for the first time in my life how to accept loss and try again. and i did. i played it over and over. i played it on my ipad in the car while waiting to pick up my brother from school in the 4th grade. i remember streaming myself playing it for what must’ve been the hundredth time to my highschool friends because i wanted to share something that was so important to me. it never, and i mean NEVER felt like it lost any magic just because i had gotten older.

i was ELATED when world of goo 2 was announced. i couldn’t believe my eyes. it was like the thing child me wished on stars for finally came true, despite me now being 20. and i played it in the span of a couple days, and you know what? i didn’t like it.

sure there were good things, the graphical upgrade was nice to look at, and the remasters/remixes(?) of the old songs were lovely to listen to. but i honestly don’t know if i have that much more to say positively.

the levels were almost entirely these sort of “remixes” of the old levels, usually with some sort of added difficulty. the new goo mechanics didn’t feel fun or inspired, and shifted from the bridge-building aspect to a “look what happens when you shoot liquid in different directions” simulator. the few new mechanics that actually feel fun are criminally underutilized. but none of those issues, issues i probably could’ve overlooked if the puzzles were a smidge more interesting, hold a candle to the section that singlehandedly soured the entire game for me.

like in the original world of goo, chapter 4 takes us into the future, introducing a chapter-long gimmick that completely changes the way the game is played. however, unlike the internet gimmick in the original world of goo, which kept the core mechanics with a new coat of pain and introduced enticing new goo species to play with, world of goo 2’s chapter 4 introduces a split path with 3 different gimmicks that ALL ware out their welcome the second they’re introduced.

chapter 4 almost assaults you with the impression that the developers would rather be making literally any other game than world of goo 2. enjoying the physics based puzzle game? well how would you like to play 2d golf? what about a point and click noir visual novel? no? alright, not to worry, we still have sections that involve goo, but fret not, because we’ve introduced an exhausting gimmick revolving around how coordinated you are with moving your mouse in a perfect circle! oh, your hands are a little shaky? too bad! this level is unbeatable if you move even a millimeter incorrectly! the best (WORST) part of the chapter? it’s themed around the tired cliche of “game company sells out and makes a hundred of their game until they’re unrecognizable garbage” because playing a bunch of intentionally garbage games that masquerade as a game you love when they have nothing in common except maybe one character is always SOOOO much fun, right?

any fucking good graces i had with the sloppy puzzles of the first three chapters were shattered into pieces because of chapter four. there is legitimately nothing cute or funny about baiting your audience, who mind you has waited SIXTEEN YEARS for a sequel, into spending an entire chapter making some shitty noir game that you KNOW is shitty.

not to mention, the strong anti-capitalist metaphor from the first game translates to a muddy “i dunno maybe people have too many babies?” in this game. wog1’s message was so well done and clear and straightforward but wog2? wog2 is all over the damn place. hell if i know what they were even trying to say with half of it. i understood the first game’s message as a kid better than i understood this one as an adult! the only coherent bit of it was the “we have to figure out how to build tracks faster than the train is going” thing which was immediately retconned i guess by the train going in circles????

what a fucking disappointment.

#world of goo #world of goo 2 #world of goo 2 spoilers #vent #rant #review

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classicdatabase · 1 year

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CD Entry #005

Released in 1993 exclusively in Japan, the Famicom board game-style spinoff of the classic series, Wily & Right no Rockboard: That’s Paradise! is notable for several reasons. While it is far from the most obscure Mega Man game, it is certainly the most overlooked of the 8-Bit era, and a majority of non-Japanese fans likely have only a vague knowledge of the title. As such, this entry will cover several miscellaneous tidbits related to Rockboard, as well as its impact on the later series.

Rockboard, as a general overview, is a digital board game commonly likened to Fortune Street or Monopoly. Players compete to purchase ownership of property spaces and accumulate money through charging rent on other players, though there are also a number of cards one can randomly obtain with varying effects.

This premise is, on its surface, completely unrelated to the Mega Man universe, and could be misjudged as a generic tie-in. However, in actuality, Rockboard introduces enough classic series charm that it actually established aspects to later reappear in the more well-known entries. ‘Zenny’, for instance, is a reoccurring currency in many Capcom titles, but first made its debut into Mega Man serving as the money in this game. It would later appear prominently in the two spinoff series of Mega Man Legends and Mega Man Battle Network respectively. The mechanic of cards is also one rich with charm, as they are all effects based on, and using sprites of, characters from throughout the series up to that point. Game Boy exclusive characters such as Quint and Enker had their only Famicom appearance in Rockboard, as well as the bird robot Reggae, who was created for and first appears in this game; he appears both as a card that deals negative effects as well as a visual to taunt the losing player. Reggae would make his next appearance two years later as the invalid password icon in Mega Man 7, and after that became an infrequent support robot to Bass much the same way Beat is to Mega Man.

One of the most obvious oddities with this title comes with the very characters you play the game with. Despite the game’s name, Mega Man only serves as a sort of host and mascot, introducing game rules and appearing on the results screen but not taking part in the game directly. In his absence, players choose from any of the named human characters in the series up to that point, including consistent antagonist Dr. Wily, as well as Roll, the only playable robot. The game’s loose plot justifies this as each of the five having their own ambitions, from world domination to becoming a princess, that all happen to require building up their own real estate and acquiring plenty of funding. These characters also get plenty of dialogue throughout a match reacting to the various goings-on, though little of it is of any substance besides conveying game information. Still, Rockboard marks the first time that these characters’ personalities are elaborated on to this extent within the game itself.

To conclude, it’s somewhat common knowledge at this point (but still very much worth noting) that Rockboard was intended to receive a full port to Game Boy, making it the only Famicom Mega Man game to receive this treatment as opposed to a ‘Mega Man World’ game. This port was mostly completed, even having full battery saving compatibility, but was shelved for reasons not fully known.

Thankfully, this version of the game has been preserved through 2020’s Nintendo Gigaleak, and can be played through emulation or a flash cart today. Famicom Rockboard itself does have a rough, yet functional English fan translation that can also be played in the same manner, so even though the game has never received an official re-release, anyone intrigued by either version of this under-appreciated title is able and free to play it in the modern day; even you, the reader!

#cd-entry #megaman #rockman

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foibles-fables · 1 year

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You already talked about your thoughts on the romance, but what did you think of the rest of the plot of the DLC, with the Quen and Londra? I believe you posted that you didn’t love the overall plot and writing of Forbidden West, so I was curious if the DLC had done better plot-wise for you or if you had concerns going into the third game?

Since you're asking outside of the romance, I will answer outside of it as well!

So, Ashly Burch herself compared the DLC to a summer blockbuster movie--and I have to say that she was right.

On the surface, the plot was fun. Definitely an action thriller with the cult, and the Zenith tech, and the Horus! The stunning visuals definitely helped with all of this, too.

The writing? Fell flat to me, sure. (Like a summer blockbuster.) And most of my criticisms do fall in line with the issues I had with HFW.

There was a lot of inelegance in the telling of things, not the showing. The Quen were, IMO, underutilized for it being their DLC. Interesting aspects of their culture were touched upon, but--never quite enough, you know? We get told about Compliance...told about their other issues...but not really shown a lot? And I think that's definitely credence to the sparsity of the Burning Shores as opposed to the Frozen Wilds, where we were immersed headlong into Banuk culture. It would've been nifty if there had been more (mandatory) side quests to tether us to the Quen more, like having to build up clout to challenge Aratak in FWilds.

As far as the plot with Londra--while the "oh no, somehow a Zenith escaped" plot is a little convenient, it does a really nice job of 1) establishing the DLC as postgame and 2) containing the DLC unto itself. I can overlook the convenience writing of Zenith Tech (both for the spaceship and the Horus) because, well, it's what we were given in HFW, so there's precedent. I thought the cult was a pretty good and believable angle, too, given the nature of the Quen and their relationship to the Ancestors.

Which...brings up one of my major ????s. The handwavey reason for the Fleet's End Quen not recognizing Aloy as Elisabet Sobeck--because their Diviners are gone? That doesn't match up super well with Alva's dialogue to the Marines in HFW. "Don't you see? etc." That was one of the issues that threw me.

The other was...how Kina was treated at the end? About how she would need to earn Seyka's forgiveness? For being young, brainwashed, traumatized, prepped to be taken as a creepy wife stand-in mate? Oh man. That was...pretty yeesh and not the outcome I was expecting from that conversation, TBH.

I think a lot of the Dangers (the cult, the radiation, the Horus, the Kina issue) could have benefited from some more time to breathe, but it was a short DLC! Maybe picking and choosing the crises would've helped. Not stretch everything so thin, you know? Trying to do So Much all at once, a lot like HFW.

BUT! I gotta shout out the absolute gems, too. Once again, the datapoints were the heart and soul of the series--I hope the datapoint writers are proud of themselves, because goddamn, they should be. And Gildun's quest? Don't even talk to me. Made the whole DLC for me. I adore the way he's written, and I adore the way his quest highlights Aloy's growth since FWilds in subtle ways. Chef's kiss.

That kinda covers my base-level thoughts, nonny! I'll be back with "AND ANOTHER THING" if anything hits me, lmao

#horizon critical #(to be safe)#burning shores spoilers #horizon burning shores #horizon forbidden west burning shores

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republicsecurity · 1 year

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View from the Helmet

HUD Integration Enhances Paramedic Body Armor Suits

In a society that thrives on precision and control, the latest breakthrough in paramedic technology comes in the form of the Generation 5.2 HUD (Heads-Up Display) system, integrated into the body armor suits of our dedicated paramedics. Developed under strict protocols by the innovative minds at Chilon Tech Corporation, this HUD system is poised to revolutionize the way our paramedics operate on the field.

X5UI7: "The HUD? It's like having a second set of eyes that can see through walls. It's a game-changer, especially when seconds can make all the difference."

Information at Your Fingertips

One of the most remarkable aspects of the Generation 5 HUD is its tactical overview, which includes real-time maps and data overlays. Paramedics can effortlessly access vital information about objects, fellow paramedics, and even patients, all displayed within their field of view. This integration minimizes decision-making time and allows for faster, more informed actions, ultimately improving patient care and mission success.

B6KP2: "The HUD is like having a personal assistant in my head. It's handy for quick access to patient info."

AI-Powered Assistance

Perhaps the most groundbreaking aspect of this HUD system is its AI-based treatment advice overlay. Drawing on vast medical databases, the AI can suggest treatment plans and interventions in real-time, guiding paramedics through complex medical situations with precision. This AI augmentation has already led to quicker diagnoses, more effective treatments, and, ultimately, higher survival rates for patients.

N4YH6: "The HUD is a double-edged sword. Yeah, it's helpful, but it's also a constant reminder that our every move is monitored and controlled. It's like we're puppets in a digital theater."

Optimized Focus and Control

The Generation 5.2 HUD system also features an innovative graying-out mechanism that minimizes visual clutter by dimming non-focus or unimportant items. This means paramedics can maintain their focus on critical elements while reducing cognitive load. Moreover, the HUD provides wearers with real-time feedback on their own physical conditions, ensuring they are at peak performance even in the most challenging scenarios.

X8JN3: "It's ironic, really. They give us these advanced HUDs to enhance our abilities, but then they decide which parts of reality we get to see. It's like we're on autopilot, following the prompts without even questioning it."

Supervisor Control and Oversight

Beyond individual capabilities, the Gen 5.2 HUD system also offers a control feature for supervisors. This remote access allows supervisors to view a paramedic's HUD display, assess the situation in real-time, and provide guidance or adjustments if necessary. This enhanced oversight not only improves mission coordination but also enhances the safety and efficiency of our paramedic teams.

PDS83 (Drill Instructor): "Now, we've got this shiny piece of tech that can plunge these paramedics into scenarios so vivid, so believable, they don't even know if they're living it or just floating in a digital world. Gone are the days of knowing when you're being tested. Now, we can mess with their minds, blur the lines between real and unreal, and see how they handle it. It's like playing puppeteer with their experiences, all from the comfort of our control center."

360° Vision for Enhanced Situational Awareness

The inclusion of helmet cameras in the Generation 5.2 HUD system opens up a new dimension of situational awareness. With a 360° view of their surroundings, paramedics gain an unprecedented understanding of their environment, allowing them to respond effectively to every angle of a situation. This comprehensive view not only enhances safety and decision-making but also ensures nothing is overlooked during critical missions.

C4C39 "Thanks to the HUD overlay and the seamless integration of the helmets into the VR systems, our training scenarios have taken a leap into the future. It's like stepping into an alternate reality where every decision we make matters. It's both exhilarating and a bit eerie, knowing that the lines between training and reality can sometimes blur so perfectly."

Virtual Reality Integration for Immersive Training

The integration of VR training systems with the Generation 5.2 HUD takes paramedic training to an entirely new level. Through seamless connectivity, paramedics can transition from virtual training scenarios to mission ready mode with a simple command by their superiors. This immersive experience offers realistic simulations of various emergency situations, allowing paramedics to sharpen their skills, adapt to different environments, and practice teamwork in a risk-free virtual space.

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crusherthedoctor · 1 year

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For the top 5 prompt: Top 5 Eggman boss battles.

This is yet another list that probably shifts depending on the day, because there's a lot of good ones.

An underrated one. Like Rush Adventure in general.

There's no deep reason, I just think it's a neat fight, and since it uses the Jeweled Scepter, that grants it a plethora of unique magical attacks that you don't often see in an Eggman battle.

I couldn't decide between these two, so fuck it, they're both here. Can you blame me? They're both well-known, and for good reason.

The Egg Walker marks the end of Tails' story, and it follows up the race to the missile in the city. The battle itself is fine, if perhaps a bit easy, but Eggman's tranquil fury in the cutscene prior really sells the mood. Shame he's rarely been given opportunities to show that side of himself since then. But that's where Stellar comes in. Either way, between that and Tails standing his ground, it's a great moment for both characters.

As for the Viper, we all love the obvious meme, but like the Walker, the fight is also fun in itself, and is reasonably tricky for a final boss. But as weird as it might be to say, the ending is what really makes it for me. The way the music stops the instant you get the last hit in, the way Tikal warns you about his kamikaze dive, the way the lonely sound and visuals of the explosion lingers before culminating with what could be mistaken for a volcanic eruption... awesome.

It's an awesome mech. It's an awesome battle. It's an awesome moment for both the hero and the villain. Capped off with descending towards the center of the earth. As someone who considers Unleashed flawed in ways that I can't ignore, even I can't deny that this is one of the game's standout moments, and it deserves all its praise. I'd argue it's a better final boss than the actual final boss, and I'm not just saying that because the latter is another giant monster... okay, maybe that's part of it.

Shout out to the Generations version, because I really enjoy that one in its own right.

Oh boy, here comes the controversial one. How dare I put anything from Forces on a top five that isn't derogatory, amirite.

In all seriousness... look, say what you will about the fight itself. I think it's alright, but I get why it might be considered perhaps a little anti-climactic compared to what it could have been as far as gameplay goes. And you guys know that I always consider gameplay to come first and foremost, no matter how good or bad the story of the game in question is, so it's not like I'm ignoring that part. And of course, there's the Nega-Wisp Armor reskin aspect that everyone complains about, which caused Twitter to throw the baby out with the bathwater and consider Eggman's position as the final boss to be the true problem. Which is probably why the final boss of Frontiers ended up being a talking ballsack. Thanks, everyone.

Anyway, all that said, I think there are certain elements that elevate it in spite of its ultimately okay status. There's the music, but that goes without saying for a Sonic game that isn't Chronicles. But another factor is the combination of the seriously underrated sound design, with the complete and utter silence on Eggman's part, which like @skaruresonic, I interpret it as the doctor being too focused on killing your ass that he disregards his usual banter, and like the Egg Walker cutscene in SA1, I think the effect really works, regardless of the actual intent or reason behind it.

So yes, I'm putting it as #2 for these overlooked attributes. I'm not sorry.

The finale of S3&K will always be particularly special to me. There have been many great Eggman throwdowns, but this one illustrates how the doctor's high octane levels of pure determination rival Sonic's own; perfect for an arch-nemesis. There have been godlike figures who go down after a single fight, meanwhile this mortal man belts out a bonanza, because the mere concept of giving up the Master Emerald does not compute.

The build-up also goes a long way: S3&K as a whole establishes and maintains this aspect of Eggman's character throughout. He's going to get the Death Egg back up and running, and nothing is going to stop him. His robots set the jungle on fire. He himself destroys the ruins in Marble Garden, in the hopes that Sonic will get killed in the process. He's not even phased when the Death Egg falls smack dab into a volcano; his dedication never wavers. Then come the endgame, where he finally fucks off with the Master Emerald after telling Knuckles it was Nothing Personnel Kid, which is followed up with a dramatic chase through the crumbling Sky Sanctuary, which then culminates in the final showdown aboard the eponymous vessel... and then continues even after it blows up.

It's iconic, it's fun, it's climactic, and Eggman's ridiculously exaggerated refusal to quit being on full display cements it as one of my favourite Eggman portrayals, despite hailing from a 2D game with no dialogue.

Honorable mentions (that currently come to mind):

Death Egg Robot, cause c'mon, it's a classic. This mostly refers to the original Sonic 2 version as well as the variations in Generations and Mania.

Egg Shrimp (Sonic Advance 2), for being petty enough to abduct Vanilla after his plan's been foiled, and for the badass moment afterwards in which Sonic narrowly saves Vanilla.

Egg Emperor, because I don't care if it's Metal Sonic, it's an Eggman mech, he's trying to mimic Eggman, shut the fuck up or I'll do a in-depth Shadow the Hedgehog level tier list. The design is rad as hell, and it has the iconic TAKE THI-TAKE THIS, TAKE THI-TAKE THIS.

Egg Salamander (Sonic Rush), for capping off the dynamic between Sonic and Blaze... and because Wrapped in Black.

Nega-Wisp Armor, because the fight is fun despite its simplicity, and it's noteworthy because Eggman finally got to be the true final boss of a 3D mainline installment for the first time. And it only took a decade...

The endgame for Mania, in which Eggman menacingly jumps around in a Pokeball and then holds his own in a three-way standoff instead of being tactlessly upstaged like he's nothing.'

The one in IDW that doesn't exist.

#Crusher's Asks #Opinion #Dr. Eggman

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adamwatchesmovies · 1 year

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Scott Pilgrim vs. the World (2010)

Each viewing of Scott Pilgrim vs. The World reveals new depths to its narrative and humour, making its failure at the box office an even bigger shame. Well, better late than never. Go in for the memorable characters, arresting visual style, humour, and creative story. Come back to catch all the gags you missed. See it a third time to see what this movie is REALLY about.

22-year-old Scott Pilgrim (Michael Cera) is a slacker musician dating 17-year-old high schooler Knives Chau (Ellen Wong). He's with her because he knows it’ll go nowhere. It's only a matter of time before he dumps her, which will be easy. Enter Ramona Flowers (Mary Elizabeth Winstead). Promptly ditching Knives for the Amazon delivery girl of his dreams, Scott learns he must defeat her seven evil exes before they can date.

If the plot sounds crazy, it is. Director Edgar Wright (who co-wrote the screenplay with Michael Bacall, based off the comic series by Bryan Lee O’Malley) injects special effects in nearly every scene. References and Easter eggs to video games are everywhere in the form of health meters, bonus points, sound cues, non-sequiturs, and more. You can have a great time with a notepad playing “spot the reference” but it’ll be tough. There are so many and the deluge of gags is one hell of a distraction. It’s an outlandish tale with many characters and to ensure you never forget who’s who, we have a hugely talented cast bringing these quirky people to life. Kieran Culkin as Scott’s gay and very seductive roommate, Chris Evans, Brandon Routh, Jason Schwartzman and more as Ramona’s evil exes, Anna Kendrick as Scott’s disapproving younger sister, Aubrey Plaza, Brie Larson, Alison Pill, Johnny Simmons and Mark Webber as Scott’s friends/bandmates... Every time one of them appears on-screen again, you perk up. What hilarious new line are they going to deliver? It never fails. You always laugh out loud.

This is sort of a “battle of the bands” movie, meaning you get all sorts of musical talents adding extra oomph to the dazzling visuals. The score & soundtrack is another character, another reason to re-watch the film so you can properly see (well, hear) how every note perfectly compliments the characters’ actions and the point we’re at in the story.

While you’re dazzled by the audio and visual, you might overlook one of the most important aspects of Scott Pilgrim vs. The World: its theme. Those references to bands and video games? They’re just gravy. The fact is, this movie has a great message. It’s not actually about battling a bunch of crazy enemies in order to get a prize lady. All that’s a metaphor. What this movie is actually about is a slacker, a person you’re not really supposed to like. Scott is lazy and he’s stringing Knives along. Even when it’s obvious he wants to move on to the new hot thing, he takes way too long to admit it. When he does get with “the girl of his dreams”, he takes forever to get over the fact that she has a past, that Ramona broke some hearts and was selfish in her past relationships despite Scott having done the same thing to Knives. The battles he fights are actually against himself. To win Ramona, what he must actually do is learn humility and self-respect. This is what pushes Scott Pilgrim vs. the World from being “merely” good to being great. If you really look at it, you’ll learn something.

I might change my mind about this the next time I view it but right now, the only flaw I’ll bring up is the running time. Scott Pilgrim vs. the World a fast-paced, highly economical movie, which makes seven evil exes A LOT of enemies. The combat actually winds up slowing the film down and I can think of a couple of bad guys who could’ve been removed without losing much. Otherwise, it’s an instant favorite. You’ll want to come back to it over and over thanks to its unmistakable style, the ample creative choices made throughout, the humor and the characters. (On Blu-ray, July 24, 2020)

#scott pilgrim vs. the world #movies #films #movie reviews #film reviews #edgar wright #michael bacall #bryan lee o'malley #michael cera #mary elizabeth winstead #kieran culkin #chris evans #anna kendrick #alison pill #brandon routh #jason scwartzman #2010 movies #2010 films

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lualewis · 1 year

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New profile ans I'm back to my old antics jumping into the pro/anti rabbit hole!

For anyone who can't tell, I am pretty proship. And jumping back into the rabbit hole has given me thoughts to share. To my currently 2 followers, I know you're not surprised and it will happen again!!! Eventually, when adhd allows is. Also @lightningstarborne you should get the other sibling to follow me as well so I can yell at 3 people along with the void.

Gonna be talking about the classic "fiction does/doesn't affect reality" cause it's one of the biggest arguing points with probably the most nuance.

Fiction can affect reality, but it is not in a perfect 1:1 ratio, and it usually happens in ways people don't expect. The Tetris and Jaws effects are both real, shark hunting and a fear of sharks was increased by a movie and after playing too much Tetris can make people start viewing things like pieces to be fit together until they stop for a bit.

Well let's think about those (admittedly I have seen 3 shark/underwater horror movies in 2 days and wsnt to share) starting with Jaws. The movie claims that maneating sharks are rare, especially ones of the size they had. It also pointed out how the shark was a natural part of the ocean even if it was dangerous. But people only picked up on the killer shark part. You know what parts of the movie focused on a lot more? A town focusing on making money during a holiday weekend more than caring about the safety of the people. There are arguments on screen about whether to close the beach for safety or keep it open for tourism. The movie blatantly points out how politics will bowl over things like safety until multiple people are dead. But that is not something brought up often. There are similarities with "The Meg" but those focus more on environmentalism and how a change can be disastrous. Yet people still focus on the big deadly shark aspect.

None of that is a 1:1 effect on reality. Jaws caused more people to be scared of sharks, and more people to hunt and kill them despite how low the death rate to sharks actually is. Less than 10 people die by shark per year, but across 4 Jaws movies 18 people died. Nobody was really effected by the explicit rarity mentioned in the movie, and most people don't even remember the politics mentioned. If that movie had a 1:1 effect, how did so much of the movie get overlooked?

The tetris effect is super interesting because it can happen with something as insignificant as a chessboard. Play too much checkers or chess, practice or think about the game too often? Now you're seeing images of it when you close your eyes, when things line up like the game you think of moving pieces like you would in a match? Those are tetris effects symptoms. It's been seen in people who speed solve Rubik's Cubes. With tetris, you think of fitting boxes together or of seeing them fall into place, or visualize a boarder and see pieces when you close your eyes. Being personal again, if I work security for too long and see thousands of people walking around for hours, I'll still see crowds walking around when my eyes are closed for about 2 days after. This is some kind of fiction effecting reality, but is also something that can happen with pretty much anything. See a meteor one night and think "where's the spaceship" cause you've played too many games and you've been effected in a tetris effect way. But, while these are distracting and maybe a little dangerous because of it, they're all super simple and things you can snap yourself out of with just a "wtf, I'm not playing my game" type thing. There is absolutely an effect on reality, but the extent is immediately thinking a response you would do in the thing you have literally just spent hours (minimum) doing and visualizing game elements and random times.

Violent video games are also brought up a lot. Studies are mostly inconclusive and don't always scale for competitiveness or types of violence. It's known tnag they can have an effect and for some people that is stronger. However, game companies and policies similar to movie ratings attempt to motigate this by giving age ratings. As you age, you decelope more of an awareness of reality being separate from fiction, and age ratings are a response to that. This is a part that I think is overlooked a lot. With violent video game debates, and arguments on how to age restrict some games and movies and TV shows, those age ratings are meant to be a guide for how well someone can understand and handle the content. That to some extent includes how well someone can separate fiction and reality. Using a personal example (again) my twin and I are 12 years older than our younger sisters. When my twin and I were 14, we started watching the It miniseries. My twin one day decided to rewaych it while babysitting the then 2 year old younger siblings. One of them ended up afraid of the curtains in our house because of the opening acene; being 2 she couldn't separate reality while my twin being 14 knew it was all fake.

Thats why we apart to explore darker topics, in media and our own imagination, as we age. We can understand that it is 100% not real, while still thinking about ourselves or someone else in a terrible situation. We can think about how we'd react emotionally, the actions we'd take, how everything would play out, while knowing it's not real. All media does this in some way, but I think written media can be the most intense. There is more detail laid out or explained, we can have context going back decades into the characters lives, and so many writers will change the prosody of their writing just to draw you in more. The emotions you feel, no matter what genre story you are using to feel them, are real, they are fiction effecting reality. It can be standard housewife porn that you are reacting to, or some weird violent thing on ao3, or something gross and intense in disturbing ways, and you will have a very real emotional reaction. But that doesn't mean it's effecting you in a way that will make you recreate it. Housewife porn has been around forever but that doesn't mean women are going around and immediately reenacting those books. Saying that fanfiction is going to cause people to do terrible things ignores the entirety of the history of literature and people having taboo books well before the internet got big.

There is so much nuance. Something making you go "ew" doesn't mean it's immediately the worst thing ever. Especially on the internet where you can (to some extent (fucking corporations)) curate your own experience. If you don't like a blog, stop following them or block them. Don't like a story on ao3; close it and put the tags in your exclusion list.

#proship #thoughts #ao3

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kombuchee · 1 year

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The Power of the SCOBY Mat: Elevating Your Kombucha Brewing Game

With its tangy and effervescent flavor, Kombucha has become a beloved beverage for many seeking a refreshing and healthful drink. But did you know that behind every great batch of kombucha lies a remarkable secret weapon? Enter the SCOBY Mat, also known as the pellicle. In this blog post, we'll delve into the beautiful world of SCOBY Mats and explore why they are an essential component of successful kombucha brewing.

Understanding the SCOBY Mat

First things first, what exactly is a SCOBY Mat? SCOBY stands for Symbiotic Culture of Bacteria and Yeast, and the mat is the living structure that forms on the surface of your kombucha brew during fermentation. While some might dismiss it as a mere byproduct of the fermentation process, it is much more than that. The SCOBY Mat is a vital part of the kombucha ecosystem.

1. The SCOBY Mat Contains Liquid SCOBY

You may hear people state that using the SCOBY Mat in your brew is unnecessary because a new pellicle will form with each new batch. While this is true, the benefits of placing your new SCOBY Mat in each new batch of kombucha that you brew are widely overlooked.

One of the most fascinating aspects of the SCOBY Mat is that it's not just a rubbery, floating disk – it's a living organism in its own right. It's essentially a dense network of cellulose fibers created by the bacteria in the fermentation process. Within this structure, you'll find a wealth of liquid SCOBY.

The liquid SCOBY is a concentrated mix of the bacteria and yeast strains responsible for fermenting your kombucha. These microorganisms work in harmony, transforming sweet tea into a fizzy, tangy, and probiotic-rich beverage. When you use a SCOBY Mat in your brewing process, you're introducing this powerhouse of probiotics into your new batch, giving it a head start on fermentation.

2. Promotes a Healthy and Consistent Fermentation

The SCOBY Mat doesn't just add a boost of beneficial microorganisms; it also acts as a safeguard against unwanted contaminants. Its physical presence on top of your brewing vessel creates a barrier that helps prevent harmful bacteria and molds from infiltrating your kombucha.

Consistency is key when it comes to brewing kombucha, and the SCOBY Mat plays a significant role in maintaining that consistency. With each batch, it continues to evolve and adapt, becoming better suited to the specific environment and conditions of your brewing vessel. This results in a more reliable and predictable fermentation process, leading to a consistently delicious brew.

3. Aesthetic Appeal

Let's not forget the visual appeal of the SCOBY Mat. Its cloudy, translucent appearance can be quite mesmerizing. Many kombucha enthusiasts find joy in watching the SCOBY Mat grow and change with each batch. It's a living reminder of the fascinating world of microbiology happening within your brewing vessel.

How to Use the SCOBY Mat

Using a SCOBY Mat in your kombucha brewing process is relatively simple. When you've finished fermenting a batch of kombucha, with clean hands, carefully remove the SCOBY Mat from the top of the liquid. Set it aside to be used in your next batch or share it with a friend who's interested in brewing their own kombucha.

Don't have a SCOBY and starter yet? Get one here!

Conclusion

The SCOBY Mat is not merely a byproduct of fermentation; it is a vital component of successful kombucha brewing. It contains a rich reservoir of liquid SCOBY, helping to jumpstart the fermentation process, and acts as a protective shield against unwanted contaminants. Plus, its aesthetic appeal and the sense of connection it fosters with the art of brewing make it a valuable addition to any kombucha enthusiast's toolkit.

So, the next time you embark on your kombucha brewing adventure, don't overlook the power of the SCOBY Mat. Embrace this living Symbiotic Culture of Bacteria and Yeast, and you'll be well on your way to creating consistently delicious and healthful batches of kombucha that will leave your taste buds and gut smiling. Cheers to the SCOBY Mat!

#kombucha #SCOBY

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aria0fgold · 1 year

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Can't believe my energy was drained by aitsf yesterday. But! Energy full now and I've processed everything and thought bout it and I can finally tell all the stuff I like bout it! This is gonna be long :D

First off the story bro, I'm in love with the story so much! Honestly, it's hard to get my attention in full since I get distracted easily, especially by visual novel type games where I just have this urge to tab out to do something else then go back again. Barely did that for aistf.

Felt like I was watching a movie instead of playing a game, voice acting is so good! And the story! I'm never shutting up about the story, I just really really love it a lot! Went in completely blind playing this game, only thing I knew was that there's Aiba and there's Date.

One thing that grabbed my attention so much which interested me in the game from the very beginning is the goofy scenes it has. Seeing Aiba do that funky lil dance behind a skeleton did it for me, it was unexpected but in a funny way. I was like, aight this game is good! Without even knowing the ride I was in for.

And something that really surprised me was the branching of it. From the beginning I thought there was a linear type plot and I'll have to replay the whole thing to get certain stuff so I was mentally preparing myself, also the reason why I turned off skipping unseen contents so I can only skip the stuff I've seen.

It was both a pleasant surprise and a hoo boi surprise. I knew it was going to be a long game and I thought it was a typical mystery game so I wasn't expecting much bout it but boi was I wrong. And the branches are also very useful! And I love how in each branch, everything is different even though only a single action was changed so I loved that about it!

I love the way that the story is written so much! At the beginning, there's so so many questions to be answered and as I kept playing, some were answered, new questions popped up, and so many more info known but the thing here, the more I played, the more it felt like a bucket was being filled. Like, at the beginning the bucket was completely empty and it just fills slowly without exposing much of what the story actually is and I love it so much!

It reminded me of 999, played that years ago and the details are blurry but I do know I enjoyed it a lot too. The aspect of an empty bucket getting slowly filled as I played it was similar with it too and I love mystery games like that so much!

It just feels so satisfying! Once you reach the end and everything makes so much sense and how everything you've seen and played through connected in ways you overlooked at the beginning and how perfectly everything fits now that you're at the end! I love it a lot!

And the way how in aitsf, the branches aren't just a game mechanic but ties in with the parellel worlds thing and how it affects Date and the fact that only the player really knows and and how it really contributes to having the best ending! It's like, it's like a timeloop thing in the player perspective, having to go back at various somnium for a better outcome while the character experiences a parellel world type thing!

And I love how it isn't all, choose the good options for the better ending type too! There are parts where the 'bad' option is better so a better option would appear in the future and I love that bout it cuz it makes the story feel so alive! How every character isn't just a 'character' and each one has their own personalities and charms and even if they don't appear much you can easily tell what kind of person they are from the way they speak and I LOVE IT!!!

#aria rants #got to gush about aitsf cuz i love it so much #now that im fully recharged #bro i was spent yesterday cuz i ended up crying more than i should #i was like crying and then laughing im so glad i was alone yesterday id look insane to my mom #its cuz i was crying cuz aiba and laughing cuz goddamn i predicted the worst scenario #and i ended up crying more cuz i was laughing so tears came rushing #also the game did me dirty by showing the memories with aiba #thats my weakness bro dont do that to me my heart wouldnt be able to take it #seeing flashback of the good times before or after a character dies? bruh that shit h u r t s too much it pierces my soul

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doom-nerdo-666 · 1 year

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Doom Eternal art style/aesthetic/tone stuff

(Just wanted to post an image, this is a YT thumbnail from Nick930)

To this day, there's still a lot of talk about Doom Eternal's art style but i also think some opinions and points of view are more popular than others, so in this post i try to bring up some opinions or observations that are not as popular.

Partially because i like to think of Doom as a series that a lot can be said (And done) with.

But also because there's opinions that i think could be more "agreeable" to people in "different sides" yet seem unpopular.

THIS POST IS HUGE, BE WARNED

2016's tone and it as a "middleground"

When D2016 was revealed, some fans didn't like the visuals for either being too limited in terms of coloring or even criticizing some art style designs, such as the demons looking "like something out of Warcraft" or Doomguy's new armor being heavily compared to Halo's Master Chief.

But since release, fans begin to appreciate parts of this visual and tonal direction.

I also remember this old screenshot edit meant to make 2016 colored like classic Doom:

My one criticism of this image is that it forgets why classic Doom was even that colorfull to begin with: The textures and assets had a certain "variety of context".

So in some floors, there'd be flesh and then there'd be marble walls, then flesh walls with metal pipes and some evil eye candles etc.

This means Eternal tries to "make up" for 2016 and be more colorfull, while either bringing back some classic designs or get more creative.

D3 influence in 2016

D3 did have its influence in this game, specially the red/orange Mars bases, some of the rocky Hell and even the modern Hellknight.

But D3 being a horror game also means some of its designs (For better or worse) were more experimental and extend how weird Hell is.

A contrast to 2016 having a more "unified" aesthetic on its demons, like the chittin anatomy.

D3's tech is also more "outdated" since Doom can often be associated with a "used future" sort of look, while 2016 looks more advanced.

2016 between D3 and Eternal

To some, 2016 has the perfect middleground of being a gritty, brutal game compared to D3's grey corridor horror and Eternal's cartoonyness.

But i also see it as a very limited direction, since both D3 and Eternal can have some variety but through opposite directions.

Be it Eternal wanting to be a nerdy comic book universe or D3's for-better-or-worse experimental surrealistic demons.

This also means that if D3 had a follow up, it could have been to D3 what Eternal is to 2016: Or rather, a game that instead of being between D3 and Eternal, is somehow the opposite and therefore almost an inverse to 2016.

You'll notice people throw around words like "gritty" and "cartoony" when comparing 2016 to Eternal, yet Doom and games like Monolith Productions' Blood are proof that the 2 can coexist and be done in a lot of ways.

I even wrote about how horror always had a place in Doom and can even coexist with action or cartoony fun.

But it's also the difference between an old FPS feeling like a campy B-movie with some eerie practical effects and a "Saturday Morning Cartoon with blood and demons".

How much of classic Doom is in Eternal?

Because there are still concepts of old Doom not in Eternal like specific assets you'd find in the diverse classic Hell or the Phobos UAC bases.

Certain philosophies set by 2016 are still present and maybe Eternal's designs not being 1:1 to old Doom is a good thing: It means you can modernize an old idea and still have a unique take on it.

But it's also because Doom is a series whose setting is not to be taken too seriously, so even some interesting aspects are overlooked.

I even tried to make a post attempting to analyze the OG Doom aesthetic.

It could also be that id had to make these designs feel fresh because anything more faithfull for classic Doom might as well be something already done in fan projects.

"Professsial/goofy/cartoony" in some places and not in others?

People say Eternal is too goofy/cartoony but in some ways, you'll find the game is still trying to be series or professional as an AAA title.

The art style is still very detailed (Be it because of lore, the graphics since id is a tech focused studio or even because of certain trends) while classic Doom's aesthetic had a rather "B-Movie style" method of how some sprites were made and has aesthetics people nowadays won't take it seriously (Or never did to begin with).

Mick Gordon's music tracks are meant to sound aggressive while Bobby Prince's classic MIDI tracks come in a variety of genres and songs that almost sound like jazz or something unrelated to metal or suspense.

(This is also why this meme that i just stole from r/Doom doesn't work because of how poorly treated Mick Gordon was: To add more context, the original meme's use was on cartoony platformers like the one in the right)

Even the writing in Eternal's character lines or codex entries tries to suit an "epic fantasy style" of writing while OG Doom's intermission screens and manuals have campy 90's writing.

And despite the "arcade/self-aware" pick ups, Doom Eternal still tries to make animations satisfying and with a lot of effort and "believability" while classic Doom has obviously limited animations, resolution etc so Glory Kills can't exist there.

("Glory kills" in Doom mods are either animations of Doomguy's hand being seperate from a demon still retaining a pain frame or Brutal Doom's long third person animations)

Just compare chainsaw kills in Eternal vs classic Doom or even how Eternal adds "context" to level environments and classic Doom levels are abstract.

Eternal tries to feel "videogamey" in a self-aware "wink at you" way while old Doom "just is".

It also happens that various objects in Eternal come in different degrees of feedback, between the glowy pickups and the yellow monkey bars trying to fit the environments.

I also thought a cel-shaded art style could work in Doom and even wrote reasons why.

"Safe?"

Doom was always cartoony but what if people worried about Eternal's aesthetics because they thought of it as "safe edgy"?

Sounds like nothing to worry about, although you'll find interviews where Hugo Martin describes the game in some ways like "violent fun for the whole family", "like a bloody Saturday morning cartoon" or mentions of not letting characters curse and the history behind the Whiplash's design.

Maybe Urdak is a big example: Doom finally gets a "Heaven" but it's not a very direct reference to Heaven as if id had to be creative.

Doom was never edgy but i can see someone mention the series coming in a time of the "Satanic Panic" or how we had designs like the Vagary and Cherubs from D3 or even "those holes" behind the Caco's.

At the very least, Doom Eternal's gore did not have the same issue as Mortal Kombat 11 and TLOU2 where devs were forced to look at real gore for the sake of "reference material".

(Anyway, i can see someone say this is the real reason why Doom and AC crossovers even worked)

Cartoon/comics/media influences

Eternal definitely has different influences from old Doom as seen in interviews but even by looking at the game's tone and some details, you get the idea of it.

I recall someone once saying "Eternal wants to be 90's while classic Doom wants to be 80's" but you can also say "It tries to be a comic book but instead is more like a cinematic adaptation of one".

id Software bringing up He-Man or superheroes may seem weird in a series inspired by Aliens, Evil Dead and HR Giger.

Maybe calling Doom "cartoony" sounds off if it comes from the mindset of "cartoons are for kids" despite the notion that animation for adults (That isn't comedy) exists and then you have all these debates about animation or "media literacy".

Because one thing is Doom fans reacting to this, another is id themselves since they're also media nerds themselves.

Maybe if id mentioned something like 2000AD and Heavy Metal as far as comic influences go or the Heavy Metal movie for cartoon influence, some people would be more relaxed i guess.

The UI design

This technically relates to another post of mine: Eternal having a glowy HUD for the sake of feedback but how 2016's HUD was a bit generic.

Then there's also the logo and how simple it is because of minimalism, since classic Doom's logo benefits from the details.

Feedback variety

I already mentioned this part but as Eternal focused more on feedback, you'll notice that objects have different languages.

Lives, secrets and blood punch pickups are glowy objects meant to feel videogamey.

But ammo pickups still resemble objects that technically "exist" in the worlds (Even with a shiny coat).

And then there's the yellow monkey bars and scratches for climbable walls which suit the scenery naturally.

In the series, level objects and pickups always had specific themes (Mostly UAC and Hell) to "suit" the environment, even if classic Doom had sprites always facing one direction.

Eternal technically needed this because its graphics are a lot more detailed and the gameplay is faster (And in 2016, some people were confused with some objects blending in with the environment or the health pickups looking like weird sci-fi things and not something obvious).

But because 2016 even had an Hell version of exploding barrels and automap update, some would love to see the settings of Urdak and Argent D'Nur being expanded through their themes and aesthetics.

The memes and humor

You could say 2016 planted the seeds for what Eternal was going to be, with one example being the reason for the Doomslayer.

And it's not just the obvious "Rip and Tear" 90's comic, there could be more:

That popular Death Battle video where Doomguy loses against Master Chief (And maybe any Doom fan that really hated Halo).

Maybe some imageboard copypastas and comics (Faraz Parsa used to be some comics about Doomguy).

Basically, any time someone tried to push Doomguy as a videogames Chuck Norris.

Brutal Doom but there's also debates around it like the melee in Doom 4.10, Serious Sam 3, how popular the comic was etc.

Because even in the comic, Doomguy says "Rip and Tear" and then he fails to do that to a Cyberdemon and runs way.

Same comic where he gets hit but still fights back, meaning that despite the dialogue, you could see the comic Doomguy as a potential personality of ingame Doomguy (Which is ironic for something made by people that weren't that knowledgeable in the games but y'know, it's Doom).

Maybe the problem with "rip and tear" might be the focus on a comic that wasn't really a significant piece of history despite the memes?

To some, it could be like a Zelda game focusing too much on Morshu from the CD-I Zelda's or Sonic referencing Sanic.

Maybe you could even mention how Doom has a lot of other memes that have yet to be used too much.

Either way, how some people feel about the use of "Rip and Tear" is probably similar to older fans of Yakuza/Ryu Ga Gotoku who suspect later fans are only in the series because of memes.

Doom was never a serious series but that sentiment can be justified, specially in a series where the fans did so many cool things and it's an important gaming series as well.

The stuff at the Fortress of Doom is mostly done for the sake of easter eggs and fun, i'm not even sure if the collectables are canon.

But i can see that being compared to how Duke Nukem would play games about himself or is essentially a "fan of himself".

Visuals vs gameplay?

You know how people complain about the difficulty? I wonder if those people feel a mismatch between gameplay and visuals.

As in: If Eternal was even grittier than 2016 or D3, its challenging gameplay would feel justified.

Or if Eternal was easier, its visuals wouldn't be out of place to these people.

Maybe people also complain at Eternal's gameplay because of the Doomslayer: The logic being that if you play as a canonically very powerfull character, the game should be easy.

Doomslayer and the appeal of the DOOM guy

Even though the Doomslayer is a product of fanservice, there are fans that have different reasons for why the Doomguy is appealing.

To some, it might be an underdog appealing of the one UAC soldier who somehow survived but could have been dead.

From the classic box art showing Doomguy fighting while hurt, to the bloody face in the status bar and the fact that Doomguy shared his green armor with other soldiers.

Romero wanted him to be a blank slate, hence the lack of a name and "Doomguy" being a fanmade term.

2016 changed this by making him as an artifact the UAC discovers and giving him a unique armor.

It's also partially why BattleMode exists in Eternal instead of a deathmatch mode because "there is only one Slayer", even if in fighting games nobody has an issue with there being more than one Ryu, Terry, Scorpion and so on.

D3 also had an "underdog" appeal but it felt different since the some aspects of classic Doomguy weren't carried over, so we never really see the marine with a bloodied face that can still smile.

Even though Eternal did more to reminding the player how great the Slayer is, it still toned down the anonymity and gave him pain voice sounds (Which people thought ruined the "silent/mysterious killing machine" appeal set by 2016).

While a very silent killing machine has appeal, i wonder what if Doom went the opposite direction and did more to disfigure and dismember Doomguy but made him laugh and scream loud like an edgy fanfic.

(Imagine a status bar face Doomguy with half his face peeled off and he cackles maniacally, something i don't think even a Brutal Doom addon did before)

Meanwhile, some people also compared Doomslayer to Guts from Berserk which is interesting because modern Doom almost makes it as if Doomslayer must always be on top whereas Berserk usually shows Guts struggling even if he gets better tools.

(And of course, the kind of content that Berserk has compared to Doom)

Guts and Casca have a brand that made them doomed while Doomguy has a brand that spells doom to his enemies.

Lot of people argued about whether or not Doomguy should show his arms but not enough about his helmet being green when it used to be white/gray.

Let's also not forget when 2016 had Doomguy getting glory killed by his enemies in some game over deaths and even 2016 marketing had him being killed (One trailer even had a death scream).

I just heard that Jason Statham had in a contract that he must never lose a fight in a movie and it reminded me of how in Marvel vs Capcom Infinite, Disney didn't want Marvel characters to lose in that game's marketing (Didn't that Avengers games had a QTE section with Thor that you couldn't lose as well?).

I wonder if Doom fans worry about Doomguy having that issue.

Hell and demons

I wonder if most people do care about D2's manual already giving cybernetic demons a backstory (One of the few OG lore bits that the new games retconned) and the aesthetic present in the original games.

Because i already talked so much about how diverse and unique Doom's Hell always was and its potential.

But also how some demons had bizarre designs (Even/specially in D3) and how it compares to 2016 having a "unified chitin biology" sort of rule.

Because with how much you can explain how demons work or the aesthetics of their looks and Hell, you may not want to make them feel limited or too grounded (With the one limit being that shotguns can still kill them).

Because i even said that "horror" in Doom could mean creative, surreal designs and it could complement the power fantasy aspect of the Slayer.

Some people prefer the 2016 Baron over Eternal's but i like to think that the fire/lava aesthetic justifies the "rocky" bits of the modern Baron.

You also barely see certain concepts like the 7 deadly sins or layers of Hell being referenced, even if Doom was never "biblically accurate".

I remember someone's article about Doom saying "where did the weird go" and they even made these observations about Hell being a colorfull fleshy landscape or how the Mancubi got their cannons.

The direction of the lore/story

Some people prefer how 2016 was more subtle and focused while Eternal felt like it wanted to give more and starts off some time after 2016 (Hence people expecting something to fill the gap, like a supposed comic).

Then there's the tone and direction, feeling more like an "adventure" than a "mission", though Eternal wanted to raise the bar in this series in a way never done before.

There's also decisions that divide some fans like Samuel Hayden being the Seraphim: Partially because Sam had an appeal of being this morally questionable company boss as a robot.

But also because of how the UAC is tied to a Maykr after they're already related to demons in a way: Too many connections between different worlds can make a universe feel smaller.

TAG2 had a lot going on with Immora and the Dark Lord but i already explained it in some posts: Let's just say it's usually a matter of "not being epic enough for a series that people want to be super epic".

Because everyone already knows about Doom being a series whose own story barely mattered and was always a mess, but the new games wanted to focus on it with lore, cutscenes and even marketing and products like the "lore book".

Personally, i think Doom's setting works better if it's just a cool idea that can be done differently because it could make it easier to "walk away from the bad ideas".

Because the problem might not even be what will happen but rather what CAN'T happen in a series with fanservice and an "everyone likes it" status.

In both certain games and the fanbase, you can witness a versatility set by Doom and it can be owed to the "unfinished" presentation of the classics and how people viewed them.

Even the new Wolfenstein games are seperate from the previous Wolf titles, that Old Blood cut off RTCW from the new timeline.

So in a way, more of this "Doom universe" could still exist but make it coexist with another version of it like one where Samuel Hayden and the Seraphim are different characters or the Sentinel have different origins. And this could be done for fun and not just for the sake of apologies.

The fanservice can be basic despite its aim being at older fans, because we all know the major focus is on being its own thing and appealing to newer fans (And because i guess "bigger fanservice to older fans" might as well be outright copying ideas from mods).

To some people, Doom Eternal feels like a "diet Warhammer 40K" which i guess is still less far off than comparing Doom to Berserk or Shin Megami Tensei.

I can also see someone say "they turned Doom into the MCU" and maybe there's some truths on what kind of people/influence id had in mind.

I also think the problem with the Sentinel vs Immora fight is how it felt "too soon" while the MCU had build up for its "final fight" in Endgame.

SPECIALLY because we didn't get enough material for a character like Valen and the fact that Doom doesn't have enough characters to suit this "final battle themed reunion" that happens in a lot of other media and sagas.

(And i guess how it involves the Sentinel when Earthling soldiers were the more common concept in the series or even how Earth is okay while the Sentinel are almost extinct?... or even how Doomguy had to go to Earth to use the gate of Divum but the Sentinel still got there?)

But think of the "MCU/Whedon dialogue speak" that's present in so many things right now: Doom Eternal did not have that annoying writing trend and be glad about that.

Still, it feels like Doom only has lore now because other nerd media has it (I think in a 2020 February stream, Hugo Martin even said something like that: Star Wars has a big universe, so why can't Doom?).

Maybe people worry Doom is becoming like other series, specially since its universe was mainly "UAC and Hell" unless Urdak and Sentinels is enough.

Because again with fan content, you get the feeling so much could be done with a small selection of worlds.

What else? Oh yeah Doomguy had a wife and kid but they're just a photo placed somewhere in the Fortress of Doom.

Because the mere idea of Doomguy having a family is easy to miss, it's hard to take him as a "tragic figure" because it's as if id kinda thought "this is one of those ideas that could have been in a 7th gen military FPS or the cancelled D4, that's why we came up with the Sentinels".

(And QC already gave Ranger a family, while Doomguy's case involving a rabbit is more unique)

To some people "expanding" Doom is simply adding anything to the series regardless of canon and that's why i think MetaDoom is one of the best mods: It makes Doom feel bigger than it is.

The direction of Eternal's lore makes it as if Doom "switched genres" due to its original influences vs the new ones.

Kind of like how Planets of the Apes is still about monkeys taking over Earth but you can tell that the recent movies do not have some elements that the first 5 movies had (And if Doom 3 is closer to the original premise but is a more flawed entry, then maybe that's equivalent to the Tim Burton Apes movie?).

Even Turok is like this.

Anyway, Tim Willits lied again because NO: Doomguy was never inspired by WH40K Space Marines, TIM YOU WEREN'T EVEN AT ID UNTIL 1995!!!!

I can also see someone bring up Midnight and this culture of Youtubers but wait when i post the "Doom fanbase status" post here on this blog.

Trends

When i think of why modern Doom looks this way, i see it because of trends.

The aesthetic behind the demons (And maybe the Night Sentinel) can be compared to some franchises.

The demons with the focus on chitin/shells/carapace/etc can be compared to any other series aiming to look "comic book-like" or inspired by Warhammer: If Warcraft, Dota, Darksiders or something else came to your mind, there might be a good reason.

It's something to keep in mind on why Demon Souls fans weren't into the PS5 remaster's changes from the original games.

And even the Night Sentinel can be compared to some interpretations of fantasy involving "magic tech", meaning if they existed before then maybe they could have been more comparable to Heretic and Hexen.

At the same time, this can apply to the originals since lots of older games were also influenced by Aliens and HR Giger.

Still, when trends like these happen i wonder if it has anything to do with industry standards or certain things thought in art schools because there's also a matter of knowing more media and how it can portray sci-fi or fantasy elements.

It's not like the originals and that's fine

Despite all the observations to make, it can also be pointed out that being different from the previous games isn't a bad thing.

I think the reason why people labelled these games as "the one franchise reboot that is JUST LIKE the original" is because the idea of a franchise reboot/revival being good is rare to some.

Though the lesson isn't really "finally, it actually is like the classics" but rather "it's different yet it worked", specially in a series with so much documentation, analysis and on-going fanbase culture and modding.

(Or maybe Doom does have a "reverse Sonic" syndrom where everyone must like it, but maybe i could cover that in a report of something i wrote about the Doom fanbase)

In one of this "Microvideo showcase", i liked that MatthewMatosis even came to this conclusion of "not like the classics but doesn't have to be" because i feel like some people rarely get there.

What else?

This got too big but i don't see a Youtuber bringing up some points here (So feel free to steal some opinions that i also stole from somewhere else).

I hope i added everything i could think of (Even if i said it before in a different post or could say it later) because i fear Tumblr bugs sometimes and forgets things.

At least this can serve as "food for thoughts" for anyone even if they disagree.

#doom eternal #doom #id software #opinions #hud #art style #doomguy #doomslayer #doom 2016 #doom 3 #classic doom #demon #uac #hell #long post #sentinel #night sentinel #lore

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amazing-spiderling · 1 year

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🎈describe your style as a writer; is it fixed? does it change? 🌈is there a fic that you worked *really fucking hard on* that no one would ever know? maybe a scene/theme you struggled with? 🪄what is your post-writing/sharing aftercare? How do you take care of yourself or celebrate yourself when you've finished a fic?

🎈describe your style as a writer; is it fixed? does it change?

I'm not sure if this means the style of the act of writing or the finished product, but I have a hard time identifying aspect of my own style (in writing or art) so I guess I'll answer it for the former.

I'm one of those people who "hears" voices when they are reading and writing. (At times, I would use the voices of VAs etc that I was familiar with and would sort of make my brain "narrate" them in my head as I read stories.) I didn't really think much of it until I started talking to other writers about their process and learned that dialogue didn't come easily to everyone. It usually does for me because that's how my brain organizes information, just an ongoing internal monologue- so when I think about how to create a scene, often the first thing I'm thinking about is either a conversation happening in the scene, or what a person might say out loud about it if they were alone. (This is part of why I struggle with the prose/describing settings and am often blown away by the visual imagery other people incorporate into their stories.)

I think this mindset of mine makes me approach writing a bit like a script writer? Not that I've ever written a script (except for comics), but my brain thinks of scenes in a story like I'm setting up a scene for a screen. So I'm certainly thinking about the way the characters sound, the flow of their dialogue, the beats between their words, the pauses, but I'm also very concerned with the way the prose sounds. When I'm editing, I often say things like "this line makes my brain hiccup" which just means, something about the way it sounds is bumpy and doesn't flow. It could be an awkward word choice, or phrasing, even a choppy sentence that could be better integrated elsewhere.

I don't know if this is evident in the finished product though. To my knowledge, nobody has ever mentioned it.

🌈is there a fic that you worked *really fucking hard on* that no one would ever know? maybe a scene/theme you struggled with?

Ah, yeah. What a question. Even I overlooked the story I'm about to mention because other ones stuck out in my mind until I actually went to look.

Some years ago, I organized a Metal Gear anthology called "Lost Years" that paired artists and writers to create stories about the moments that happened between games. Stories that had been hinted at and alluded to in the game canon, but whose events we never see. It was a great project with SO much talent coming together and the stories that people produced were incredible.

For my part, I got to work on a topic dealing with the very difficult topic of CSA, an event that often gets played for laughs in some sides of the fandom (namely people who aren't doing the math and realizing the horror of the situation). It was for that reason that I wanted to do my due diligence and write the best story I could handling this topic, as well as creating a sense of underlying dread.

One of the things I did was write in present tense, which I hardly ever do- in order to make it seem like the events were unfolding in real time, with the main character unable to do anything about it. Everything is just happening to him and he's almost a spectator in his own life.

Also, I tried to take a page from Kojima's book- as a game creator, he is very influenced by movies, so I tried to think about what movies might have inspired this character dynamic, and some of the themes and visuals we do get in the game, and came away with "The Graduate", which I'd seen some years ago. It was an unsettling movie for me to see randomly on television one night (knowing nothing other than it was a "famous classic movie") but a lot of it stuck with me. I revisited the movie when I started writing this story, watching it as more of a study and singling out elements that I thought I could use to inform my own story and characterization.

The result was "Surface Tension" which comes in at a mere 3.7k and garnered a scant few comments, but it's a story I probably did the most "artistic research" for and I'm proud to have written.

🪄what is your post-writing/sharing aftercare? How do you take care of yourself or celebrate yourself when you've finished a fic?

This is the one that's easiest for me to answer because it's something I consciously think about. XD After I post something (whether it's fic or art) I often make a joke like, "Never ask me for anything ever again." And while I am being silly, and of course I'm not done creating, it's also kind of a message to myself that it's okay for me to take a break and not worry about cranking out more stuff, and allowing myself to bask in the feeling of completing something for a few days. It's certainly a luxury since writing is my hobby and not my job, but I think it's easy to get wrapped up in the idea of being a "bad person" if you're not constantly making stuff every day.

I think this goes double for event fics where I've probably been stressing out about a deadline and doing something for another person. Basically just telling myself it's okay to take some time off to watch movies and read comics and enjoy "input" rather than "output" for a little while. :3

#thanks for the ask #my fic #metal gear solid #mgs fanfic #writer asks

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