#to think that a 2D character has so much influence on your life and many similar to yours is just simply overwhelming— ಥ‿ಥ

[sleepsentry]

Hi hello I just popped by to tell you just how much I absolutely LOVE your art. The dynamic poses, the color, your shapes, you’re very much an inspiration to me for my own art. I was curious if you’d be willing to share your own inspirations/process in drawing? No need to if you don’t feel like it though. Again, thank you for sharing your art with the world.

Gosh, I'm not sure where I'd even start for that...

I don't think I can get into process atm because it changes so much in such tiny ways all the time. I have a basic skeleton of a process, but the rest is all over the place.

As for insperations:

I follow many many artists online and have picked up many small things just from looking at their work and trying to "reverse engineer" their process in my head.

I've noticed I tend to subconsciously "study" artists just by thinking "how do I draw this? Oh this artist drew it that way! Lemme try..." and I do that many many times while drawing.

Example: I look at the way an artist draws hands, then I look at my own hand and try and mimick the position in the artwork.

I study both and try to connect the dots between them. I feel the way my hand moves and the way the bones and muscles flex and relax.

I try and draw broad shapes, then the underlying mechanics of the hand, then I finish things by drawing what we actually end up seeing on the surface.

I dont draw the bones and muscles of a hand and then the skin just to be clear! I just try and keep them in mind as a draw the outlines.

Like a sculpture having a "skeleton" made of two bits or wire. I don't draw the skeleton, I draw the rough blueprint of where everything goes in quick simple lines. Then I build the "clay" on top.

I don't go that in depth every time but it helps to stop and "be more considered" if you have the time and energy.

Now that I think about it, watch sculpting videos!

It's a very similar process to drawing but 3d instead of 2D! I recommend clay sculpture but I'm sure 3d modeling has similar principles too, even if a very different approach overall.

Here are some channels I recommend:

For cute character dioramas with ridiculous fidelity while being very stylised

For impressive fake food that really shows just how much of an illusion art is

For amazing Dino statues with an eye for detail and convincing naturalism

For 2d artists I follow current professional and/or hobby artists, or even old masters who's work is archived in artbooks and social media accounts. All ranging a wide variety or styles, cute, horror, cartoon, realist, ect... and most importantly, the styles wich aren't as easily definable.

The variety of influences is great! As long as you figure out how to pick and dissect the elements that drew you to the work and how to apply your findings to your own work.

My biggest inspirations as a kid where animation (Disney, pixar, ghibli, ect...), manga, Belgian/French comics my dad had as a kid.

I didn't have the patience or means to learn to animate, but these comics had so much life and motion in their panels! I always found American comics really stiff and more difficult to read because of the detail and "realism". I know American comic art can be very expressive and fluid, but for my undiagnosed eye/brain issues...

This:

Was leagues more "readable" than:

They where literally easier to read.

That comic cover takes me a good few seconds to dissect and process, whereas the two examples above it are instant.

I'm terrible at studying from life due to my poor eyesight and spacial awareness issues, also I have ADHD so, not only is the information my eyes are giving to my brain suboptimal, but my brain is also terrible at processing and reconstructing that information.

Also tracing is a valid way of studying btw, that's how I learnt as a tot and it can be great to try and reverse engineer a finished peice and break it down to it's construction.

Obviously it's not the same as building something from scratch but we're talking within the realms of practice.

I also started trying to "re-learn" some art fundamentals in ways that work better for me, and it's been massively helpful.

I'm already working with fuzzy simplified abstractions of the world around me, so it's horrible trying to see accurately and THEN re-simplify it onto paper.

So something that has helped a lot and I mean A LOT with teaching my brain art basics in a digestible, step by step way, has been:

ART ACADEMY for the DS!

It's great for walking you through art fundamentals in a way that is digestible and no where near as overwhelming as just jumping straight in to a massive, complex, digital art programme.

It gets all the fuss of materials and subject and reference out of the way and let's you just focuse purely on the process of making art itself.

THIS:

WAS MADE WITH THIS:

This is the first drawing lesson:

This is the lesson after that:

This is all with the original DS version!

On a tiny screen with very primitive approximations of pressure sensitivity and no opacity or pen size options.

It mimics traditional art making in the sense that you make what you can with what you have and that limitation allows you to focuse on practice rather than get overwhelmed and over correct everything digitally.

These where tiny, crunchy, microcosmic, simplifications of digital art making back in 2009!!!

It's so refreshingly accessible and manageable.

I haven't even started the newer 3ds game that came out.

So if anyone reading is struggling with their art I highly recommend this little art exercise giver! It's helped me a lot.

OK hope that's readable and helpful. ^^

[elysiuminfra]

hi anon i love you. thank you for thisi question (i just woke up) you have no idea how excited i am to talk about this. had to make a post since it didnt wanna publish ur ask :( in the ideal world AMPHIMAL (all capitals for silly) is a 14 episode 2D animated tv show (heavily inspired by gennedy tartakovsky's work - particularly with samurai jack and primal, as well as mike mignola's work on hellboy) (AND SERGIO PABLOS!!) (wait edit: AND the old animated batman movies) HOWEVER. i have had many many thoughts about its ACTUAL format as a webcomic. i think it works best in this format cause the internal dialogue is important and you'd lose that in a show (i have many many thoughts about how media format influences tone/overall storytelling) particularly i'd like to execute it as a webcomic set with unconventional format - im very inspired by indie comics such as quinn - a horror webcomic made by moby, tumblr linked here, an artist who's work ive followed for a while and who's work first piqued my interest in breaking "traditional" webcomic format. yugo limbo and mike mignola (there he is again!) are also huge inspirations. (and another webcomic im too embarrassed to say) im in love with the  idea of using the website itself as a backdrop for your visuals - it would be a mix of script, prose, intermingling with cinema-like stills as visuals - this is because traditional comics are difficult for me, i THINK in camera angles and shot layouts, not necessarily comic panels. i also plan on having annotations throughout the story, for secrets and descriptions of certain era-specific objects as fun optional facts - although when i actually put it all together on a website, this feature could be toggled. ideally it would be non-intrusive - think the note system from pentiment. the biggest inspirations i draw for AMPHIMAL though is Hellboy full stop in terms of palettes, visuals, and style. i plan on further solidifying and developing the "look" of amphimal as i do more research on victorian cultural and architecture motifs (they don't even know about the henry jekyll architecture associations) and also because i am the world's most unnecessarily detail-oriented person. my current work reflects moreso how i plan on amphimal looking when its published, with stark shadows, black shapes taking forefront, limited and striking palettes with heavy emphasis on color, shape, and object motifs. i am putting an unnecessary and frankly embarrassing amount of thought into literally every single detail (AND striving for semi-historical accuracy) (which is extremely difficult due to the lack of primary sources / bias in papers and the lack of accounts of certain aspects of victorian life, such as lgbt history and london’s underbelly of the era. particularly because many primary accounts are rife with racism, bigotry and inaccuracies - and they don’t paint a complete picture, so much of what i show WILL be speculation and not historically accurate) as for SCRIPT? behind the scenes its pretty rough - i have my charts and notes, but they're all pretty disorganized and i don't think i could share them without 1. spoiling a LOT of stuff (it doesnt differ from the original plot in any way, it just has far, far more depth into the characters - and some stuff i want to keep a secret!) 2. exposing just how deranged my note-taking skills are. amphimal currently exists only in pages and charts and key visuals i've made for myself that i MUST compile in a clean format for personal use (and sharing among those who can take peeks behind the scenes) as for key points oh boy. my favorite chapter and the one i'm most excited to write is utterson's search and first meeting with hyde. second favorite is utterson's scenes involving lanyon's death (he does die in amphimal, that i'm not changing - i thought about it at first but scrapped it) these moments show off utterson's character at key points OUTSIDE of jekyll (an absolute necessity!) - and he is, by far, my favorite protagonist out of all my projects. and i love him your honor ANYWAY ummm i dont really have much else to write other than thank u for sending this question!!! artistic format / experimentation is one of my favorite things to talk about. as for WHEN amphimal is gonna be a thing, it'll be in the future when i'm in a better living situation (and when the full amphimal theory bible is compiled - i'm obsessed with consistency between scenes and background motifs, so this will work as a reference for me once the project gets started however this will and is currently taking a LOT of research) ETA? later. possibly next year if i'm not too busy adjusting to the city im moving to. dont know yet but it'll happen. i'll make amphimal before i die promise because if i dont my spirit will never sleep peacefully

[starblue2406]

Yesterday I went to see the movie "Spiderman, Across The Spider-verse" and I can only say that IT IS A JEWEL OF CINEMA.

Unfortunately, I couldn't get the exclusive popcorn from Cinépolis (because they ran out on the day of the premiere) but at least they give you a popcorn with the image of the movie (popcorn that I took to my house xd).Soon I will go to ask if you have received more popcorn from the movie, I need one yes or yes.

The artistic section is a visual delight, I admire all those artists who beautifully combined 3D with 2D Each frame looks like a panel from a comic and characters like Spider-punk They have a style that makes them stand out, the backgrounds and especially the color palette of Spider-swen and her father is very beautiful.

The Latino Spanish dubbing (which was very controversial for having many influencers in the film instead of dubbing actors) was very meh, if you don't know an influencer you won't fully realize that they are not a professional who worked there, although if you feel that something is wrong. Many of the influencers spoke as if they were playing themselves or the character, but it doesn't take away from the experience that the movie offers.

----------------

Spoiler about the arc of Miles, I do not give many details but it is in case you want everything to be a surprise ⬇️⬇️⬇️

The story is a jewel, speaking minimally of the protagonist about his plot that he does not want anyone to decide what he should do with his life is an exquisite thing, it gives you very emotional scenes in which you surely feel identified, especially because of the appreciation that Miles has with his parents and the great bond he has with them.

Here I am speaking personally, but as an only child I loved the importance of Miles's character with his parents, just having your parents by your side makes it easier for your bond with them to be even closer and stronger than with people who have siblings. It's not that I'm saying that parents aren't important to others, but I think our case is particular because technically many of us spend almost all our time with them, and even more so if they're the type to take care of you a little too much like the parents of Thousands. You feel identified with the issue of when you want to spread your wings but you also want to reassure them that you do not want to get away from them and that it is time for them to let you have your own independence little by little.

There are many more beautiful story themes with Miles and other characters, but I'll only mention that to avoid giving more spoilers and because it's the one that touched my heart the most.

---------------

The lore is also a sum that gives epicity to the film since they even refer to Dr Strange from the MCU, I wonder how they will connect both plots that touch the multiverse...

It has everything, references, very good character arcs, plot, comedy scenes, scenes of tension, drama and emotion. The only thing I could criticize is the dubbing and the somewhat tedious beginning that gives you a summary of the previous film.It's useful for people who didn't see the first one (like my mom) but for people who already saw it it's kind of tedious, especially since that happens in a quarter of act 1,but from there everything is excellent.

This film definitely convinced me to study animation, it's definitive. I want to be involved in things like this, in artistic shows like this. I was aware of the process of creating this film, now seeing its final result only convinces me that this is what I want to do all my life.

I'm glad to know that the real vine triumphs while the industry clunkers like the live action of the Little Mermaid live action sink for what they they did themselves 😎🤙🧐🚬🍷

[mi4011thameenahallaldeen]

Animator #2: Hamstery

Transcriptions:

How would you say your love for animation and art began? 

Was it when you were little? Any particular anime/movie/series/book that inspired you? 

Or a person maybe?

⭐️It started when I was little. I was into Sailor moon, and I think it was my start. 

I have always liked to make stories and show my friends in school. 

I mostly draw humans, but ever since my parents got me a pet ferret for winning an award at school, I started drawing ferrets and other animals too. 

2. Did you start out traditionally or digitally?

⭐️I started traditionally. But it doesn’t mean I was always drawing that in my life. While I was in badminton club, I totally forgot that I liked drawing. 

I started painting again when my bff asked me to play AJPW with him. 

It was at that time when AJPW introduced an art feature on the game. 

He knew I liked painting so I gave it a try. That’s how I started my “first” digital art.

3. What were your challenges? Eg: Was there anyone who tried to discourage you or tried to convince you to do something else?

⭐️Actually no one would be able to discourage you. 

To be honest I already chose my department a while ago to be “law and politics.

My mother kept telling me I should go to art school but “I” chose not to because I didn’t believe the possibility and my talent. Now I regret it. 

Therefore, I’d like to tell you to believe in yourself. Follow your passion!

4. What/Who are your main influences for your art and animation style? I noticed your animations were mainly simple but the designs are very vivid.

⭐️I wouldn’t say there is any particular thing which inspired me. I watched many anime and read books. Also collecting and making accessories. All of those gave me inspiration. 

I’m making my animations alone.

When you make an animation you need to draw 8 pieces of art for one second. If you take too much time and add details per artwork, it takes an enormous amount of time to finish the story. So I’m trying to make it as simple as possible but still enjoyable.

5. How did you come across animal jam and how big of an influence was it on your journey as an artist/animator?

⭐️A very special friend introduced me to this game. Animal Jam dramatically changed my life. It reminded me of my true passions and talents. I’m really grateful to AJHQ and everyone who has liked and supported me and my artworks. Now, I hope you find a hint of what you want to do for your bright future, whether through Animal Jam, my artwork, or anything else! Good luck!

6. What softwares do you use to animate?

⭐️I’m only using an iPad Pro 12.9inch second generation 512gb. Ibis paint, FlipClip, CapCut.

7. Is there a reason you call yourself Hamstery?

⭐️Because I love hamsters!

8. Tell me a little about yourself. Name, age, family (yes this includes pets 😆), occupation, major, likes, dislikes, games (other than animal jam)

⭐️That’s it :) Let me know if you have any questions.

I’d rather keep my private info secrets like my family occupation etc..!

Biography:

Hamstery is a 2D animator who is just starting out. She does animations just for fun and launched an animation project in 2022, which is an animated series. The series is based on the characters and lore of a kid’s rpg game called “Animal Jam” made by the company Wildworks. She works with 2D art styles which are inspired by anime, mainly Sailor Moon which she used to watch a lot as a kid. Her passion for drawing and animating began ever since she was a little girl. She has always liked making stories and is not afraid to show the world her storytelling skills. Hamstery started out drawing humans but started learning how to draw animals after her parents got her a pet ferret as a reward. She started drawing ferrets and later on other animals as well. Hamstery started her journey as an artist with traditional techniques but her life hit a major turning point after a dear friend of hers introduced her to the game “Animal Jam”. It was at this time that an in-game painting feature was introduced. Since Hamstery loved painting, she decided to give it a try, thus the beginning of her digital art journey. Her most recent milestone is her animations. One thing she regrets is choosing to be a law and politics major even though her mom recognized her talent and urged her to go to art school. Animal Jam is the one thing that reminded her of her true passions and talents, thus why most of her pieces are based on the game. 

Narrative 1:

Little Hamstery runs inside the house, drops her bag off on the sofa and runs to the television, and turns it on to watch her favorite show Sailor Moon. She watches in awe as the vivid colors swirl around the tv screen. The colors jump out of the screen and they swirl around Hamstery, engulfing her in colorful streaks. She reaches out her hand into the tornado of colors around her and her hand feels something. Her hand pulls back as we are shown a stylus in her hand. The colors wrap closer around her and she closes her eyes against the harsh wind. She opens her eyes and sees a drawing tablet (iPad) on her lap. She picks it up and starts drawing.

Her life story plays inside the animation. Her friend in school introduces her to the game “Animal Jam” and there she starts drawing and improving her art style, and playing the game with her friend. Later on she grows up, and her art evolves with her until they turn into moving animations. The screen backs out of the animation and we can see Hamstery surrounded (low angle view, ipad covering a bit of her face as the characters are around her and peeping into the screen) by her characters as she animated.

Narrative 1 - version 2:

Little Hamstery runs inside the house, drops her bag off on the sofa and runs to the television, and turns it on to watch her favorite show Sailor Moon. She watches in awe as the vivid colors swirl around the tv screen. The colors jump out of the screen and they swirl around Hamstery, engulfing her in colorful streaks. She reaches out her hand into the tornado of colors around her and her hand feels something. Her hand pulls back as we are shown a pencil in her hand. The colors wrap closer around her and she closes her eyes against the harsh wind. She opens her eyes and sees an empty notepad on her lap. She picks it up and starts drawing.

Her life story plays inside the animation (animatic style). She keeps her notepad inside a drawer and forgets about drawing for a while. She is seen playing badminton with her friends. Later on her friend in school introduces her to the game “Animal Jam” and there she starts drawing and improving her art style, and playing the game with her friend. Later on she grows up, and her art evolves with her until they turn into moving animations. The screen backs out of the animation and we can see Hamstery surrounded (low angle view, ipad covering a bit of her face as the characters are around her and peeping into the screen) by her characters as she animated.

Narrative 2 :

We see Hamstery’s ferret (AJ style) running over her drawings of Sailor Moon (traditional drawings on papers lying on her desk). The ferret runs to the window and looks out, we see Hamstery outside playing badminton with her friend. The ferret turns back and grabs one of the drawings and runs downstairs. She runs up to Hamstery and pesters her with the papers, asking her to come back to her room. Hamstery refuses and she runs off with her friend to do something else. Her friend looks at the drawing in the ferret’s mouth and takes out his phone. He shows Hamstery the game and the painting feature. Hamstery takes the phone and she starts drawing. The drawings start from simple black and white sketches and they become more and more colorful as it turns into her current art style. Finally a drawing of her characters for the animated series comes to life and they surround her.

[perhaps-in-anotherdream]

BLESSING 🙏

On the day of the national college entrance exam in China, this dad brought “Victor” along to pick up his daughter aksbkvsk 🤣🛐

Source: ♡

From the author of the post: It appears that the parents are very satisfied with Victor~ their son-in-law~ 🤣 🙏

–

⊳ Parents’ approval ✔️💍

[Afterthoughts] 李泽言, 我的爱人, MC i.e. the writers speaking through her – couldn’t be more right. You truly are a grand miracle. You even got the parents to love you without even trying LOL~ 🛐 If only you knew how loved you are... if only you were real...

–

[interact-if]

Final day of interviews! Last but not the least... the talented Aalaa!! :chinhands:

Aalaa, author of Thrill Seeker

Religious Diversity Month Featured Author

Upon coming back to the family home from college, you find the corpse of your mother mutilated almost beyond recognition. Apart from the terrible scene, there is seemingly no evidence found by the police and no suspects are brought up.

The lack of answers is driving you crazy, and so you set out to find out who has killed your mother yourself. This job will be difficult– there will be friends that can help you along the way, but some of them have darkness that runs through them bone deep, and to trust the wrong person can be deadly.Still, if you can find it in yourself to trust them… or to simply look past your own judgement– you might be able to romance them, as well.

There is corruption all around you– make sure you know who to trust. Make sure you can trust yourself.

Will you be led into corruption, yourself?

Thrill Seeker Demo | Read more [here]

Tags: horror, mystery

(INTERVIEW TRANSCRIPT UNDER THE CUT!)

Q1: Tell us a bit about your project! 

My project is Thrill Seeker, a modern horror/mystery game. You play as a normal, albeit burnt out student that has just come back from college to have a small holiday with their mother, but then finds that she has been brutally murdered. When you call the cops, their investigation is unsatisfactory and they find nothing. At the funeral, you are united with some people who may be able to help you-- but the corruption runs deep, and you don’t know who you can trust. Indeed, right now, even you aren’t trustworthy. 

The story explores how you take your fate into your own hands and make all the wrong decisions. The line between black and white fades, and all you can do is stare at the puddle of gray in front of you. You decide your own morals, you decide what becomes right or wrong.

Q2: Why did you settle for interactive fiction? What drew you to this format? 

There are a few reasons I gravitated towards interactive fiction. One could be that I’ve always been interested in writing. I’ve been making small video games since I was very young, and so I’ve tried a bunch of different forms of game making. Mostly, I’ve stuck to 2D, but it was getting kind of boring, and I was stumped for ideas. When I found interactive fiction, I was just blown away, and I knew I wanted to change the way I made games. 

I think I love it so much because it feels like a new life. Every new character, every choice, it’s like writing your life again. Maybe one could call it escapism, but I feel like it’s more about the thrill of the choice. There’s something about taking control of the narrative that is very exciting, not only as a consumer, but as a creator, too. I love the feeling of both knowing what’s coming next, but knowing that it’s something I designed, a fate I created. It’s better than any other format of game in it’s uniqueness.

Q3: How have your identity and beliefs influenced your work? 

I think my identity has rubbed off in every single aspect of my writing. I'm most used to writing fantasy, mostly for the fact that’s what I’ve been raised with. I find themes in my writing that I can see in the stories my mother read to me as a child. I am welcoming to others like I have been taught. 

Anything I didn’t have then, I do now. The representation I didn’t see in the stories of my childhood, I now write them myself. I hid my personality when I was younger, but now I represent it, and I put a little of myself into every word I write, every character I create, every scene I draw out. I have the opportunity to do what I want and to show the aspects of myself that I haven’t always gotten the opportunity to, and I think that’s the biggest way my identity has changed my work-- it has given me strength and the bravery to continue what I love.

Q4: What aspects would you like to be more explored or represented in media involving your religion? 

When looking at media representation, there is almost none for muslims, and all of the ones that exist are typically stereotypical and demeaning. I also see them always kind of having a bad relationship with their family and parents, something that they try to ‘break away’ from. And it almost feels like they have a blueprint for the ‘regular muslim’-- but there are so many different types of muslims, and they can’t fit under one bubble. I would like more muslims of colour (other than the usual pale brown), more muslims in fields that aren’t science related, and more muslims who are secure in themselves and their relationships. I want to see muslims be treated with respect and kindness, just like anyone else. 

Q5: What are you most excited about sharing related to your project? 

I'm looking forward to establishing the different ways that the main character interacts with the ROs. I see in many interactive fiction stories the ROs are kind of separate-- they don’t influence the RO a lot. However, I want to write a story where your personality actually changes with your RO. Maybe they make you more deranged. Maybe they make you more calm. It’s really up to the character, and I think it’ll be very interesting to write about the point where control starts to fall into someone else’s hands.

Q6: A tiny bit unrelated, but, what's your favorite religious holiday? 

My favorite holiday, by far, is Eid. I look forward to it all year. It’s a time that I get to share with my loved ones, a time that I can really be closer to them. It gives us all a break from hardships and allows us to celebrate! All aspects of Eid are wonderful-- the colors, the clothes, the food… the list goes on. Eid is a time of brightness and giving, like a rainbow christmas! Eid is a day that makes me feel that I can unapologetically be myself, and I wear my culture and personality like a badge of honor. It makes me feel human, the kind of humanity where you realize you are one in a web of extraordinary beings who are just intricately designed as you are, the kind of people that are just as worth celebrating as you are. It reminds me to love. 

Q7: Any other thoughts or advice you'd like to give to fellow authors or readers? 

To my fellow authors, I would say to find a community that supports you. It doesn’t just have to be writers-- just someone that can help motivate you. I myself like to rely on my family to encourage me to keep going, as well as a few other talented writers that inspire me to keep working on improving. Having someone as an example and having someone to encourage you is priceless, and so you should definitely look for a community that supports you. 

To my readers, thank you so, so much for coming along this journey with me. You are a community I can rely on, and your support is what keeps me going. I was in a bit of a rough patch before writing this story, but now that I’ve started I’ve gotten so much encouragement and I’ve been a lot happier. Thank you so much for everything, and I hope you enjoy the development of the game!

[where-theres-smoak-2]

Do you think Aleks is more a anti hero or an anti villain?

This is an interesting question and I think it depends on whether you are talking about the book or the show. I think in the book he might lean more into the anti villain description because post reveal LB just makes him very 2d villain who does things that are just evil and often don't really make sense in his grand plan. However as it is in the show at the moment I would say that he is definitely an anti hero. Aleksander has alot of the traits your typical hero would have more than what a villain would have. He is someone who defends those who can't defend themselves, the grisha. He provides them with a safe place where they can learn and grow, he fights against a monarchy that is letting its people starve and die in their wars while they live in luxury and safety behind their palace walls. These are all traits that you would associate with a hero. However because of his immortality he has lived in loneliness and has experienced alot of trauma, he has tried the right way many times but always ended up seeing his people suffer none the less and so now all that grief and pain has turned him cynical which has lead to him making darker choices. Despite that his main goal of protecting the grisha is still a noble one. He still also clearly has the capability to care and love as he does with Alina, he really did want what was best for her and wanted to see her grow and to be his equal. Unfortunately due to some misunderstandings I think, he believed that her goals and his didn't line up anymore and that she was going to become a threat to the safety of the grisha which brought out his darker side. I mean many of the 'evil' or bad things he does he has the right intentions just the wrong execution. The creation of the fold was an accident where he was trying to protect grisha that were completely defenceless against the soldiers who had just threatened to slaughter them all. Him standing between a small army of the king's men and the grisha hidden inside very much is the image you might think of when you think of a hero. Unfortunately in his desperation to save those grisha he loses control of a forbidden magic and creates the fold. Whilst many consider this to be an evil act really when you look at it that moment was an act of heroism that went wrong. How many others would have placed themselves between the grisha and those soldiers? What is heroism if not acting as a shield for those who are defenceless? From every moment since then he dedicates his life to improving things for the grisha and to defending them, he builds them the little palace and he gets into the good graces of the kings so that he can influence things in the grisha's favour. He forms the second army not just because it makes them useful to the king which keeps them safer but so that he can teach them how to fight and defend themselves. It says alot that he teaches them not just how to harness their powers but how to fight without them. Aleks' darker side comes from that trauma of watching so many people he's cared about be killed and I think he has alot of frustration about not being able to protect every single grisha, that no matter how much good he does its not ever enough. This drives him to make darker and darker decisions and kind of leads him off the path. That being said I do think that if the show decided to go that route he is still at this moment very much a redeemable character. So yeah I think he's more of an anti hero.

[animebw]

Beastars: Season 1 Reflection

Beastars is too complex to be easily summarized. It’s a showcase of the best artistry that CG animation it capable of. It’s a horny melodrama that will absolutely turn you into a furry. It’s a commentary on society, repression, biological predestination, and nature of identity. It’s an odd-couple romance with the stakes turned up to 11. It’s a bloody, brutal spectacle where death and dismemberment are always waiting for their cue to take the center stage. It’s an eclectic fusion of so many styles and aesthetics and storytelling instincts that any one-sentence summary is certain to leave out some important factor of its success. So in lieu of attempting that futile task, allow me to simply say that Beastars is like nothing else I’ve seen, and it’s fucking great. It’s easily one of the most unique, memorable experiences anime’s given me in quite a while, something that takes inspiration from many different sources and yet ends up entirely its own thing. And if this is how good it starts, then imagine how amazing it must get from here.

The most striking thing about Beastars is how damn good it is at tying its worldbuilding to its character writing. From Legoshi to Haru to Louis and everyone in between, every character is influenced by their place in the animal kingdom and their struggle to escape it. It’s a fascinating take on the blurry lines between nature and nurture, exploring how much of a person is inherent and how much of a person can be changed. It raises the question of whether it’s better to resist the most ingrained parts of yourself or learn to use them to your benefit, and whether or not that answer is the same for everyone. It shows that we are all most complex than our most obvious labels. Gender, social status, physical ability, these are only parts of who we are, and Beastars’ complex character writing rings out like a plea to see people in their entirety, all their overlapping, contradictory facets as part of the same composite whole. It even manages to touch on some very serious real-world subjects- sexual objectification, racial profiling- without its metaphors buckling under the weight of those topics like some other furry anime I could name. And at the center of this fascinating commentary is an absolutely incredible love story, giving real heart to the show’s twisting worldbuilding and themes. I could gush over Haru and Legoshi for hours, that’s how amazing they are together.

Of course, those were all strengths of Paru’s original manga. Beastars also has the benefit of a fantastic anime production that highlights all its strengths wonderfully. Studio Orange is still on the cutting edge of CG animation in Japan, and minus some jarring 2D background characters, the way it uses the medium of 3D is nothing short of remarkable. Gorgeous character animation, inventive visual imagery, richly detailed landscape shots, and so many moments of symbolism and action that wouldn’t even work half as well without CG’s unique strengths bringing them to life. This isn’t just a good-looking CG anime, this is a new gold standard for what CG anime is capable of. Even moreso than Land of the Lustrous, Beastars’ adaptation is anime’s best argument yet for CG as a genuinely artistic medium, not just as an alternative to 2D, but as a tool for telling stories that just would not be as good anywhere else. Every aspect of this show is exciting, both its original story and especially how that story was brought to life in adaptation. I hope future CG anime learn from Beastars, because I can think of no better guide to further this medium’s capacity for greatness.

In terms of criticism, it’s mostly just minor things. Some of the side characters are fairly stock, I’m still not sure what to make of Juno, that sort of thing. But I’m willing to give those a pass when the vast majority of this show is so fucking good. Beastars is truly one of a kind, and I give its first season a score of:

8.5/10

Here’s hoping season 2 keeps this level of quality. See you next time!

[popculturebuffet]

Patreon Membership Drive: Turbo Championship Hyper Fighting Edition!

Hello all you happy people! For those wondering “who the hell is this.” I”m Jake Mattingly. I review animation and comics here on this tumblr 5 times a week, and love doing so. I do so by recapping an episode of an animated show or a volume of a comic piece by piece, how detailed depends on the work and how condensed it needs to be, analyzing the episode and sometimes throwing in some jokes because i’m a silly weirdo and tis my nature. 

 So far i’ve been able to scrape by with the help of my patreon’s kev and emma, with Kev suplimenting that iwth various comissions (I.e. paying me to review a specific episode of a show much like someone would comissoin). But I don’t want to place my entire finacial future in the hands of two people so last month I lauched my patreon membership, trying to get people to join my patreon to releive some of the pressure on them. And not a person signed on during the first month. 

But I realize a large part of that is I simply didn’t advertise propertly, not really explaning what it is I do, what they get, or throwing in any extra incentives for signing up apart from “If so many people pledge to my patreon i’ll do X review” Which is still the main thrust of my campaign but I realized I need MORE than that to give you all proper money for your buck, especailly with Tumblr trying to monteize in the most half assed way possible making people presumibly more wary of spending money on me. 

So for this promo i’m going into what it is I review exactly, how to sign up for my patreon and how any of that works, what you get out of it, and various juicy stretch goals i’m hoping ya’ll can help me reach so

WHAT IS IT YOU DO EXACTLY?

As I mentioned above I review animation and comics, more animation than comics. My meat and potatoes are Disney Duck works, primarily the 2017 reboot and the Don Rosa and Carl Barks comics. For the former i’ve done retrospectives on Lena’s arc, the Della storyline from season 2 and ALL the Season 2 storylines, the last one currently in progress. I intend to review the entire series, the lackluster tie in comics, and the this duckburg life podcast, though the last one has some strings attached we’ll get to under my goals.  I”ve also been reviewing various Carl Barks first apperances and most importantly doing a complete retrospective on Don Rosa’s masterwork the Life and Times of Scrooge McDuck. 

I also review certain shows week to week, almost entirely Disney as aside from the True Colors Debacle they have the most reliable schedule and announce release dates farther in advance than Cartoon Network and Nick which just sorta pop up announce things. I covered all of season 3 of Ducktales and season 2 of amphibia (With season 3 coverage coming in october) and i’m currently reviewing Owl House every week till that hiatus hits. 

Finally i’m currently looking at all the Tom Luictor episodes of star vs the forces of evil tracking both Tom’s character arc and the show’s steady decline straight into the dumps. 

Comics wise i’m more sporadic but in addition to duck comics stuff, I’ve also been doing a retrospective on the Scott Pilgrim franchise: all 6 volumes of the comic, those reviews avaliable now and in two weeks from this post, just in time for  the video game and movie anniversaries to finish things up. I recently started another one for the comic book Transformers: More Than Meets the Eye, I intend to finish one I did for New X-Men, and I have a few in my mind’s eye I want to do soon on John Ostrandre’s Suicide Squad run, Justice League International, and Mega Man that i’m going to do pilots for to see if anyone’s interested. 

Finally recently i’ve started doing quick thoughts, quick reviews on recent stuff from trailers to full on movies I don’t have to cover normally. 

So What Is Your Patreon?

Patreon is a site where creators can get paid for work and can put up exclusive content and what not. You pledge anywhere from a dollar a month, and become one of my patrons and help me do this blog for a living. I genuinely love writing about media, analyzing it and making weird jokes, and this lets me do that as my job and my passion. I simply don’t want to put finacing that on the backs of only two people. 

So What’s In It For Me?

Unlike Tumblr itself I feel my supporters deserve to get the most bang for their buck. As such Patreon Membership starts at JUST ONE DOLLAR. That’s right for a dollar a month, 12 bucks a year so the price of a movie, you get access to my occasoinal exclusive reviews, exclusive poles once I get more than two members so that’s actually sensical to do to vote on reviews, and to pick a theatrical short when i review a bunch of them for character birthdays or holidays or just cause. 

In addition to these though i’ve decided to sweeten the pot. ON SIGN UP ANY PATREON OF ANY TIER GETS ONE FREE REVIEW OF ANY SINGLE EPISODE OF TELEVISION OR ISSUE OF A COMIC BOOK. That’s right for just one buck, you get a review of your choice. Whatever you want. You want to force me to watch something you hate so someone else can bitch about it for you? Go on about an episode yo ulove? shine a light on something obscure? Well i’m your man and for ONE BUCK A MONTH, you can get that. Whatever you want put on my schedule as soon as I have room and your payment’s gone through. 

And if you want me to review stuff on a more regular basis, five bucks a month gets you a review a month, same permaiters as above along with said free review. I will PERSONALLY make sure there’s a space on the schedule every month for your patreon review and review whatever you want no matter how good, bad or stuppid. 

But that’s not ALL. 

STRETCH GOALS:

To explain these better than what I did next time: My stretch goals are goals on my patreon: if I hit a certain number of Patreons I will review (Insert Thing Here) And these are meaty projects too: full season reviews, retrospectives and what have you and something’s unlocked with each person who signs up, adjusted from orignally basing it on price. So your dollar a month not only gets you your own review, but also will get my solemn vow to review a bunch of other thigns, and the more people who sign up the more thigns I’ll add to my plate. Not only that but just for this pledge drive i’m adding a bunch of super neat drive exclusvie stretch goals that will VANISH AT THE END OF AUGUST. dosen’t mean I won’t EVER do these reviews, but it does mean i’ll probably sit on them a bit. 

TLDR: You singing up gets me to guarantee to review some extra stuff. 

SO WHAT ARE THE GOALS. 

I”m glad you asked. Each one is based on a person joining, so 

REGULAR PATREON GOALS THAT AREN’T GOING TO EXPIRE BUT ARE STILL PRETTY NEAT:

One goal for each new patreon so

1 New Patreon: Starting off light but still juicy, I will review the complete season one of Amphibia across two posts. I’ve already rewatched the season recently, so all someone has to do is sign up and i’ll get on it in septmeber in time for season 3! And that’s not the only show as i’ll also review BOTH seasons of the birdtastic show after my own heart Tuca and Bertie! 

2 New Patrons: This one’s a big lighter but you still get some neat things: for my scottaholics in the audience I will review the rest of Brian Lee O’Malley’s works so far: Lost at Sea (his first graphic novel) Seconds (his first post scott work) and Snotgirl (his first ongoing and first work he didn’t draw himself), which follow a girl trying to reclaim her soul/cat, an immature restrauntieur who discovers reality changing muschrooms, and an influencer who might of done a murder. For those who don’t really like Scott Pilgrim i’ll review a buch of paramount plus shows first seasons: Kamp Korral, the rugrats rugboot and iCarly. So if any of that sounds good get on the bus won’t you?

3 New Patrons: My juicest one and one that stands alone: I will review the complete first season of the Owl House across two posts. Every episode, every bit of lumity progressoin, every bit of foreshadowing in hindsight, all for you, all if three people join my patron. So if you want more bisexual magic, step up. 

4 New Patrons: Duck Goals Woo-Ooo! This one unlocks a review from Duck Master Carl Barks EVERY MONTH. Not only that I will be taking suggestoins from my patrons , meaning you can help decide which ones I do! And while tha’ts plenty i’m jucing this one up as getting me this far also nets a review of This Duckburg Like, the interquel podcast that’s given us our last ducktales content for what will likely be an eternity. 

5 New Patrons: Gravity Falls Retrospective! I”m not only talking both season of Alex Hirsch’s era defining masterpice, but also the side materials I have acess to: the shorts, Journal #3, and the lost legends tie in comic. I”d throw legend of the gnome gemulets in there two if I had a working 2ds or 3ds bu tas it stands this is what I got. 

6 New Patrons: Avatarverse Retrospective. No not James Cameron the Bravest Pioneer’s movie he wants to turn into a franchise despite NO ONE wanting this please stop James, we’re begging you. Of course i’m talking about Avatar the Last Airbender, the epic franchise that’s blowing up in size. This will include all three books of Avatar: The Last Airbender, All Four Books of the Legend of Korra, and all the juicy side stuff I can cover: the sequel comics for both series, the kioshi novels and the eye gougingly bad M Night Shamlyn Movie. Yes I really will   myself to that. I have not till now i’m happy that way but I will sufer for you. Speaking of suffering:

7 New Patrons: It’s a crapstravaganza!  If i’ve made it this far I clearly have enough fan support that I can fly into the eye of the crapstorm so i’m going to review some of the worst things I can think of:  * Chuck Austen’s X-Men the run that dared to ask the tough questions your coke addleed uncle you don’t let see your kids would like “What if Angel could cure AIDS with his blood and had sex with a minor while her parents watched?” “What if a rouge relgious sect tried to make Nightcrawler pope and then desingrate people with commuiion wafers in a scheme that makes no sense?” and “What if an x-man made a plant horny?”  * America: The comic that has the infamous and oft used by me line to compare it to other bad lines “What in the holy menstration are you doing here”. And it’s still not the most bonkers thing int his somehow 12 ISSUE SERIES tha twastes one of marvels best creations.  * The Prince: Aka that series HBO what farted out onto the service with no intention of renewal after realizing “Holy shit we greenlit this what is wrong with us” which is basically family guy but with the royal family. I’d say it was a somehow worse family guy but Famiily Guy once had an episode that was about 22 minutes of transphobic punchlines so as long as there isn’t an episode of that your good.  * Mordecai is a Bastard Man: Aka that arc of Regular Show that took a ship I really liked, Mordecai and CJ, and then destoryed it with cheating, attempted murder and saxophone.  *Star Vs Final Arc: Aka a look at how a once great show descended into a mess with unfinished plot lines, wasted characters and a finale so terrible it’s only topped by “Kids this is the story of how I really want you to say it’s okay to bang aunt robin” 8 New Patrons: Infinity Train, all four books and any finale movie if it happens. (Please let it happen) All aboard! 9 New Patrons: Two juicy disney retrospectives! The Incredibles (both movies and both comics series) and Darkwing Duck (Both the Boom! and Joe Books runs) Let’s get incredibly dangerous! 10 New Patrons: My highest tier for now and i’ts anothe rdouble feature and two big projects. If you get me this far, you’ve earned em: A She Ra and the Pricesses of Power Retrospective and a Bojack Horseman retrospective. The two greatest things Netflix has made back to back for life. 

And THAT’S NOT ALL... as I said I have some special stretch goals JUST FOR THIS PLEDGE DRIVE. 

SPECIAL DRIVE SPECIFIC GOALS BABY!:

These are a simple five extra projects for hitting the goals within the rest of the drive FROM AUGUST 1ST TO AUGUST 31ST. I will not add these to the regular goals for a full year if you do not reach them, so one buck helps you unlock projects that otherwise might not happen for YEARS. Like the other goals their measured by patrons but ONLY for this month sooooo

1 New Patron: Quack Pack series review! the most hated Disney Afternoon show in one big two part review. God help me. 2 New Patrons: Rise of the TMNT Retrospective: Both seasons, a movie and regular coverage on the offchance a third season hopefully gets greenlit.  3 New Patrons: Peanuts and Garfield Specials retrospective!: Retrospectives for the technicolor years long world of Peanuts specials and the shorte rlived but still neat garfield specails. All the specials plus all the animated movies for both!  4 New Patrons: Craig of the Creek-AThon: Rewatching season one and watching BOTH seasons i’ve missed since then with full reviews as well as reviews of each bomb of episodes as their released on teh app from here on out!  5 New Patrons: Steven Universe Retrospective! All 5 seasons, The Movie, Future, the comics, graphic novels and games. EVERY. THING. 

So if ANY of this sounds enticing 

STOP BY MY PATREON RIGHT HERE IN THIS LINK, SIGN UP TODAY, HELP ME GET PAID DOING WHAT I LOVE AND GET REVIEWS FOR EVERYBODY. YOU WON’T REGRET IT AND YOU’LL BE MAKING MY LIFE BETTER. 

And even if you can’t support it feedback on the goals, reblogs to get the word out and general words of encouragment are appricated so join me as I try to get at least one extra dollar a month in the span of this month. PITTER PATTER, let’s get at er!

[cheri-translates]

Interviews with the Chinese VAs

English translations of the interviews from the MLQC Weibo page! Little hints of what we can look forward to in the anime 🥰

1. Wu Lei (voice of Victor / Li Ze Yan)

Q: How did you feel when you found out MLQC was getting an anime adaptation?

A: Pleasantly surprised. After hoping for such a long time, the MLQC game has finally turned into an animation. I’m incredibly happy. A lot of notable scenes will appear in the anime. 

Q: How was your experience voicing the animation? 

A: We know how Victor has the nickname "Normal Citizen Victor”. In the animation, a lot of little moments in his life and his interactions will be fleshed out. Look forward to discovering them. 

As an animation, there will be differences from the game. In the game, the plot reveals itself gradually over several chapters. In the animation, the pace is more close-knit. So it will help you quickly understand what’s happening in MLQC.

Whether you like the anime or the game, you will discover new moments in the animation which will help you enjoy MLQC even more. 

Apart from that, I think Victor has a very amazing power. I’ve mentioned this on various occasions. Time-control. It can be used for saving the world, and also for dating. Such an amazing ability... oh god, can I have it too?

More perspectives can be presented through animation. Whether it’s in the past, present or future, just as Victor says, he is destined to be drawn to you.

Q: Will Victor be as critical in the animation?

A: Don’t you all like being criticised by Victor? Do you like it? Really?

Victor is an extremely sweet person. I did record a lot of “dummy”s for the animation. But we know that every “dummy” from him is not meant to scold you, but... I’ll leave the rest of the sentence for all the Mrs Li’s to leave in the comment section.

Q: Do you have any final words to say to all the producers?

A: I hope all of you can continue walking alongside Victor. No matter what you see Victor doing in the animation, don’t worry too much. Just relax and be his dummy. 

~

2. Xia Lei (voices Lucien / Xu Mo)

Q: How did you feel when you found out MLQC was getting an anime adaptation?

A: Extremely happy. MLQC has had a big influence on my work and life. Being able to let a larger audience know about it makes me happy. With this anime adaptation, the audience will no longer be confined to just players of the game, but also to people who like 2D animation.

It’s almost the fourth year that I’ve been involved in MLQC. This production has had a major influence on my life. I hope, with my hard work, that MLQC will continue to expand in the future, and that I can continue this journey.

Q: How was your experience voicing the animation?

A: There’s quite a big difference between voicing the game and the animation. 

The game tends to present specific words, specific scenes, and specific locations. It can’t present things as meticulously as in animation.

A simple example would be how we know Lucien is an amazing researcher who has profound knowledge. We can show this ability very clearly in the animation when he talks about science. But we can’t put all these words into the game.

There is very large script for the animation, so it’s a little more difficult. There are more words. So you will get to interact with Lucien and know him better. Perhaps you will have a deeper understanding of Lucien too. 

In the game, there are a lot of nice angles and actions. But when it comes to things like his gait, they are more thoroughly presented in the animation. Animation fills in a lot of gaps of how we imagine these actions to look like. How does he walk? How does he take up his cup to drink? How does he prop up his spectacles? You can find the answers in the animation.

There are other differences in terms of artistic presentation. The music in the animation follows the plot closely, and is more meticulous. 

You’ll be able to better experience a living Professor Lucien.

Q: Will we get to see Ares?

A: This... I personally feel that even if you want to be spoiled, you should find the answer in the anime. I believe the anime will present a thorough story to you.

The people closer to Lucien, like his students, will definitely appear.

Being able to see these characters animated is something I’ve always anticipated. When I first started voicing Lucien, I felt the plot was very good, that the characters were done very meticulously, and that it would be nice if they could be presented in another form.

Back then, I didn’t say anything because I knew that animation was expensive [laughs]. So being able to have this dream come true, and see a more complete, more emotional, and more living MLQC makes me happy. 

I hope through everyone’s efforts, we can present a complete and beautiful story to all producers. 

Q: Do you have any final words to say to all the producers?

A: If you don’t want him to always make wrong decisions, watch the animation. Now, it’s too late to escape. 

~

3. Ah Jie (voices Gavin / Bai Qi)

Q: How did you feel when you found out MLQC was getting an anime adaptation?

A: I can finally see a living Officer Bai! Previously, we could only have simple motions in the game. More complicated movements like riding a motorbike or firing a gun have to be described using words. In the animation, we can see these cool images. It feels great!

The animation is really able to bring out the cool and dashing side of Gavin. It looks great, and everyone can look forward to it. 

Q: How was your experience voicing the animation?

A: When doing the voice-over, I realised he has many more expressions than in the game. So when I was recording, I’d try to grasp his emotions and match it with the voice so it fits his expressions. For example, when he feels embarrassed, when he blushes, these things. I find it very interesting. 

A lot of people may be wondering if the plot would be different in the animation. I can reveal a little bit - the changes are very natural. It wouldn’t feel odd. The overall pace is still great. So you can all rest assured.

As for the overall voicing experience, I feel it’s more difficult than voicing the game. In the game, I’m basically given the script and a bit of illustrations of the scene. So we base it off our imagination. 

But in the animation, we see the final product when we voice it, including the movement of the mouth. We have to follow the mouth movements strictly to fit the voice. So this is more difficult. We also have to follow the expressions and movements in the anime. So we’re not given as much freedom as in the game, but it’s a nice challenge. 

In the animation, what is most impactful is that a moving Gavin is very very very cool.

For example, in the 2nd chapter of the game, which is where he first shows his Evol, we can only imagine it through the words. But in the animation, we can actually see him flying. The moment he does it goes beyond my expectations. Everyone can look forward to it. It’s really cool.

Q: Will the animation address things from Gavin’s time in high school?

A: Do you want me to reveal anything? I will definitely not. But I can guarantee that the memories most important to you will not be missing in the anime. 

Q: Do you have any final words to say to all the producers?

A: As long as you watch the MLQC animation, he can sense you in the wind.

~

4. Bian Jiang (voices Kiro / Zhou Qi Luo)

Q: How did you feel when you found out MLQC was getting an anime adaptation?

A: I did think MLQC would eventually be made into an animation, and was anticipating when it would happen. And now it’s about to start. 

In the PV, people commented that they wanted to see Kiro’s superstar side. When voicing the animation, I did see things like him being on stage, dancing, and interesting tidbits from his filming and photoshoots. I think you’ll definitely see a different Kiro, and have even more surprises.

Q: How was your experience voicing the animation?

A: When doing the voice-over, I realised there are a lot of notable scenes in the game that appear in the animation. I find myself thinking back to how I began voicing Kiro, and the tranquility that comes with it. Kiro is always really easy to like. 

Something you might want to know - will we get both Kiro and Helios? Hmm... 

During the voice-over, we saw a lot of NPCs. Savin has many scenes, so I wouldn’t mention more. We will get to see Hollow, who brings us a lot of joy. A lot of NPCs have scenes. It’s worth anticipating.

Q: Will we get to see Kiro singing?

A: I have a big surprise for you - Kiro will be having a new single in the anime. Can I reveal it? I’ll hum it for you. [hums the character song] Does it sound good? 

Q: Do you have any final words to say to all the producers?

A: Miss Chips, Kiro commands you that whether or not he can see you, you have to watch the MLQC anime. Or else, he will feel very disappointed. 

-

Random input: This is the scene I was talking about in the tags-

[nullset2]

Mother 3 - An In-depth Critique and Review

Ah, Mother 3, how I love you so!

The game which with which I forwent all possible aspirations to healthily integate into normal High School society: imagine walking into a party, people are drinking and being cool, and you ask them if they have ever played a very underground, very deep RPG only released in Japan called "Mother".

Yeah! I know! It's like you're asking to be bullied, and I realized it too late.

But anyway!

Mother 3 is one of the most important games you could ever play --alas, if only it wasn't near impossible to obtain it.

Yet, perhaps this adds to its allure and to the power of its narrative --a narrative which, by the way, I'm convinced is the very actual reason why it will never release formally in the United States.

As time has passed, I've actually become more and more impressed about how relevant the game is to the socioeconomic reality that we are in nowadays. I'm impressed that Shigesato Itoi had all of this in his mind's eye as early as 1996, and that the story was already written down in 1999!

Right now it's been 14 years since it's release on the GBA, but I think that the game is a timeless classic and warrants a playthrough now more than ever. Wanna know why?

Wanna find out?

Part 1. "A Japanese Copywriter's Americana"

The year is 1989 and a Japanese Copywriter --somebody who writes "Catch Copies", which are a sort of a long-form slogan that is very common in Japanese pop culture to advertise)-- by the name of Shigesato Itoi became a fan of the Dragon Quest series of RPGs, which are massively popular in Japan, even to this day. He also loved video games: he's asthmatic, so he recalls only being able to sleep sitting up as a child, and having to occupy his lonely time through asthma attacks playing video games, since he had to sit up and had nothing else to do at night.

His love of RPGs would linger in his mind until 1989 when he had an opportunity to meet with Hiroshi Yamauchi and Shigeru Miyamoto and was offered the opportunity to develop a video game with Nintendo. Harkening back to the endless hours he poured into Dragon Quest, his concept eventually took form by deriving from it. He called the story "MOTHER", as a reference to John Lennon's "Mother", since he is a very hardcore fan of The Beatles. The games have tons of obvious influence by old American films and comics, like ET and Peanuts, which he also loved very much.

For MOTHER, he wanted to explicitly go against the grain, by designing an RPG without "Swords and Magic", which stereotypically most RPGs follow, even from things as minor as to design a protagonist who was weak and vulnerable, asthmatic and without a Father Figure, yet, still heroic through much toil --which reflects Ninten from the original MOTHER for the famicom.

Miyamoto, in his usual taskmaster persona, arranged a team to work with Itoi for the creation of the RPG, by bringing in people from HAL laboratory and APE Inc, and thus MOTHER was born to great Japanese Acclaim. A game which took many risks in its genre, such as eschewing the idea of a separate overworld from navigation in the towns, the subject matter, the movement system and many other things which made it quite Unique. It was so popular that soon after the first project was released, MOTHER 2 started development, involving people from what's currently known as Game Freak and HAL Labs.

MOTHER 2 is a very unique game because it was the very first time that the series attempted to make an incursion in the Americas. Releasing in a big flamboyant flashy box, with a strategy guide and a bunch of goodies included, MOTHER 2 released as Earthbound in the states, a bigger and better version of the vision of the first game. Better graphics, Beatles references, sampled audio, pop culture cornucopia, it's all here and then some!

Famous for its role in technically driving the game, Satoru Iwata, ex-CEO and software developer for Nintendo,7 of Wii acclaim, helped the game meet its 1996 release date. It is known that the original version of the game ran into deep technical issues which the original dev team was not able to overcome. Once Satoru Iwata got involved, the game was reworked to a viable version and released to much critical acclaim. In his own words, he proposed to rewrite the tech that powered the main game. It was a matter of either continuing with the current code and be done in two years, or redoing everything and being done in six months under his vision, he said.

No matter its strong promotion from Nintendo, the marketing got botched, and the game paled compared to the flashy and bombastic magical RPGs of its era, like Final Fantasy VI, Super Mario RPG and Chrono Trigger of all things. So, Earthbound faced a very bad destiny in the states, by releasing to low acclaim, bad review scores and terrible sales numbers --even though it eventually reached Cult Classic status, due to its pure hearted nature, its hallucinogenic themes and characters, and its fantastic spirit over all.

And this game is worthy of discussion by itself a whole bunch because of the ripple effects it had in video game culture in the Western world. Enter starmen dot net. To this date, the epicenter of discussion for everything related to the MOTHER series. There you had me as early as 2002, browsing a half-rendered version of starmen dot net in a dingy computer in some dingy internet cafe in some shitty neighborhood in Mexico, trying to be a part of the discussion and the hype.

To this date, I consider starmen dot net as the non-plus-ultra case for how passionate Internet fan cultures can become.

Flat out, no other fandom has ever came close to the level of dedication, attention to detail and passion to tribute the original creation around which its fans congregate. A massive amount of fan paraphernalia has come out of starmen dot net --yes, even Undertale, 2015 indie darling RPG thing, originally got started on the Starmen dot net forums. People married and even started large, commercially viable enterprises, such as Fangamer.net, the firm which publishes Undertale, from starmen dot net.

...and then... silence...

After Earthbound's 1995 release, we enter a ten year hiatus for the series.

Even though both MOTHER games were incredibly popular in Japan, HAL Laboratory and APE Inc. weren't able to successfully make a jump onto the third dimension for the series come the Nintendo 64 era. They had a demo come the infamous Spaceworld 96, where a bunch of pre-release games for the then called "Ultra 64", which was the codename for the Nintendo 64, were showcased. And lo and behold, we have a sequel to Mother coming out, called Mother 3, the ROM for which has never been found by the way.

I'd love to get a look at the materials in that ROM.

The scarce footage we have available from it exhibits some of the elements we ended up seeing in the final released version of the game, like some of the original music like the Mozart ghost theme, and the DCMC section, albeit in a more primitive low poly way. It is known that both studios weren't very proficient at 3d Game development yet, which was still nascent. This together with other factors, such as the fact that at some point development was moved onto the unreleased-in-America, unpopular 64DD addon, undisclosed factors dropped the game into development hell, which ultimately led to its cancellation in the year 2000.

Plenty of mystery surrounded the now defunct project, to the dismay of a bunch of passionate fans in Starmen.net and elsewhere online. However, it turned out that the valiant effort of the fans, who made a huge amount of effort to campaign for the revival of the series, even mailing fanmail, fanart and other materials to the Itoi Shinbun offices in Japan (a titanical task in the world of the early 2000s).

Fast forward to 2003, and the Game Boy Advance, the little portable console that could, was in its Apex. Due to Satoru Iwata's campaining, it was announced that development on MOTHER 3 would be restarted, this time in 2D, for the gameboy advance. Much anticipation in Starmen.net followed this announcement, since it finally validated its efforts...

Come 2006, once the console was well into its end-of-life, with small nudges to play the game on a Gameboy player if possible, perhaps to try to follow suit with its predecessors, the sequel finally released to much acclaim. But what did Shigesato Itoi have in store for everyone all along? What kind of beast had just been unleashed onto the World?

Part 2. "Of Monkeys and Men"

Mother 3 follows the story of a young boy, Lucas, in a multi-chapter structure, which is novel for the series but not unheard of in the RPG genre. Besides this, the RPG plays very similar to your usual JRPG fare, and basically uses the Ultimately polished version of the MOTHER series' mechanics, groovy backgrounds and all.

The first three chapters of the game follow the perspective of different characters residing in Tazmilly Village as the plot of the game unfolds. The plot is centered around the residents of a peaceful town in an Island in an unspecified location, Nowhere Islands, which in my opinion is an allegory both of Japan and America, moreover with the fact that the game of the logo very clearly has a rising sun covered in metal, in a logo that's an amalgam of two different things which don't match, a subtle reference to the game's undertones to come.

From these residents we come to know the daily lives of a particular family: Flint, a farmer; Hinawa, his wife (a name in reference to Sunflowers, Himawari, her favorite flower), and their twin children, Lucas and Claus.

The game begins in the midst of their idyllic life in the mountains visiting Lucas' grandfather Alec, and playing around with meek dinosaurs which inhabit Nowhere Islands. See, in the world of Mother 3, no violence truly exists, and people have come to live peacefully with each other and nature. There's no such thing as the concept of money, Instead relying on an economy that's mostly based around bartering and hospitality.

However, everyone's lives veer into turmoil once strange alien beings invade, the Pigmask army, an army of big, fat and slovenly creatures dressed in pig-like attire, who seem to have a vast amount of technology and resources at their disposal yet aim for Nowhere Islands for colonization.

The Pigmasks have an as-of-yet unnamed leader, who is demanding them to make everything in the World "bigger, cooler, stronger and faster", and thus they seize Nowhere Islands by force of bombings and a forest fire to use its flora and fauna. And thus, while escaping from the forest fires returning from Alec's home, Hinawa tragically gets killed by a Drago which has been modified to be aggressive against its nature through robotics implanted in it by the Pigmask army.

There's an unused cutscene in the game's ROM data where Hinawa, instead, dies by bomb explosion...

...yeah, I'm just... gonna let you process that one by yourself ;)

The Drago left a fang in the middle of her heart, which is recovered by one of the Tazmillians and provided back to Flint along with a fragment of her crimson dress. Besmirched and angry, Claus, the festier one of the twin children, sets out to try to hunt the drago and achieve revenge, but he goes missing... Flint embarks in search of Claus and to kill the drago, and thus the first chapter of the game concludes, with the implication that Claus has gone missing...

With Lucas' family torn to shreds and The Pigmasks invading Tazmilly, it seems that we're in a situation ripe for disaster.

Chapter 2 follows Duster's adventure, which runs in parallel (as every other chapter will) to other chapters' stories. Duster is the last heir in a bloodline of Cat Burglars whose abilities are not in use anymore given that Tazmilly has no more commerce or crime. However it turns out that the Pigmask invasion puts his skills back in demand to infiltrate Oshoe Castle and retrieve an artifact which the Pigmasks are after and which Duster's family is the guardian of. The nature of the artifact in Oshoe Castle is as of yet unknown, however it is implied that it is important to the fabric of Tazmilly village.

At Castle Oshoe, Duster meets a mysterious princess, Kuma-tora (which translates literally to "beartiger", in allusion to the dichotomy of her existence, since she is very... masculine in attitude and refers to herself with, yes, male pronouns, perhaps anticipating identity politics by 14 years at least), who is also after the artifact in the Castle, the Hummingbird egg. The chapter ends with the Hummingbird Egg going missing, and a mysterious peddler of goods arriving into town, while Kumatora and Duster's father realize he has gone missing...

Chapter 3 follows the adventure of a little Monkey, Salsa, which gets flown into Nowhere Islands to perform a job. This is a novelty in a town where the concept of a job doesn't exist as of yet, however, the peddler of goods is going to need a lot of hands if he wants to fullfill his vision. The peddler, Fassad (which is a tongue in cheek way to say "facade", right?) promises to all residents in Nowhere Island eternal happiness if they buy his newest product, the "Happy Box", a television-like contraption which glows with a warm light and which people are attracted to and engrossed by. For this, he introduces the concept of money and swindles people his way, convincing them that this is the way to go and promising them excitement and benefit if they listen to him.

Salsa delivers Happy boxes throughout the whole chapter, and gets shocked, even in the middle of the night, if something goes wrong with his job or tries to escape due to a shock collar implanted by Fassad. However, he runs into Kumatora and Wess, Duster's father, and they ploy together to free up Salsa and mess up Fassad's forceful takeover of Oshoe Castle, when Lucas shows up with several dragos in tow and fights against the Tank invasion of Oshoe Castle.

(A foreign animal being introduced into a new society with the express intent of exploiting it to propel forward a commercial enterprise by toil... geez, I dunno, where have I heard that one?)

From Chapter 4 Onwards the game adopts a more conventional JRPG scheme, through a timeskip which happens literally two years in the future. In this future version of Tazmilly, money (Dragon Points) and ATMs are now existent, similar to other Mother games. The game follows Lucas' adventure through a now-modernized and industrialized technologically advanced Tazmilly, trying to retrieve the "seven needles" from the island, which are soon enough shown to be a source of great power that the pigmask army is also after and to which Lucas must try to get to first due to a calling by mysterious beings which inhabit Nowhere Islands, the Magypsies. With a lot of emotional moments, such as Lucas having visions of his Mother in the middle of a field of Sunflowers, we follow the adventures of the party as they infiltrate the pigmask ranks and gather information about its nature and intentions.

It is then discovered that the pigmasks are commanded by a Masked leader, who dominates the power of thunder through a tower which was built in the middle of the town and which strikes anybody down with thunder if they overstep the Law and Order that the pigmasks have implemented. The party fights this masked leader in bouts while exploring the world and reuniting with a now missing Kumatora and Duster, who are found to have settled as employees in a Nightclub called "Club Titiboo".

Eventually, through his travels, Lucas gains an artifact from Mr. Saturn, the inhabitants of a special region in Nowhere called Saturn Valley and which has been passed down through all three Mother games, called the "Franklin Badge". When equipped, this item allows the bearer to become immune to lighting attacks and reflecting them back.

The party soon discovers that the world is inhabited by an special elder race, existant from before the creation of Tazmilly village and who know more about everything going on with the invasion, called the "Magypsies", a race of transexual, magical creatures who help Lucas discover the fact that he has Psychic abilities, also known as "PSI" within the MOTHER canon. He uses these to proceed further in his adventure to pull the seven Golden Needles, the first of which Fassad was attempting to get to, in the Courtyard of Oshoe Castle.

Lucas moves into a city called "New Pork City" in the conclusion of the game, which is a town built by the pigmasks completely in the honor of Porky, full of all sorts of Pigmask paraphernalia and amusement. It is found that the seventh and final needle is inside humongous tower in the middle of the city, the Porky tower.

Moreover, it is also revealed that the Pigmask army is led by Porky, known as "Pokey" in the American localization of Mother 2, Earthbound. Pokey is shown to have developed into a tyrant as an adult, with unlimited lust for blood and power, who used Doctor Andonuts' Phase Distorter after the events of Earthbound to mess around with the unlimited realities and dimensions it gave him access too, as a petulant child does with a video game. Once he got kicked out of every other possible reality due to the chaos he created, he found the Nowhere islands and decided to mess with it.

The climax of the game comes around Chapter 7, when the now fully-developed party runs into Leder, one of the original Tazmillian villagers, a lanky and really tall person who never spoke, not a single word, in the game until now. Leder is revealed to be the only person who knows what is the true nature of it all: tazmilly village is the remanider of civilization once the world of Mother 2 collapsed by cataclysm. A flood wiped away everything and the very last remainder of people who survived fled to nowhere islands in a big white ship and settled there, willingly forfeiting all technological advances and knowledge of the world into the Hummingbird egg, the artifact that Duster's family protected in Oshoe, a device which wiped everyone's memories, with the intent of undoing civilization and living back in a peaceful village-like state again.

It is revealed that when all seven needles are pulled, a supernatural power on which the island is built will be awakened. This supernatural power is revealed to be a Dragon by Leder, who had to be subdued by the ancestors of the Magypsies so people could live in Nowhere islands as their last resort. Whoever pulls out the needles which keep it in slumber will pass the intentions and nature of their heart onto the dragon. Thus, Lucas must be the one who pulls out the last needle instead of Porky or the masked man, in hopes that a second cataclysm like the first doesn't happen again.

After making their way through all the pigmask defenses, Lucas and Co. face off with Porky, who is now a bedridden, pathetic man. Doctor Andonuts from Mother 2, appears here, and is revealed to have developed a solution to contain Porky, the Absolutely Safe Capsule, which is a capsule which once it's sealed, it can never be opened again, trapping whoever is inside forever in a parallel universe where only them exist. The party is successful in locking Porky in the absolutely safe capsule, so, porky is not hurt by the end of mother 3, instead, he just has been locked away forever in a place far away from everyone else --perhaps, providing the ultimate form of comfort that a personality like his would seek after.

At the end of the game, Lucas and Co. face against the masked man, who is revealed to have been Claus all along, who, brainwashed with Pigmask ideologies, is hellbent on drawing out the final needle to awaken the dragon. Lucas and Claus face off in an emotive fight, where they suddenly remember each other and how friendly they used to be with each other... and moreover, their Mother. Claus strikes Lucas with thunder in a final murderous attempt before snapping out of the Pigmask brainwashing. But since he had the Franklin badge on, the attack is reflected and mortally strikes Claus, who, in his final moments, finally remembers Lucas...

The ending of the game is open ended, without showing much of what happened once the seventh dragon needle was released, so the ending of the game is subject to interpretation. However, it is heavily implied that, since Lucas was the one who released the needle, the dragon, once awakened, did not destroy Nowhere islands and instead led to a regeneration of existence.

Part 3. "A Musical-Adventure"

One of the pre-release materials for the game called it a "Musical" adventure, and I think this is completely warranted: the musical beautifulness of Hip Tanaka, famed Nintendo composer and long-time MOTHER music autheur, is joined by the expertise of Shogo Sakai, who gave the soundtrack a more mature, sample-based vibe, compared to the early two more "chiptuney" soundtracks in the series. The songs are all-time favorites of mine, and I still the soundtrack every so often given all of its mystique, its eclectiness and curiosness.

But the musical aspect to the game doesn't stop here: as an addition to the mother series, the battle system has now been changed to become rhythm-game based instead of simply turn based. If the player attacks an enemy during a battle, it is possible to strike additional damage as long as the player continues to press the attack button in rhythm to the background music in upwards of 16 hits. A full combo is incredibly effective and plays a nice fanfare if executed correctly.

As an enthusiast of rhythm games, this premise captivated me from the get-go and it works wonders, functioning as a breath of fresh air to the way overplayed mechanic of turn-based combat, which has existed since the 80s. It also provides a certain nice feeling to combat, given how every character has their personal musical instrument, with lucas being a guitar, Kumatora being an electric guitar, Duster being a bass, and Boney, Lucas' pet, being... barks.

Besides this the mechanics from Mother 2 are translated almost completely: every character has a rolling HP and PP counter, which rolls down over time as an airport display instead of immediately as in other RPGs. This may seem minor, but it adds an amazing element of strategy to the game, since it is possible to recover an ally from mortal damage if a healing PSI is executed against the clock before the counter hits 0.

Besides this you got almost completely conventional standard JRPG fare, with the character being able to move in eight directions in the overworld, with the addition of a run button, preemptive attacks and overpowered kills. Once you start facing enemies in the overworld, the first one to attack can be decided depending on the angle that the enemy was approached with: sneak up on an enemy from behind and a green swirl will display, which means that you get to attack first; if an enemy sneaks behind you, you'll see a red swirl and they will attack first instead. Otherwise, a gray swirl will display, which follows conventional order according to your stats.

Part 4. "WE WANT MOTHER 3, REGGIE!"

...Mother 3 will never be released in America.

This may be too dramatic of an opinion to have but I see no other alternative. For the most of fourteen years, Nintendo of America's head honcho Reggie Fils-Aime was requested to release and distribute the game in the americas, and for twenty years the request fell on deaf ears, citing commercial inviability, potential copyright infringment and many other reasons.

But I think the main reason that the game will never be localized is because Mother 3 was a passion project, pushed for by people with personal involvement in the series and very special sensitivities about it. Shigesato Itoi and Iwata were personal friends. The game appeals to japanese tastes and touches on issues and subjects that the American population is very politically sensitive to.

For example, in chapter 6 Lucas and the party experience a bad trip because they eat hallucinogenic mushrooms in a swamp. This leads to Lucas having visions of his family in a very bad light, with implications of violence and abuse, to try to get at the players' deepest sensitivities. Even the name of the real player is used here.

I think that it's impossible that nintendo will release a game which openly involves Hallucinogenics no matter its innocent exterior. This is the kind of subject in media that Japanese audiences usually handle better than American audiences.

Besides this, the game has very clear allusions to accelerated capitalism, anti-capitalism, colonization, slavery, transexuality and the changes and chaos they have brought onto the world, which is a tough subject to tackle in the Americas, which is still part of an ongoing, vicious culture war.

Particularly, I adore how the game even tries to convey its points through the Sound Test, of all places. Mother 3 has a collection of music pieces, which are available on demand within the game itself. Of those, there's a music piece which is a remix of Pollyanna, the Mother 1 theme, which is present throughout the series, in an nod to the previous games in the series. The hallway where this plays is full with mother references and it expects the player to sit down and watch passively all the references in order.

But this is meta, amazingly enough. The hallway is located in the final section of the game, before facing Porky, who is presented as the effigy of vicious capitalism in the game. As if he left them in his palace just as collectibles, things to be purchased or acquired.

The name of the song which plays during this sequence? "His Majesty's Memories". Subtle.

Nintendo is a company which tries to keep its image clean and sterile, so it can be used broadly for a variety of projects, usually with family friendly intent behind --and even more so in the US.

However, Nintendo has a history of risky bets with Mature content, which has become even more glaring lately: you got Eternal Darkness, Astral Chain, Bayonetta, No More Heroes, the disappointing Metroid Other M... this together with the fact that most of their target audience is of age now, could, at least remotely, mean that, perhaps, Mother 3 releasing in some manner in the future, localized in English, could happen: however, this is not happening at least the way I see it.

Once the game was released, there were several different campaigns online to try to gather Nintendo's attention: a 10k signature strong petition was completed among several other things, and if this hasn't lead to results... I don't know what will.

Part 5. "No Crying Until the End"

Mother 3 is a beautiful, engrossing and captivating game which is hidden away under a cutesy exterior. Its complex themes and characters are evoking of deep human truths which call out to us and ask us to reflect on things and the way we're living. Of strong pedigree in its series and with a superb musical production behind it and a mastermind of writing, MOTHER 3 excels at what it sets out to do.

When the game released, the game had a "Catch Copy" written for it by itoi himself, which called the game "Strange, Funny and Heartrending", and I think this is a beautiful way to bring everything full circle. Itoi wrote on the Advertisement that if you wanted to cry because of Mother 3, you should save it until the end. And those three words are a fantastic way to close off this review: if you want a game that will provide you with bizarre and laugh out loud moments one second and tear-jerkers the next, Mother 3 is the game for you.

And the game is just so poignant... to this date not only do I think it's one of the most expressive and well done pixel-art based game, I still find myself impresse at how much I can connect with the characters through small, cutesy sprites and pastel color pallettes, lack of Unreal engine and RTX graphics card be damned. Themes of grief, missing a loved one who's gone, the feeling of loss of identity due to accelerating social and economical change, how tyrannical political figures establish themselves and change communities, sexual and identity politics and how the modern world was to have shaky and voraginous sexual identities become commonplace... it's all there, and masterfully, tastefully expressed, without that icky feeling of "agenda"ism that you can get sometimes from Hollywood productions when they try to hamfist tropes and "messages" down people's throats. You know that feeling? I hate it when it happens in movies or shows I'm watching just to have a good time, and then I get some succint propaganda.

But MOTHER 3 is a kind beast, trying to reach to your heart and directly speak to the mind of the player. It tries to show us what it thinks of modernity and to make us seriously ponder what the frick is up with all of this shit, and thinking it has kept me for the last 14 years, and I anticipate another 20 ahead of me. And you can join me in reflecting about this...

Or maybe you can just go back to your happy box. Whichever way you choose.

[dropintomanga]

Being Both Chinese and Otaku

I’m sure many of you may know this, but I’m a 1st generation Chinese-American. My first exposure to anime was back in the early 1990s’ through Cantonese-dubbed episodes of Dragon Ball Z. It’s been quite a ride since then. However, because I’m 1st-generation Chinese-American, my parents are both 1950s’-born immigrants from Guangzhou, China. They knew people and relatives that went through a period of time in China (the 2nd Sino-Japanese War) when the Japanese invaded the country. Even decades later, tensions between China and Japan still exist and Chinese otaku are caught in the middle of this.

I caught this 2019 Foreign Policy article “Super Patriotic Anime Youth Wars!” on one of my feed readers recently. It talked about how the Chinese government is worried about the influence of Japanese pop culture on many Chinese youth. They believe that foreign media in general will cause dissension. China has gone on to start their anime/manga stuff in order to gain some kind of control over Chinese otaku youth. Bilibili, a Chinese anime streaming service that has gotten a lot of attention over the past few years, was formed to help promote the Chinese government’s views.

I began to think about my own otaku journey and how someone else similar to me living in America feels.

Years ago, I wrote an article for an anime site about being a Chinese otaku. I forgot what I entirely wrote (link is now dead), but I remember I talked about a story that my mother once told me. It was about one of my aunts who literally ran away from Japanese soldiers during the 2nd Sino-Japanese War. My mom said that when my aunt was a young child in the early 1940s’, she carried one of her friends and searching for a hiding place with their caretaker while Japanese soldiers were looking to capture them. The soldiers yelled all kinds of profanities similar to how some anime characters say them. My aunt is still around, but has never talked about those experiences to me and I have never once talked to her about my love of Japanese pop culture.

Back in the mid-2000s’ when the anime boom was happening, my dad once said to me that he thinks anime may corrupt Chinese youth and that we wouldn’t understand the horrible things they did to China. After reading that Foreign Policy article on China/Japan tensions affecting otaku, I see that a good amount of Chinese folks, who grew up in China pre-1990, have utter dislike over otaku culture. The 2D world is full of imaginative ideas that aren’t easily controlled. What’s funny is that my parents didn’t mind me getting involved with all things Japanese. They knew it was what kept my mind occupied from depression. They knew I would probably hate them for taking Japanese pop culture away from me.

It’s hard enough being an otaku. But it’s harder when you’re an otaku and also have to deal with cultural tensions between two countries (one of which represents your nationality) that don’t like each other very much. I know China is a lot more receptive towards anime and manga compared to the United States, but the government will try to censor/ban anything with messages that sound overly rebellious against authority figures (i.e. Attack on Titan is the biggest example). It’s also very hard to businesses to ignore China because of its super-large population and the money potential.

I see a lot of Chinese youth in my area watching anime and reading manga on the train. I see them hanging around in places like Kinokuniya. That’s not going to change. I do feel that we all have our mental blind spots. I want the older Chinese generations to understand that some aspects of modern Japanese culture aren’t guilty of association for past war crimes and I want my generation and future Chinese generations to realize that Japan isn’t always some kind of great 2D holy land. It’s so easy to get caught up in the passions of whatever it is you love or hate. Follow your heart and gut is not always good advice when it comes to nuanced situations that involve complicated relationships. That thinking becomes a bit too biased for its own good.

As someone who’s been told “It’s all in the past. Get over it.”, I kind of relate to the pain that the older Chinese adults feel when they get ignored. They can’t keep up with how fast the present and future can go. My parents went through a lot to get to America. We can’t ignore the past. There’s too many untold stories that need to be told for a better future. Plus there has to be better acceptance of how random the future is. We may have a future where Japanese pop culture isn’t popular in China anymore due to politics. We may not as well. Trying to place so much control on things you can’t control leaves someone prone to endless frustration. I would love an emphasis on focusing on what someone can do now in the present moment.

I think sometimes we’re not taught to have these kinds of conversations because they make us feel emotionally vulnerable. And that’s terrifying to a lot of people. We want to look strong because that’s how we’re supposed to get through life and its obstacles according to the powers in place.

However, I do worry about China (and quite frankly, Japan as well) that focus on manipulating otaku fandom. I know that Japan’s history is awful and their tendency to not apologize for past war crimes is unnerving. I feel that otaku are being portrayed as a “dumb” kind of geekdom that only cares about getting what they want. That makes us prone to outside manipulation by people (i.e. governments) who say they care, but they don’t. That makes us no different from someone who loves to shop for brand-name clothes/shoes/etc. It’s natural to be recognized by a greater majority of people though as we have been picked on for so long. Maybe we’re getting external validation from the wrong types of people out of some desperation.

As a Chinese-American today, I don’t like China very much even though I do enjoy and respect some aspects of their culture. I’ve been there a couple of times, but I don’t feel compelled to go back compared to Hong Kong. I also can’t imagine myself living in Japan despite my fascination with the culture. I’m not sure if the country’s the right place for me as someone living with mental illness. I do see that there’s a good number of Chinese fans that have managed to find their own truths on how to handle cultural tension.

In any case, don’t let significant and mainstream in-group interference on all sides cloud all of your decision-making. Sometimes, the best kind of advice to get is from someone who doesn’t know you personally or is a part of your inner circle, but can relate to your situation and feelings. We will always have doubts and they deserve some validation. 

I think the beautiful thing about otaku fandom being more widespread due to the internet is that it allows us to connect with diverse strangers of all kinds that are genuinely good to be around. For so long, we’re taught to avoid strangers growing up because they are either suspicious or not worth talking to. However, it’s those same strangers that can lead us to new paths and friendships outside of bubbles that can stagnate us. Those paths can help us make sense of our own past and current situations as well or at least come to terms with them.

I can tell you that a lot of Japanese series I followed have helped me go back  to analyze and confront troubling aspects about my life in a way that matters. Maybe that’s why I manage to deal with many tensions including the Chinese/otaku dynamic instead of being just a passive consumer like most fans. I partake in a kind of “personal nostalgia” that’s more about your own growth and willingness to take on the bad stuff compared to collective nostalgia, which leads to hardcore nationalism/tribalism. I want you all to do the same when possible.

Life is strange to begin with. Maybe just embracing that notion will allow us to appreciate the diversity of all that surrounds it.

Shout-outs to anyone who is a Chinese otaku and managing cultural tensions in their own way. It’s hard work and as long as you’re not intentionally hurting people, you’re doing alright.

[mwilson]

Shy girl - statement

Previous statement

 For this class and second half of summer quarter I want to engage in a performance and dialog with female archetypes on the internet. I have always found the platform of internet a rather hostile black hole, yelling into the void so to speak. It also has been a place where I have discovered a lot of things that have helped me feel less isolated and have brought much inspiration to my life, a great outlet for my maximalist aesthetics. So, I have seen as someone growing up with the internet being around for the birth of Facebook and beginning my internet career on Myspace, that the internet is a place of duality. I haven’t much in my work engaged in a particularly feminist dialogue in my work as to not be pushed into a realm of all my work being an expression of the female but I guess I have still done so but not as overtly. I have also never explicitly created a character for myself during a performance as frankly I found it a bit to campy. I have created a persona based of a mash of a type of alternative female archetype that has found its place on the internet specifically, the E-girl. A popular and at the same time very much mi lined persona mainly a great target of specifically a lot of sexist vitriol from other online born groups.it is also a female persona that is much outside of my expression so I am interested in placing myself in the uncomfortable position in such a blatant misrepresentation of myself as well as having that character engage with some of the worst aspects of online culture and addressing that place and stereotype of woman in it. I am also interested in differences in male and female performance and tropes of expression and discourse found online mainly YouTube and other video formats. My character’s name will be named, shy girl and to further disguise is from myself I will be altering my own voice for speaking parts mush of the performances will be bringing more Avant-Garde concepts of performance to the mainstream such as john cages water performance with audience participation.  Also, I want to produce short work more consistently which is a mode of work I have not done up to this point so I will be putting out longer video content once a week.  

 Add on:

To update my artist statement and to speak to my progress with subjects related to the creation of my alter though I’m not sure how much I want it to be viewed as persona but more of a way to remove myself. This alter , Shy girl,  has so far no set type of format or type of content other than videos at this point and photos and maybe live capture online as I progress with platforms but that will very much change the nature of the performances as they will move from being captured into film , to being performance again the temporality will change as well as the source of control. which will affect the performances greatly but that will be addressed when the time comes, I think live streaming is a huge new question and place for performance art.  Back from that side tracking so far in terms of subject my videos have in initial conceptions been touching on but not limited to, Para social relationships, hostile male communities such as Inscels, the gaze, make up beauty/ identity, Vtubers and anime subculture, the body, multiples and an exercise in thought on distance and new space relationships found in the online environment. There is much more intertwined with in all of the videos I have done up to this point but these are some of the starting points for my video concept drawings and shot lists which I will be posing. The biggest development of this alter has been my creation of not only a 3D model based on my outfit and make up created for my performance in my own body. But now also a 2D model, so at this point I have created this group of performers which has been an interesting way of layering levels of abstraction of the original persona created. My video “shy graces” was the first time we were all together as I have been working with green screen to place myself into my online gallery/performance space, though it has been a passing thought but definite one that being my irrelevance now that I have these digital avatars. Which leads to something I suspected might happen that being my own disenchantment with my body which in a way lead to the next video “skin study’s” based on the work of ana Mendieta “glass on face” and my own push to recess the nude and the body online. This video for the first time bought in anime references as well which I did so for the obvious reason that these alters made online where very influenced my anime culture and manga illustration. As a western fan and a reclusive member of the subculture I have always seen interesting territory for discussion about the role of women in the anime but also in the community, being as if suffers from much of many “nerd subcultures” suffer from, sexualization, fetish, nerd bro culture and so on. But in particular anime’s relationship to the female body and projection of female presenting people is rife with conceptual fodder that I couldn’t begin to pick at this is quite long but has been developing. But one of the biggest draws is anime has been the first to bring this type of idealized body and form they have created into a living space in the form of projected 3D models like that of the Vocaloid characters which were developed as mascots for products along with new figures like project melody on streaming cites as well her move into adult content as a Only fans personality, Adult subscription cite. There has even been the creation of objects of comfort mimicking a body in the form or body pillows, which I used in one of my “music cover” videos integrating my own limbs with this printed body. And the creation of silicon full dolls not always used for the purpose of being a sex toy but as recreation of characters from particular shows that people use for companionship not that there is not a sexual element at play. A lot of this rings true to what I think is happening online these things are rather inseparable as I have moved into looking into the Vtuber community for my models and “copies” which the collective element being that all the programs that I have seen or used all by default use this anime form and all Vtubers use this anime avatar weather that be the 3D models or the 2D models as I created mine from scratch based on my performance persona and examples of popular Vtuber forms. There is this whole new level to literally not only changing your persona online as most do but actually taking on a new form and based on anime which is about the creation of whole other reality’s and which has an element of as a lot of media, escapism. These works as of this past class have been as I have been speaking about very bodily and quite grotesque as is the history often is of female performance art which I had read of and reminded me of such in Vergine body as language which I will link. This writing hit many points in relation to my work and I think is a far better resistor of a lot of what is a part of my content currently. One of originators for these past few videos not only the most recent two skin studies and shy graces was when I published my 3D model on Vorid studios there was a pop up that askes you about the licensing the avatar and it asks who can use it but what most stuck out to me was it asked if the creator would allow sexual content or violent content which became a big influence on the tone of that video. As well the video “shy Graces” which addressed the fact to be able to inhabit my new bodies I needed to pay more money to be able to do something as simple as move the arms of my 3D model as you would need an add on called leap motion.my thoughts and conceptual development may seem rather scattered at the moments but much thought has go into them and as far as the writing about this work it will develop as the work has over time.  

As for more technical aspects and materials, I have been pushing myself as far as the structure of my production of these videos as I want to make them all in accessible places with tools that anyone can access and I am trying to produce content weekly as on YouTube the speed of videos outputted is key to that structure and algorithm. The sets, outfits I have been using are also something that its easily accessed or recreated by anyone I guess I am focused on using almost modern-day working-class materials. As I should have started with saying at the beginning of this re brief this project at this point has not end game as it were I have the content that I am expressing as I want to use this avatar to engage with an audience that is outside of say a space in an art institution as I was inspired much by the work of fellow art student and internet artist molly soda. These alters and accounts have become my new studio work place for me to work on a continuous performance practice which is something I have not yet undertaken and I feel that will push my practice outside of my own comfort zone and open me to a space of pushing myself and very making mistakes and gaining new understanding to developed my practice.

 Definition: Internet art (also known as net art) is a form of digital artwork distributed via the Internet. This form of art has circumvented the traditional dominance of the gallery and museum system, delivering aesthetic experiences via the Internet. In many cases, the viewer is drawn into some kind of interaction with the work of art. Artists working in this manner are sometimes referred to as net artists.

 Net artist may use specific social or cultural internet traditions to produce their art outside of the technical structure of the internet. Internet art is often—but not always—interactive, participatory, and multimedia-based. Internet art can be used to spread a message, either political or social, using human interactions.

 The term Internet art typically does not refer to art that has been simply digitized and uploaded to be viewable over the Internet, such as in an online gallery.[1] Rather, this genre relies intrinsically on the Internet to exist as a whole, taking advantage of such aspects as an interactive interface and connectivity to multiple social and economic cultures and micro-cultures, not only web-based works.

[mi4011thameenahallaldeen]

Animator #2: Hamstery

Transcriptions:

How would you say your love for animation and art began? 

Was it when you were little? Any particular anime/movie/series/book that inspired you? 

Or a person maybe?

⭐️It started when I was little. I was into Sailor moon, and I think it was my start. 

I have always liked to make stories and show my friends in school. 

I mostly draw humans, but ever since my parents got me a pet ferret for winning an award at school, I started drawing ferrets and other animals too. 

2. Did you start out traditionally or digitally?

⭐️I started traditionally. But it doesn’t mean I was always drawing that in my life. While I was in badminton club, I totally forgot that I liked drawing. 

I started painting again when my bff asked me to play AJPW with him. 

It was at that time when AJPW introduced an art feature on the game. 

He knew I liked painting so I gave it a try. That’s how I started my “first” digital art.

3. What were your challenges? Eg: Was there anyone who tried to discourage you or tried to convince you to do something else?

⭐️Actually no one would be able to discourage you. 

To be honest I already chose my department a while ago to be “law and politics.

My mother kept telling me I should go to art school but “I” chose not to because I didn’t believe the possibility and my talent. Now I regret it. 

Therefore, I’d like to tell you to believe in yourself. Follow your passion!

4. What/Who are your main influences for your art and animation style? I noticed your animations were mainly simple but the designs are very vivid.

⭐️I wouldn’t say there is any particular thing which inspired me. I watched many anime and read books. Also collecting and making accessories. All of those gave me inspiration. 

I’m making my animations alone.

When you make an animation you need to draw 8 pieces of art for one second. If you take too much time and add details per artwork, it takes an enormous amount of time to finish the story. So I’m trying to make it as simple as possible but still enjoyable.

5. How did you come across animal jam and how big of an influence was it on your journey as an artist/animator?

⭐️A very special friend introduced me to this game. Animal Jam dramatically changed my life. It reminded me of my true passions and talents. I’m really grateful to AJHQ and everyone who has liked and supported me and my artworks. Now, I hope you find a hint of what you want to do for your bright future, whether through Animal Jam, my artwork, or anything else! Good luck!

6. What softwares do you use to animate?

⭐️I’m only using an iPad Pro 12.9inch second generation 512gb. Ibis paint, FlipClip, CapCut.

7. Is there a reason you call yourself Hamstery?

⭐️Because I love hamsters!

8. Tell me a little about yourself. Name, age, family (yes this includes pets 😆), occupation, major, likes, dislikes, games (other than animal jam)

⭐️That’s it :) Let me know if you have any questions.

I’d rather keep my private info secrets like my family occupation etc..!

Biography:

Hamstery is a 2D animator who is just starting out. She does animations just for fun and launched an animation project in 2022, which is an animated series. The series is based on the characters and lore of a kid’s rpg game called “Animal Jam” made by the company Wildworks. She works with 2D art styles which are inspired by anime, mainly Sailor Moon which she used to watch a lot as a kid. Her passion for drawing and animating began ever since she was a little girl. She has always liked making stories and is not afraid to show the world her storytelling skills. Hamstery started out drawing humans but started learning how to draw animals after her parents got her a pet ferret as a reward. She started drawing ferrets and later on other animals as well. Hamstery started her journey as an artist with traditional techniques but her life hit a major turning point after a dear friend of hers introduced her to the game “Animal Jam”. It was at this time that an in-game painting feature was introduced. Since Hamstery loved painting, she decided to give it a try, thus the beginning of her digital art journey. Her most recent milestone is her animations. One thing she regrets is choosing to be a law and politics major even though her mom recognized her talent and urged her to go to art school. Animal Jam is the one thing that reminded her of her true passions and talents, thus why most of her pieces are based on the game. 

[schalaasha]

Top 20 Games of the Decade

Hi, I felt like writing about my top 20 games of the decade because I kept thinking about it. This is a semi-ranked list, but I decided not to throw numbers into the mix since, really, outside of the top 2, I can’t think of how to rank the games prior to them. I also commissioned hyiroaerak (@/HRAK__S2 on twitter, https://hyiroaerak.weebly.com/work.html) for art to commemorate this occasion.  Our characters are cosplaying as characters from our games of the decade!

Mega Man 10

I actually like Mega Man 10 more than Mega Man 9 out of the two platformer revival games in this series. Though a bit of background on this: Mega Man 4 is my favourite, and I prefer the games that are not 2, 6, 7, or 11, so I suppose that contextualises this for others.         Either way, despite it not having weapons that were as useful as Mega Man 9’s, I felt like 10’s level design and pacing worked more for me in my favour. Though I’m saying that as someone who liked the double fortress design in earlier games so that might invalidate how I feel.

 Time Attack mode from Mega Man 9 returns as well as Proto Man (but he’s unlockable right off the bat). It also has a proper Challenge Mode compared to Mega Man 9’s challenges, whereby challenges for certain levels or bosses are unlocked when you actually do it in the main game. Being able to play as Proto Man off the bat allows for the fluidity Mega Man had in 3 and beyond by letting you slide and use charged shots. I personally liked being able to play as Proto Man off the bat as while he has the 3 and beyond advantages for his moveset, he is a glass cannon and you still have to watch where you’re going.

 I feel like the levels were a little better designed and if I needed more of a challenge, Hard Mode was still there to cut my teeth on. I liked the colour schemes throughout the level maps a lot more than 9’s as well. The bosses felt particularly gripping and trading blows with them fit into a nice rhythm.

 It has more content than Mega Man 9 and I had a lot more fun with 10 than I did with either 9 or 11. The formula itself is pretty static compared to other Mega Man games, but I like simple things. Why fix what isn’t broken? It’s just a nice piece of cake at the end of the day and that’s all I really want.

  Trauma Team / HOSPITAL: 6人の医師

When I started university for the first time in 2006, I was pre-med.  I eventually got sick and tired of the politics and people in the program (ie: folks saying they only wanted to go to med school so they can get rich or make friends with pharma reps who might give them perks), and I left the program to pursue program majors and a minor to prepare me for speech-language pathology instead.

 We had a Wii in our student lounge. My main university campus wasn’t exactly big and a lot of the people who hung out in the student center were kind of cliquey. I think I had the benefit of being really good friends with one of the guys who was the biggest social butterflies at the school so I got to meet a lot of people or get involved with stuff if I felt like it. So that meant I got to play with other students in games or wi-fi sessions during classes or after classes if I didn’t have to commute home right away.

 Because almost everyone I knew at my school wanted to go into medicine, everyone played the Trauma series. Some kids played Under the Knife during class. Some kids played Second Opinion on the Wii in the student lounge. Some kids played New Blood. This was before like… Farmville took over everyone’s computers at the time.

 Trauma Team came out way after that, and some of us were either graduating or staying in school an extra year because we didn’t know what to do after the recession or knew what to do but needed extra courses for graduate school.  So the Wii was free to use.  I don’t think people hooked it up as often anymore anyway. By 2010, a lot of us who had met each other in first year decided to go our separate ways, not even in the same majors or programs anymore. A lot of us either branched out into research, psychology, neurology (like me), kinesiology, epidemiology, forensics, genetics, etc. So Trauma Team for the rest of us who were still there was a good fit.

 Trauma Team took some influences from the 2009 Swine Flu pandemic considering that was when the development phase occurred. Now, I live in Canada, and Canada was one of the focal points for the 2003 SARS outbreak. This was when health bodies in the country decided to make some changes to how they respond to potential pandemics. A lot of things they tell medical students or any students studying health policy (like I was at the time) emphasized how different parts of the hospital or medical or health care staff need to work together in order to care for a patient. I actually find the different professions involved in Trauma Team useful and a reflection of what my class of 2010/2011 became later on (a lot of us graduated in 2011 and took an extra year).

 Diagnostics and Forensics were what I was really interested in since they don’t play the same as surgery/emergency medicine since they played out like a point-and-click. Later on in life, I had to look at so many medical reports and radiology reports and file them but by then I realised what my patients had but I can’t tell them myself since I’m not a doctor. But Trauma Team gave me a chance to do so and practice my terminology as a student. A friend of mine, who ended up becoming a doctor at a hospital in Toronto, really enjoyed endoscopy since it merely involved using the Wiimote as an endoscope and the nunchuk to steer. A lot of us played co-op too.

 The difficulty in Trauma Team, I felt, was decreased from previous games. But that doesn’t really spoil it. It was a varied game and it looks fantastic. It’s a shame that the game style hasn’t been replicated or given a sequel in later years, because while I’m older and my classmates are doing completely different things and I haven’t seen some of them in years, I’d love to take a stab at these types of games with a well-practiced laboratory technologist’s hand.

  Sonic Colours

I think it goes without saying. My first community when I joined the old forum was the Sonic community. Just a bunch of people who were interested in talking about Sonic so much in almost every thread that we ended up making a community thread together. I don’t post in the new forum everyone is at but I still talk to mostly everyone via different social mediums.

 I wasn’t around when Sonic Colours came out but I think I remember reading the joy everyone felt when nearly universally everyone in that thread seemed to really like Sonic Colours. I remember the thread title still. I preordered Sonic Colours because apparently previews were saying it was… good? I didn’t bother playing Sonic Unleashed until after I’d joined the forum, but hearing Sonic Colours would be a return to form since I was one of those people who didn’t adjust well to the 3D games made me interested.

 Sonic Colours is everything I wanted from a 3D Sonic game. Or rather, a 3D version of a platformer. I didn’t really like where 3D platformers were going because they were hard to look at, hard for me to pay attention to, and to be honest I got dizzy while playing a lot of them since you’re expected to work in a 3D space as opposed to a 2D space so it was really hard for me to process. I really like the hybrid nature of the level designs that’s where Sonic Colours got me.

 Sonic Colours isn’t without its hangups: some of the levels are really short; existing mostly for ranking/getting red rings. Sonic’s jump is pretty floaty. The script is fairly short even if the jokes can be funny. Bosses are reused. Sonic Colours is not a perfect game, but the attempts it made were fantastic enough in its own right.

 The music continues to be great, but the areas are visual spectacles. Whatever you think of the series, it’s fairly undeniable that the games try to have style. From the lighting, to posing, to setpieces, to colours used in assets in the level design – Sonic has always had really great ideas.  Sonic Colours is no exception – areas like Aquarium Park, Planet Wisp, and Sweet Mountain have a variety of neat level ideas and they look good trying to execute it. From popcorn on the floor to one of the best darned water levels in all of video games due to the drill wisp, to a fresh take on a grassy knoll with beautiful music, Sonic Colours can bring tears to your eyes because of what it attempts. Terminal Velocity Act 2 is also one of my favourite parts of the Uncolourations games partially because it’s a well-executed setpiece, but it also showed me that maybe those 3D racing bits aren’t that bad.

 The bosses may be really easy, and the final boss ends far sooner than it should before it could perfectly execute its Kamen Rider reference, but I think the point was to fully enjoy the theme park that Sonic Team threw at you this time.

 In 2020 I like to say that out of all of the Uncolourations games, Sonic Unleashed is my favourite due to the balance it struck and its presentation/artstyle, and basically having one of the best soundtracks of the previous decade. But I recognise everything that Sonic Colours brought to the table. If it wasn’t for Sonic Colours, I wouldn’t be friends or acquaintances with so many people that I am with now.

  Kirby’s Epic Yarn

Have you ever played a game that made you feel warm and toasty? Canadian winters can be really cold, you know.

 When I lived at my old run-down house, my old room didn’t have good insulation. Whenever it got cold, my room got really cold. I had my own personal heater because we didn’t really have a good heating system in my room either. So I only wore flannel pyjamas, wrapped myself in faux-wool blankets all the time, and went to sleep covered in at least four quilts or comforters (which is something I still do out of habit sorry). I used to make hot choco every day because it was just so cold in my room.

 I love Kirby’s Epic Yarn. Kirby’s Epic Yarn makes me feel warm and toasty inside because I think of being wrapped up in yarn and sheets and scarves and I just feel so happy. There are so many pastels used in KEY’s earlier stages that I can’t help but to feel toasty and happy when I’m playing it. It’s not the most challenging game. The game is really easy and all you mostly do is collect furniture, music, beads, and parts of the results wheel in every level, but I don’t think that’s the point of it. The point is just to have fun. Watching Kirby turn into a car to sprint, watching him turn into a little parachute or transform during those vehicle bits, you just can’t help but to feel so enveloped by the cute.

 Being able to interact with cloth by pulling a loose button and releasing something, taking off tags, pulling on stray thread, spin balls of yarn… it feels so fulfilling because it’s a clever use of the medium. It’s exactly what you’d do if you’re stitching or knitting. Placing furniture around Kirby’s little apartment makes the Animal Crossing fan in me so happy.

 I appreciate the lengths Good-Feel went to producing the level designs. They took photos of the fabric they bought and created the graphics that way. The music is calm and relaxing, with lots of woodwind and piano and lighter sounding instruments. The entire game feels so soft and sweet. It’s a visually-impressive game since everything animates incredibly fluidly.

  Cuphead

Like anyone my age or older, I grew up watching a lot of older cartoons by Max Fleischer with watercolour backgrounds, hand-drawn characters with a lot of focus on expressions, rotoscoping, etc Lots of slapstick and musical scores out of that decade.  I would have never believed I’d play a video game that looks like that but here we are playing Cuphead this decade.

 Cuphead is a blend of that artstyle with older run and gun style games. It combines a gunning experience with puzzles, reflexive actions, and dying… and dying a lot. And learning. Underneath it’s cartoony and child-friendly veneer lies a game that is unrelentingly difficult. There aren’t really any checkpoints in the game save for one. You can’t regain lost health. It’s just you versus the game. You may spend hours on one single level learning everything about it. And you can’t beat the game until you finish off every other level on regular difficulty.

 Different levels have different forms: they can be run and guns á la Contra, which are actually, oddly enough, breathing room levels. They’re probably the “easiest” levels in the game. Other types of levels can be straight up shmup-like boss fights where you’re flying in a plane. They can be hard as a regular shmup.

 The best crafted types of levels are the ones that include platforming as part of their boss battles because they use the artstyle and ideas involved in the art piece as interesting platforming mechanics. You have a more limited control scheme but the scenario you’re involved in is really interesting and unique. You fight a woman in a play and the setpieces in the play change according to how far you are in the boss fight, for example. The game also has a parry mechanic whereby you can double-jump off of anything that’s coloured pink and fill your super meter in order to kill bosses faster. The parry cues change per boss so it’s really cool to see what they look like every time you encounter something new.

 I think while Cuphead can be utterly unforgiving, I think it should be experienced at least once for how much work was put into making things look so fluid and how creative every boss and level can be. It’s what I wanted the UBIart framework to eventually evolve into. I think the game’s aesthetics and sound are its own reward in addition to that feeling when you finally conquer That One Boss.

  Asura’s Wrath

Asura’s Wrath was a game I was incredibly iffy on even buying at all. I heard about how the ending was part of paid DLC, that the game didn’t have a lot of gameplay, and that it was incredibly unremarkable. I don’t think I had a remarkably low bar or anything for this, but I decided to purchase it on the cheap.

 Asura’s Wrath definitely isn’t a game for everyone, and I feel as though it’s an acquired taste. The main character’s art might not jive well with everyone, the lack of ‘play’ will probably deter some folks, and its episodic nature/final chapter unlock sequence would probably get on people’s nerves. With that said, at first, it seems to be an action-cinematic game without necessarily expanding on the “action” part. A lot of it at first seems to be a bunch of QTEs to move the narrative along, with the narrative not necessarily being that strong in the first place. I think that’s due in part to the game’s structure initially. The first few chapters and the first act truly don’t seem very remarkable. The Buddhist and Hindu aspects of the game are very obvious and very central to the game’s plot, but at the same time, they don’t seem to be specifically mentioned whenever someone talks about the game to me. The Asuras were not one singular character or a god, but a race of warlike beings exhibiting wrath and pride. They were incorporated into Hinduism and Buddhism through their mention in The Rigveda. With that said, I was continually impressed by how many references—whether it was mere mention of regular terms/concepts/people, the artstyle and inclusions of things like lacquer skin, mandorlas, Vajras and Pretas, and also Siddham script—was included in this game. Asura’s Wrath ended up feeling incredibly natural and a nice way of shedding some light on non-Judeo-Christian religions.

 Anyway, I genuinely liked that the game felt like a playable anime. I don’t feel like the game would be as effective if it were put into another genre, or were less cinematic. It ends up getting its message across with its carefully-researched artstyle, great scene direction, well-composed music, and penchant for feeling like it was a fantastic shounen anime. I also feel like the game has more combo-based gameplay than people give it credit for. A lot of the complexities come to the forefront on Hard mode, and going for S-ranks and finding ways to do that quickly and effectively on higher difficulty modes is always an interesting affair.

  Ghost Trick: Phantom Detective

I finished marathoning all of the Ace Attorney games in 2010. I don’t recall if I was doing it before Ghost Trick but I think what enticed me to get the game was its amazing animation. I hadn’t seen 2D sprites move that fluidly in a very long time. Characters have exaggerated movements, exaggerated dances (ie: the panic dance), and they have big flashy gestures to show off the game’s animation engine.

 You’re introduced to all sorts of eccentric characters, many of whom don’t overstay their welcome (Circus case from AA2, I’m looking at you). You have a desk lamp, a doggo, a dancing detective, a little girl who’s the focal point for one episode, etc. Everyone’s dialogue is relatively snappy, their expressions and animations make them stand out from others, and due to how everything is presented right down to the character art portraits, everything just jumps off the screen.

 Because you’re a spirit with amnesia, you’re given the ability to go through time, and also the ability to through environments by hopping from object to object and possessing them in order to influence what happens in the past to save people in the present.  This is just a path to trying to figure out who you really are or to find who or what killed you. A lot of the gameplay revolves around trying to figure out which objects to manipulate and when in order to influence an outcome. It makes the game partially point and click, but also partially a physics puzzler. I don’t think I remember a single object in the puzzle segments that was wasted. In other circumstances, you must manipulate time in order to save someone in their last four minutes.

 If anything, I feel like Ghost Trick is a necessary inclusion simply because of its style and attention to detail, as well as its sort but sweet story where nothing overstays its welcome. Its soundtrack also feels similar. The game is fairly consistent and nothing really changes in terms of progression over most of the game. But I see that as a plus as opposed to a minus for the most part. It helps to bring the game to a compelling and surprising conclusion.

  Assassin’s Creed: Brotherhood

I marathoned all of the Assassin’s Creed games in one year prior to Assassin’s Creed III since I wanted to see what the deal was with the series because the first game wasn’t that great from a play perspective for me. The thing that resonates the most with respect to Assassin’s Creed for me is marshmallow-flavoured birthday cake and a bag of regular Bugles. I started this marathon on one of my birthdays that decade.

 Assassin’s Creed II is one of my favourite games out there, but Brotherhood adds so much to the formula despite its middling storyline compared to its predecessor. But that’s because most of Ezio’s growth happened in the previous game. He is a middle-aged man searching for the Apple of Eden, and while the story does not carry as much emotional impact, that isn’t exactly what I’m looking for with respect to the earlier AC games.

 One of the things I absolutely love about the earlier AC games is its attention to detail even if it isn’t necessarily completely accurate. At first I missed the fact that I could explore many different towns like I could in AC2. But then I realised how big Rome and its surrounding area is. Rome is gigantic, and it has so much attention to detail with historical buildings everywhere (which you need to pay to rebuild), old tapestries from the era, citizens dancing in the streets, lovers flirting with each other behind pillars, etc. There are more roofs and buildings to parkour over and between. The game adds towards that require you to take over them before you can use them to gain access to vendors and things to renovate. You can also find the glyphs (much like the ones from the previous game) to solve puzzles in order to gain access to more lore.

 I genuinely love the renovation aspect of this game. It’s more involved and a lot better than what the previous game tried to do with its economy. You renovate in order to gain access to shops, which in-turn generates income for you, and then you can renovate other stuff based on the income that you generate. It’s something that I’ve come to miss in later AC games. It felt a lot like a Suikoden game in some aspects.

 Platforming missions return in the form of finding parts of a cult and cutting the beginnings of a conspiracy off by its limbs. They’re faster paced than AC2’s tombs and there is more variety in terms of what you platform through. I like both types equally since one allows you to marvel at the beauty of a cathedral, while the other allows you to clock a few folks while making your way through a lair.

 In addition to the lairs, there are different types of missions for each faction that you forge alliances with, there are Da Vinci missions that involve new war toys and blowing things up in a scripted way. Assassin missions can vary in terms of how you carry out the assassins (albeit still scripted; improvisation was not a thing until ACUnity).

 The crux of AC: Brotherhood is being able to recruit assassins to your cause. Random citizens throughout Rome may be under attack by Borgia soldiers, and once you save them, they are recruited to join your cause. You level them up, send them out on missions, improve their gear, and ask for their help when you can and when they’re available. This feature gets expanded upon in later AC games but it gets a very good start here.

 Brotherhood is so full of content and a lot of little things that playing it for me makes it feel like comfort food for me. It may not have the best story and it certainly isn’t as memorable in that sense as its predecessor. But it’s so fun that I can’t help but to feel satisfied every time I turn it on.

  Pac-Man Championship Edition DX

I played the original Pac-Man CE on 360 years ago at my cousin’s house, where they added a timer and a morphing maze to the base original game. I thought it was a neat novel thing at the time but didn’t think further.

 Pac-Man CE DX adds more mazes and more mechanics and more modes to the championship edition base. It added sleeping ghosts where, if Pac-Man moves near them, they wake up and they chase him around the maze in a line until you can finally eat them all and rack up a huge score. You can also elect to use a bomb at a small expense in order to save yourself and send ghosts to the middle of the maze again. These changes assist in maintaining the game’s flow and it never makes a score attack daunting or boring.

 Devouring big long conga lines of ghosts following you is so satisfying while you’re listening to a bumpin’ soundtrack and chilling out looking at the cool lights on the maze. Really and truly, while at its core, PMCEDX is a score attack game, it makes for a beautiful loving chill sensory experience and I couldn’t ask anything more from it.

  Deadly Premonition / レッドシーズプロファイル

I think I, like a lot of people, was introduced to this game via the GB series. I didn’t have an Xbox 360 so I eventually imported the Japanese version for the PS3. The game’s dub was already in English; the text was in Japanese and it was pretty easy and reasonable to get through. Deadly Premonition actually the Guinness World Record winner for most critically polarizing horror video game since the reviews at the time were so all over the place. And yes, I will contend that Deadly Premonition is definitely not for everyone.

 I am not the type of person to play shooters. I actually hate them a lot. I don’t like gushing blood in video games, and I don’t really like the act of murdering someone in a game. I used to play a lot of survival horror games when I was younger on the PS1 and PS2, but a lot of the time you’re dealing with the undead or oddball things going on around you so it’s not nearly as bad I think. It’s funny; I deal with people’s bodily fluids and body parts all the time in real life as part of my job (ie: I’ve had to help dissect someone’s stomach before fresh out of the operating room), and it doesn’t bother me. But the mere act of seeing it done or doing it, makes me feel squeamish. I don’t like it. I don’t even like watching blood being drawn from me or needles being stuck into me, even though I’ve done it to other people as part of my work.

 For the most part, inexplicably, in Deadly Premonition, you’re dealing with the undead anyhow. I’m not the best person at shooters, but I certainly know what’s a good one and what isn’t.  Deadly Premonition is not a very good shooter. It’s really janky. Some of the weapons don’t make sense in terms of how balanced they are. The controls are also really janky. This is not really a surprise considering the game’s strength wasn’t supposed to be its shooter aspects. In fact, those parts weren’t even supposed to be there.

 Deadly Premonition is often cited as an artistic piece or a good game simply because of its story and character writing.  It has an excellent main character who was cast almost perfectly. It has a lot of eccentric characters filling the town of Greenvale to help you solve the murder mystery or help obstruct it. The end result of having an unreliable narrator works out in the game’s favour. It helped sprout pop culture references, weird humour, quirky dialogue and more. I have certainly never watched Twin Peaks but I got the allusions either way since the show was so big. Slowly uncovering how every cast member lives their lives throughout the town and every day makes you more emotionally connected with them.

 Greenvale is more of a sandbox than just a place where a crime is committed. You can play darts. You can race cars. You can do a ton of sidequests somewhere that will reward you elsewhere. You can collect trading cards??? You can carry some lady holding a pot everywhere? You can taste-test for one of your coworkers? You can do a lot of stuff that makes zero sense but I still end up enjoying it all anyway.

 It looks like a PS2 or Dreamcast game or something and I almost found that utterly endearing in the era in which it was released. The soundtrack itself is so dissonant and doesn’t always fit the situation. Sometimes the sound mixing is so all over the place that it often results in making a scene more hilarious than it should be. There’s a song that’s just… American Idiot… on the soundtrack for some reason. Along the way, you start wondering “is this game real? Am I real? Is this really happening right now?” and yes, yes it is.

 In the end, because of its cult success and getting people talking, it allowed Swery 65 to make more games. Deadly Premonition was lightning in a bottle for him. He followed up with D4: Dark Dreams Don’t Die (unfortunately in limbo). He cowrote Lord of Arcana and Lord of Apocalypse. He recently released The Missing. If anything, I’m more interested in what he makes. I’m eagerly looking forward to The Good Life.

  999: Nine Hours, Nine Persons, Nine Doors

Text/Puzzle-adventures, rather than pure visual novels, became a staple of some players’ libraries due in part of the popular Ace Attorney series, Professor Layton series, and whatever Mystery Case File games that were published by Nintendo. 999 is not a pure visual novel. It’s a puzzle adventure game with visual novel elements. With art by Kinu Nishimura and a story written by Kotaro Uchikoshi (who had a few visual novels under his belt), it was difficult for me to ignore this game. I was also at a point where I really wanted to get into a lot of the games that Aksys published so it was a natural choice to buy.

 A lot of the localization and language in this game was edited so that while it stays true to the spirit of the original language, a lot of care was put into making the dialogue and writing sound natural in the English language versus going line by line exactly. It worked out in the game’s favour because the script was fairly large. Based on Uchikoshi’s past games, he likes to ask a question and generally incorporate some pseudoscience in his narratives. 999’s version of pseudoscience ended up being morphogenetic fields (see: Rupert Sheldrake). This theory ended up the basis for a few characters and it is the way the story unravels. He also took inspiration from another older game of Chunsoft’s: Banshee’s Last Cry where the player is put into an unsettling position right off the bat. Indeed, 999 starts the player in media res, but the player is already in trouble when you begin to control the main character.

 The puzzles were added to the game so that it would be received well by a wider audience than just visual novel readers. They were naturally and seamlessly integrated into the experience that the game became almost wholly about the puzzle rooms and whatever flavour dialogue occurred during the puzzle rooms. A lot of inspiration seems to have been taken from browser-based escape games like the Crimson Room from 2004. Escape the Room games were a subgenre of point and click adventure games and it was nice seeing the concept integrated in a narrative experience that wasn’t Myst (see: http://www.fasco-cs.net/ for more information). Due to the puzzles being a fundamental part of the game’s story, with them getting more and more difficult, the final puzzle for the entire game at the end of the true route is both a relief and also incredibly impactful due to using both of the DS screens and also revealing a lot to the player about the narrative.

 If I had criticism for the game, I feel like it would be having to play the game repeatedly, doing the same puzzles repeatedly in order to unlock another prerequisite ending for the true ending. I did not play the later port which rectifies this but I’m not entirely sure that being able to see the branches would be great for the game either. I also feel like, just like a lot of Uchikoshi’s writing and previous games, that when the characters start cracking jokes when they have to urgently do things to not die, the tone feels a little off.

 With that said, 999 is one of the more compelling text/puzzle-adventures from last decade, and it uses its native platform to its advantage. There weren’t a lot of games that used the DS screens to convey a narrative properly but when you are faced with the revelation that the game was using the two screens for a remarkable reason, you feel like the game is a natural and powerful addition to any DS library and gives significance for the dual screens.

  Metal Gear Rising: Revengeance

The funniest thing about Metal Gear Rising was that I actually disliked it at the beginning when I first started playing it. I didn’t know what I was doing half the time, and I didn’t ‘get’ the parry mechanic. At first, I guess I was playing it for the sake of playing it? It definitely took me a while to even warm up to it. The camera was obnoxious (and still gets to be obnoxious in some places), and I felt incredibly nauseous while playing it sometimes.

 It wasn’t until I got to the Mistral boss that I finally … found what I was looking for… I’m sorry. I’m serious, though. Metal Gear Rising truly shines during the boss battles. When I finished that particular boss battle, I’d reflected that I was smiling like an idiot the entire way through. I don’t think I’d fought satisfying boss battles in years prior to that. Returning to previous chapters told me that Platinum really likes to frame and teach players via trial by fire. Learn to parry yourself, here’s a test to see if you can parry well and you can get a trophy for it, here’s the final test to see if you can even parry (Monsoon). I loved that Metal Gear Rising threw a lot of what we knew about Metal Gear Solid out of the window, with a significantly interesting score, boss battles that centre around the climax of a battle (expertly done via excellent sound design as I noted in my SotY writeup this year), and a more interesting and personable version of Raiden. It relies far more on offense than defense and stealth, and that’s okay to me. It ends up separating Raiden even more from Snake.

 The final boss is a love-it-or-hate-it sort of affair, and I ended up loving every single part of it. I felt like it was one of the best final bosses in years. Don’t know how to parry? You’re fucked. Don’t know how to use the game’s other offensive rush tactics like Defensive Offense and running? Good luck. The game makes sure you try to know how to do these things before even bothering to attempt the boss, with the major roadblock being Monsoon. And if you can’t parry by then, the game brutally tells you that you aren’t doing it right by making the boss battles ramp up to significantly require you to use one of the game’s core mechanics for elegant combat. This isn’t the most elegantly-designed game whatsoever. In fact, it can be really sloppy. With that said, it’s one of the better action games I played all decade.

  Papers, Please!

Papers, Please is work. It feels like work because it is work. You can grant freedom and admittance to people, or you can just take their freedom away or not permit them to cross the border. Everything you do is controlled by the government, or by rules and regulations. If you do something wrong, you’re written up. Do enough wrong, and your pay is cut. Do enough wrong and your pay is cut multiple times, and you can’t provide enough for your family. Everything about the game just feels like work. Even right down to the end of the day when the whole thing feels like a budget calculation and spreadsheets. Everything about the game’s UI feels a lot like work. Where do you allocate space to do your job? How much money do you allocate to heat/food/medicine? It ends up feeling very tedious, but somehow fulfilling.

 You are an immigration officer in a fictional Soviet state. The interesting part of the game is that it doesn’t only feel like a job, but it also feels like government and self-evaluation. You end up studying why the government keeps regulating the border the way they do, and thinking about how mundane the job can be. You know that people’s livelihood and family lives hinge on whether or not they cross the border, and sometimes your penchant for following the rules and disallowing people across the border may be called into question when people plead with you to go through. Do you accept docked pay so you can reunite people or save people from slavery, or do you do as you’re told and live with the consequences of your actions. In a small way, your ethics are called into question. It’s a nice reminder that a lot of things, despite people being people and having their own stories, generally seem to come down to bureaucracy and pieces of paper as opposed to a full understanding of humanity or extenuating circumstances.

 I’d also like to add that Jorji is one of the best characters of 2013 to me. I think his glass half-full philosophy / if at first you don’t succeed, try, try again philosophy is something to look forward to whenever I encounter him in-game.

 In many ways, Papers, Please feels a lot like the Milgram experiment. Are you going to make cruel judgement calls to separate a family, or keep people in slavery because the authorities and higher-ups essentially tell you to do your job so you can keep your family healthy? Papers, Please in many ways is written incredibly well. It doesn’t use reams of text to make you understand the overall premise of the game but through your actions, you’re also helping to tell the story. That’s the sort of weird and wonky player “agency” that I find interesting.

  World of Final Fantasy

The Final Fantasy series had a better decade than the last decade, I feel, considering the quantity of releases increase from the previous decade.  However, it had a lot of growing pains to deal with at the beginning of the decade. Final Fantasy games sell well all the time, and more people playing games than ever, it makes sense that sales numbers continuously increase. Attach rates aren’t as large.  Final Fantasy XIV came out in 2010 and it was not a good game at all to the point of having to be structured for its 2013 re-release. Final Fantasy XIII had mixed reviews, as well as its subsequent direct sequels.  Final Fantasy All the Bravest wasn’t exactly the best mobile debut for the series. The brand also suffered from dilution – the Final Fantasy name was attached to almost anything and everything for the sake of sales, and numerous spinoffs were released and the quality varied.

 Final Fantasy Versus XIII and Final Fantasy Agito XIII, originally planned to be part of the Fabula Nova Crystallis setting with Final Fantasy XIII were renamed and rebranded/redesigned to be their own titles: Final Fantasy XV and Final Fantasy Type-0. Both games also had mixed reviews and multiple delays. If anything, I can probably say that this decade was the most divisive for Final Fantasy fans.

 World of Final Fantasy came out during the same year Final Fantasy XV. I think I’ve made my feelings about Final Fantasy XV fairly well-known.  Perhaps my feelings about that game influenced how I felt about World of Final Fantasy but as someone who has played this series for decades (for reference: the first game is one year older than I am, and my first Final Fantasy was the first game), I felt like World of Final Fantasy was a love letter written to fans like me. I am a long-standing fan of the series over the course of decades and have been through its up and downs, and while I don’t like every game in the series (we all know how I feel about half of the games in the series, after all), I can still look at them for their influence on the rest of the series.  I also like the newer games equally as the older games and dislike and like games from all of the eras, so I don’t really have issues with how the series is represented in general unless the games are really bad.

 World of Final Fantasy feels like a Kingdom Hearts-esque exploration of the Final Fantasy games while throwing Pokemon into the mix. It involves a lot of older references as well as bringing new references in and throwing it into a presentation mode that fans of all ages can enjoy. The main characters are chibi which fits right into how the older games represented characters, but they can also grow taller to represent how the newer games are represented. You can create stacks of party members according to their height and balance well accordingly out of classic Final Fantasy enemies and characters in order to battle against other classic Final Fantasy characters, villains, and monsters.

 The game is exactly what I wanted a mainline Final Fantasy to look. It retains a cartoony look, embracing stylization while adding so much detail to the areas’ setpieces so that they also stand out while the characters move around on the map. I also felt like the score was also a brilliant blend of old and new: with Masashi Hamauzu composing the score but also remixing older Uematsu themes to fit within the context of the score. The score was loftier compared to Hamauzu’s older works and the strings, synth, and piano works incredibly well to bring the game’s world to life.

 The idea for WoFF was to try to bring younger fans into the fold, hence the Pokemon-like influence for using and rearing many classic FF enemies so that children could start to recognise them. The loftier script was also written in-mind taking into account both lighter storytelling from older FF titles and some darker bits taking into account newer Final Fantasy games. I’m not too sure that SE was very successful with bringing younger fans into the fold, but the way the game was written fit well with what I remember liking about FF for the first few games I had played. I also enjoyed that characters were chosen for their involvement to the plot versus them simply picking the most popular ones. This is why we got characters like Eiko and Shelke as well as regular FF mainstays. All of the characters were woven into the story well, as citizens of Grymoire as opposed to characters who just have their regular identities transported into Grymoire instead.

 I felt like the Pokemon mechanic was handled well. I even loved it enough to have the idea commissioned in combination with our FFXIV characters.  I liked that it changed up whatever skills you had access to, it influenced your stats, and it looked adorable to boot.

 I would absolutely love to see a mainline game made by this team because I felt like the loose style of storytelling and worldbuilding made for a very good Final Fantasy game, and in essence, WoFF was the real Final Fantasy XV to me. It felt more “Final Fantasy” than a lot of the games released in the same decade, or even compared to ones released in the previous decade. It was a nice step and touch to demonstrating that there were staff members who remembered what Final Fantasy is to older fans.

  Va-11 Hall-A

I’m too young to have a big attachment to older PC games like the ones on the MSX or the PC-88/98. But I’ve always had a fondness for their graphics and their music, like sometimes I feel like I was born in the wrong time or something. It’s one of the reasons why I gravitated hard to the PC Engine—I felt like it was a way for me to finally experience stuff like that.

 Valhalla is supposed to be a bartending simulator but in reality, mixing drinks is a bit of a break and distraction between the visual novel bits. Usually if you’re stuck in a futuristic landscape akin to Bubblegum Crisis or Blade Runner, you’re asked to investigate a mystery or explore it. But nope, you’re a bartender making drinks and making enough to scrape by and pay your rent. You hear a lot about the world from various clientele while you serve them drinks but you don’t necessarily have to do anything with the information they give you.

 I worked as a medical administrator for a few years and over that time, I got to hear a lot of stories, meet some famous people (like been on TV people or youtubers or people who got paid to do things for celebrities), and just meet a lot of neat and interesting regular people. I got to hear stories about people’s health or their personal lives or witness people falling in or out of love. You don’t necessarily have to do anything with that information (in fact you can’t due to patient confidentiality), but the stories become sealed in your head. I can’t help but to think of some of these people I met for those few years or where they are now. I actually run into some of them at my current lab so I keep getting to see some of their stories. You eventually learn how quickly icebreak in situations like these to make people feel at ease or find a topic of conversation while they’re waiting. I even used my phone to gauge news because a lot of the time when I got home, I was too tired to do anything or getting news in the palm of my hand was incredibly easy to do.

 In this sense, I understood Valhalla. It may look dull and it doesn’t look special but you’re the one who makes it so that it doesn’t have a dull moment in the bar. You’re the one who has to make it enjoyable even if your pay sucks. Because you don’t want to be miserable either. It’s through the conversations with others that you learn about Jill because she has to add commentary too. Everyone has a different way of requesting something and it’s up to you to figure out how to decipher it. It’s a lot of like practice in being in the service industry.  You need to consistently gauge a conversation in order to actually give the client what they want to unlock more conversation.

 The pacing in this game may be a little slow, but it doesn’t feel like a hindrance because the writing is really good. Something always happens to keep you interested or you have to mix drinks to keep yourself on your toes. The humour comes across well, and nothing really falls flat. Part of the reason why I feel like the writing is genuine is because the game’s developers wanted to write something that reflected how they live in Venezuela, akin to laughter in the middle of despair according to the developers. The writing is balanced well with the music and the visuals which makes the whole package a wonderful experience.

 This game also has Rad Shiba so it belongs on the list by default.  

  El Shaddai: Ascension of the Metatron

I had gone to Catholic Schools all my life. I was even in a nursery school operated by nuns when I was a toddler, and they always tried to get me to write with my right hand instead of my left (which left me ambidextrous for some things lol).  Because of my experiences with religion growing up, I absolutely had questions and doubts and concerns with metaphysics, theology, and epistemology. Every Catholic, I think, as they grow up and have to take religion classes, and having to take what the province mandates as metaphysics are somehow inserted into math and biology syllabi without even being mentioned in the coursework at all, questions it. And that’s okay. You should. The best religion and philosophy teacher I ever had growing up always said we should question everything we learn including what he taught us.

 Going through school, though, and reading the Bible and having Bible study, my friends and I always sorta wondered what it’d be like if a game was made about this stuff?  I know it may be a little sacrilegious but there are so many stories in there that would fit a game. Throughout my life, as I became acquainted with others from different branches of Christianity or other western religions, I talked with others who played games who… surprisingly had the same ideas and desires?  It probably won’t ever be done. El Shaddai is inspired by the Book of Enoch and while it is considered as non-canon in most Christian and Jewish sects, I guess it might come close to what some of us wanted.

 El Shaddai was a game that I picked up mostly because I bought almost every niche game back then. I just looked at some of the trailers, thought it looked just okay, and picked it up because I felt like Ignition was going out of business and it would be a novelty item. Ignition did not have the best reputation among the people I talked to back then. I played Lux-Pain whose localization left a lot to be desired. Nostalgia was a middling RPG. Arc Rise Fantasia’s localization left a lot to be desired despite being a good game. Deadly Premonition had an English dub already but the text localization wasn’t that great. I felt like El Shaddai was the most polished game that Ignition released. They got incredibly great voice actors, including Jason Isaacs. They developed a score attack combo ranking system for replayability. They had a fantastic art director and background art. They made two bishounen that screamed for female audiences to pay attention.

 All of it didn’t exactly work out for the time the game came out, and I always contended that the game was released before its time. Unfortunately, all the effort put into El Shaddai didn’t exactly save Ignition. I feel like if El Shaddai were released in the later half of the decade, it would have been accepted. However, I also feel like its marketing was mishandled. It doesn’t feel like a Devil May Cry successor. It shifts between genres continuously. It is very much like Nier in this regard: it is not for everyone and it has its own unique feel that sets it apart from other games.  It is also a score attack action game, not a hard character action game.

 One thing I really enjoyed about El Shaddai was that all of the setpieces aren’t exactly the same. It ranges from a watercolour painting to abstraction to 2D children art to more abstraction to Final Fantasy VII and keep going like that. It references rhythm games, 2D Platformers, racing games, action games, Devil May Cry (with its own brand of Devil Trigger to boot), and other genres to create something that syncs up very well with the rest of the game due to lore reasons: different enemies prefer different things so that’s why each environment looks different or the gameplay styles may be a little different. I’m okay with this because it shakes things up per chapter and the game doesn’t feel stale at all. You’re expected to adjust to new mechanics per area.

 The combat is a lot like Rock-Paper-Scissors, where certain weapons beat other weapons, or some bosses change which weapons they’re weak against (and the game gives you other weapons so you can adjust accordingly during fights). The weapon you wield also modify your platforming abilities (ex: one allows Enoch to dash, one weighs him down, etc), and they also vary in terms of character strength. In order to obtain G-rankings for each stage, the player needs to analyse which weapon would be the most useful for certain enemies and combo while guarding, guard-breaking, and stealing enemies’ weapons.

 I am putting El Shaddai on this list because I really enjoyed it for what it was. It’s a brilliant score attack action game with a fantastic soundtrack and fantastic art design. It made for a pleasant sensory experience and made some religious figures fairly compelling with good character designs. It’s definitely one of the most rewarding and prettiest score attack games I’ve played this decade.

  To the Moon

Everyone goes through life with regrets. I’m in my thirties now and I think I’ve done things I’ve regretted, or I didn’t other to do something and I’ve regretted that. Kan Gao was inspired by his grandfather’s illness when he was writing and making To the Moon, he’s noted that when he gets old and when his time would come, he might end up regretting some decision he’d made throughout his entire life.  Everyone goes through that when faced with introspection. You can have the courage to love, you can feel pain, you can live your life fully, or not live it enough. To the Moon explores this, and while the writing isn’t the best and can be a little messy (this gets improved on in Gao’s later sequels to this game: A Bird Story and Finding Paradise), I understand what To the Moon was trying to accomplish. To the Moon is an exploration of everything that life throws at us, and the results of the decisions made throughout our lives that touches everyone and everything around us until our time passes.

 Eventually you build up so many wishes and have a big bucket list but eventually there will come a time where you won’t remember why half of those things are on those lists.  To the Moon relates the story of Johnny Wyles, an elderly man on his deathbed with one wish: to go to the moon. The problem is that he could not remember why. The general flow of Gao’s games have involved two scientists from Sigmund Corp, specialising in wish fulfillment at the end of someone’s life, creating memories for people in their final moments to generate comfort for the patient. How ever you may feel about the moral implications of generating false memories for someone prior to their end of life, this is merely a set up for traveling through time to understand what the patient had wanted and what they’d accomplished.  

 Johnny’s character revolves around another character with an ASD. I will also note that my brother has autism (compounded with a multisystem syndrome). While the central focus was on Asperger’s Syndrome (Tony Attwood books being mentioned in the game), I’m a little happy that ASDs are being brought up in games and the game truly hit home for me. The writing may not be stellar, but I felt that the theme of the impact of medical disorders was communicated well. Particularly the theme of why communication and connections with others is so difficult for those with ASDs and those who take care of those who have ASDs. It’s easy to sympathize with the characters trying to express what they mean to each other.

 The game itself is relatively short. Regardless of its length, players must confront some uncomfortable situations and emotions that people struggle with daily or even at different points in our lives. I’m older now and I appreciate this game a little more since I’ve come to experience more of what the game had been trying to tell me a decade ago. The writing may not be the best, and it can be a little messy at times with respect to how it’s presented and written, but a lot of its messages come across as utterly genuine. Slowly unraveling the reasoning behind Johnny’s desire to go to the moon is beautiful. This game is quite human and I appreciate all three games that are a part of this subseries that came out this decade.  I am looking forward to more.

  Nier Gestalt

If you’ve played a Drakengard game or the first Nier game at all, you kind of know what you’re getting into.  Not the best graphics of the decade, plays pretty janky, having bosses that can be difficult to manage, etc.  So going into Nier Gestalt in 2010, I knew what I was getting into. Not a lot of people bothered playing this game since I don’t think it got as much promotion considering it came out during the same year a mainline Final Fantasy game got localized.  Nier also got a little scrutiny since the west got a different protagonist from the Japanese version.  I will say that this worked out in its favour, since the protagonist being one of the central character’s father versus her brother makes for a better, more interesting story than having yet another shounen protagonist.

 I will support the case that, like the Drakengard games before it, Nier Gestalt was difficult to get into. The gameplay is jank.  Easy is too easy.  Normal doesn’t drop enough stuff to warrant playing on the mode. Hard can be a little hard but eventually it evens out. I generally used spears for the charge portion of the combo but in the end it doesn’t necessarily matter what weapon type you use. It doesn’t even matter if you use magic or not unless the game prompts you to do so. It’s either broken or not and the game doesn’t have a set balance for anything. Combos are boring and you’re essentially mashing a button. Even playing through the Nightmare DLC for extra drops, it continues being like this. I was used to playing shmups so it wasn’t necessarily revolutionary that AoE attacks looked as though they were spat out from a shmup either.

 I wasn’t quite understanding why game started acquiring a cult following, because what I’d played of it was pretty boring and standard. “It’s just a regular ARPG starring an older character versus a young protagonist,” I said to myself. I guess that was the reason.  I didn’t quite understand why, even past acquiring Kaine, because I guess I accepted that there weren’t a lot of NPCs and certain towns were the way they were due to, what I surmised were, RPG conventions. It wasn’t until I finished the questline for the brothers, where their mother tried to run away with a man and abandon her children, that I finally started to understand.

 Within every substory, there was something that resonated with someone.  I couldn’t fathom why someone would want to abandon their responsibilities, and at the same time I understood. Sometimes you just want to take care of yourself. With the way the older brother sort of understood why even through his anger and disappointment, it resonated with me. I finally ‘got’ the story, so I wanted to play more. This became one of those rare games where I played only for the story and lore and abandoned any hopes of the gameplay getting better.  I fished, I upgraded weapons, I did enough sidequests for the trophies. I almost platinumed this game, but since the drop rates are so terrible for this game, I didn’t.

 I started enjoying the game for what it was. It was genuinely a fun romp where it feels like everyone taking part in the game’s design contributed something unique and something they were fond of.  If you read any interview from Emi Evans from this time period, you’d realise language is something she’s particularly fond of, so much of the composition and lyrical content of every song was a phoneme from any language that would make it sound like an evolved or a sort of Esperanto version of a current language. This came into play with the game’s lore, and many of the interviews were interesting to read from back then.

 Many of the game’s stages borrowed from different genres of video games. There were the obvious shmup references, the rail shooter reference, the visual novel reference, the Resident Evil/fixed angle horror game reference, the Shadow of the Colossus references, the 2D platformer references, the Zelda references, the top-down puzzle game references, etc. For what the game lacked with respect to its combat, the game excelled at reliving genres and putting maps together in such a way that it felt like an ode to other games and genres that inspired it. The City of Façade’s language being a loose phoneme reconstruction of Japanese felt right at home with the dungeon’s Zelda references complete with Zelda fanfare for me. The Forest of Myth being one long visual novel was so hilarious and unique at the same time.  

 Playing more of the game and opening up the lore with every playthrough was neat. I don’t particularly like when games waste my time, but Nier made each new playthrough worth it. Killing bosses quickly for a trophy, redoing dungeons to see the enemies’ perspectives, and unlocking more of the story and learning more about the world that came from a Drakengard ending felt satisfying. As someone who was studying linguistics at the time, constructing nonsense words from drops out of different morphemes to act as accessories or armour was really amazing for me.

 Much of Nier felt organically put together, from characters’ writing and what they wanted from each other, to the dungeon design, to maybe even the combat design… it felt like a truly special game made from the heart with as much lore as it could possibly include. I had purchased the Nightmare DLC primarily to get weapon drops and while it isn’t nearly as interesting as the rest of the game, it has some implications for the lore. The music and resulting soundscape lends so much to the worldbuilding and includes many peoples’ languages from the area with French, Japanese, English, German, etc phonemes thrown around to sound utterly organic and special.

 At the end of this, I have come to realise that despite saying to myself that I never played this game for the game… I’ve been lying to myself this entire time. I actually did play the game for its game parts. Those are the bits I remember the most about it, and they’re the reasons why I genuinely loved the game. It’s unforgettable for me and it’s why it’s one of my favourites in general.

  Final Fantasy XIV: Heavensward

I did not care about MMOs in my late 20s because I was far more focused on finishing school and actually working hard in my field. I think by the end of university, I barely played games because I literally didn’t have time for them. I probably stressed myself out a lot. I threw myself into a semester where I had what felt like 500 evaluations, had to study a lot, had to write papers, and I ended up breaking up with my ex-boyfriend amicably. I was on my own a lot and to be honest, I think I felt okay that way. I think maybe others thought I was unapproachable.

 My best friend now turned fiancé had been begging me to start playing Final Fantasy XIV for a really long time, since he was in the beta prior to its 2.0 release. I made excuses and said I won’t play until a speedster class was implemented since nothing really stuck out at me. In reality, I was mostly busy. Well, Ninja got implemented late 2014, so I ran out of excuses. I got a copy of ARR but to be honest, I didn’t have time for it and I didn’t play it much so I didn’t bother to try harder since my focus was elsewhere.

 Luckily, I got into a semester where I didn’t have that much coursework to think about so I ended up playing XIV more. I caught up during ARR and really my intention was to only play through ARR and finish the story and quit. But my fiancé’s friends were so nice and welcoming to me. When the servers shut down for Heavensward maintainance and I’d finished the ARR storyline literally that night, I made the conscious decision to buy Heavensward. By that time, I was falling a little too hard for my best friend and I really liked my newfound friends. I wasn’t ready to leave Eorzea yet.

 Of course, I had some quests to finish up during Early Access so I didn’t get the opportunity to play with anyone I knew during the main storyline for Heavensward. Heavensward was leaps and bounds above anything I experienced in ARR. The story was well-written, the English voices were recast and given better direction, character deaths were meaningful, a smaller cast made for good character building, the environments were large and you could only assume things happened in each area eventually (they didn’t in the long run), each area was different, it reminded me of Canada… Heavensward made me feel at home.

 Almost every job felt built on, since nothing was really truly culled. A lot of what you got felt like an extension of what you already did. The three new jobs didn’t start out too well or too balanced. Machinist was a mess. Astrologian felt weird. Dark Knight had some growing pains but probably performed the best out of the three once the Alexander raid was implemented given that its specialty at the time centered on magic defense. I was one of the five people who really liked bowmage since it required you to think before you cast but you still did a lot of damage if you thought before firing. I swapped to an omnihealer main officially halfway through the patches because my fiancé requested it.

 Heavensward had a lot of growing pains. For all the team did for the base game, they took a six-month vacation to recharge. 3.1 wasn’t really worth the wait and a lot of people quit the game or stopped playing because nothing really meaningful was added to the game other than a faceroll raid, poorly-tuned exploration missions, and two dungeons. Gordias earlier in the expansion nearly killed the raiding community as a whole.  3.2 didn’t fare too much better, though it did add the best raid tier that has yet to be topped. 3.3 was when FFXIV solidified itself as an MMO with a grand story to tell, with one of the best conclusions a Final Fantasy game had seen in almost a decade. The sound design was near-perfect for this patch, and it was when a lot of us genuinely felt comfortable with the game and its future. Heavensward wasn’t perfect; it still had its missteps and balancing issues, but it was the most comfortable and profoundly skilled I’d ever felt with the game.

 Final Fantasy XIV may not be what it used to be.  I feel old and I feel like I’ve played the game for a really long time.  Now while it’s riding the wave of success, currently having the best story Final Fantasy has seen in a very long time, I can’t help but to remember Heavensward when we finally felt assured about the game and it felt like a cohesive gift to players who were active at that time.  I got to know so many people during Heavensward, and now I’m engaged to my best friend partially due to our experiences together playing at that time.

  Undertale

The late half of 2015 was a really bad year for me. The first half was really great. I started playing FFXIV often, I finished the hardest year I’ve ever had of my 9 years of university so far with high grades and was going full-on hard into my residency year, I fell in love with my best friend.  I was pretty happy since I finally felt very successful.

 If anyone can recall (or this may be new to the person who is reading this), towards the end of 2015 my dad was falsely accused by our neighbour of possession of a weapon (it was a gardening tool), and he had a restraining order put against him so he couldn’t live with us anymore.  My little brother is severely disabled so that’s why I still lived at home so I could help out.  Without my dad around, it was so much harder.  I came home from my days at the hospital every day after a 12-hour day, had to babysit my brother since my mom still cooked food to carry for my dad who had to live at my aunt’s, somehow had to find time to study for my licensing exam and do some work for school and my thesis, had to find time to socialise a tiny bit otherwise I’d go crazy, maybe had to take my brother to his appointments by coming home a little early, and then had to find whatever time I had left to sleep.  I stopped posting on message boards because I literally had no time to do so and I wouldn’t have anything of value to contribute to discussions either.  

 I detached myself from a lot of people. It was actually kind of lonely. It was really hard. I lashed out at people when I shouldn’t have. I don’t look back on those days other than the bright spots with fondness at all.

 Before that, everyone was telling me to play Undertale but I sort of didn’t want to? I felt like the fanbase was sort of making the game unapproachable around the time it came out. By the end of the year, I was so out of the loop about games that I didn’t give a hoot.  A friend of mine, Shadow Hog, bought the game for me on Steam. I still have the e-mail message for it.

 My now-fiancé got his own copy so we could play it together because at that point I didn’t want to do much of anything alone. I was actually sinking deeper into depression and verging on a mental breakdown. I was not mentally sound and every single week it felt like someone had to save me from doing something stupid.

 I started Undertale and I didn’t really think much of it at the start.  I can’t remember when it started clicking with me but maybe it was around the time I got into a battle with Tsunderplane and Vulkin and got to Hotland that I gave up and started having fun with it because it was just… silly. It was time to let down your hair and have some fun for once and not feel completely guilty about it.

 The idea of having to win and achieving a certain ending by sparing your enemy isn’t necessarily new – SMT’s demon negotiation, Silent Hill 2’s morality system, and MGS3’s fight with the Sorrow have some sort of sparing mechanic. The hybrid of a turn-based battle system with enemy negotiation, as well as dodge system inspired by a shmup makes every encounter both strategic (ie: having to avoid bullets while also sparing enemies in a set order per battle) and consistently active.  Unless you are going for a certain other ending, you cannot just sit there and hold down the attack button and expect to win.  That said, this makes a lot of encounters a little longer than a standard RPG battle, but the flavour text for each uniquely-designed enemy makes many of the battle worth it. Undertale isn’t a hard game unless you’re playing on a certain route. But I don’t necessarily think the gameplay part of Undertale speaks properly for it. The dungeon maps are relatively simple. They all have their little gimmicks. The battle system is relatively easy to understand.

 The reason why Undertale has such a prolific fanbase is primarily because of its character writing and ability to make and use memes properly enough that they catch on. Many of the characters are easily encountered early, are easy to draw (propels a lot of fanart), and understand due to the character writing. What also helps is that the game is 4-6 hours long, and it came out at the right time with the right kind of word of mouth.  Undertale could have easily fallen into the sea like so many other RPGs before it but it didn’t.  My fiancé and I were shopping for work clothes one day at a store that sells business clothing, construction clothing, and scrubs. He was wearing a shirt with the Delta Rune on it since he loves game shirts that are relatively subtle. Even then, one of the sales clerks pointed it out and was pretty excited to see it.  It was pretty crazy to both of us how popular Undertale had gotten.  I don’t think the popularity was unwarranted. I think it’s a fantastic game, helped by a considerably lengthy varied and catchy soundtrack. Granted, I was not as exposed to how explosive its popularity was when it came out. But I understood why so many people liked it. It wasn’t for its gameplay.

 As I progressed through Undertale, instead of thinking of the lore (which was well-written), I was thinking of how the monsters treated your character with respect and love because you treated them that way.  They didn’t go out of their way to fear you, and welcomed you as one of their own.  In the end, they were hesitant to even kill you, and you were hesitant to kill them.  Even then you still had the spare/save commands.

 At the very end, you only had the Save command.

 And that’s how I felt. When Hopes and Dreams started playing, I couldn’t help but to cry. When I was repeatedly nudged to press the Save command, I didn’t actually feel like the game nudged me to do so. That was something I wanted to do. Just remembering how depressed I was when I started playing this game and then progressing to its true end with Hopes and Dreams and SAVE the World playing, I couldn’t help but to feel like my hopes and dreams were still alive.

 Even if I was going through a really hard time in my life, hope was still there as long as I had people around me that supported me all the way through. That was the time in my life that I realised who my real friends were. And in the end, I felt like Undertale told me my friends saved me and that my dreams weren’t crushed, now matter what threw at me.

 And that’s why it’s my game of the decade. It may not be the most perfect game that came out this decade or the objectively best-crafted, but it did so much for me. When I was prompted for my game of the decade, Undertale was the first thing that popped into my head. I didn’t question it. I just knew. I don’t think we’ll get another Undertale again in my lifetime, but I’m glad to say that I gave it a shot and I love it for what it is.

[lunapixu]

Pixu Ponders: My Favourite Games of the Decade

As the 2010s come to a close, I wanted to take a look back on my gaming experiences of the past ten years. I wish to look back on the games that I believe shaped my teen and young adult years, games that defined this decade for me, and all my treasured memories with them.

As we go into this, please bear in mind that these are my opinions. If you don’t like what you see, cool.

Furthermore, just because of long this darn post is, I’ve had to keep my list pretty short. If there’s a specific game you think I’ve missed, it’s because I had to cut it out.

Among the games cut from the list are: * Portal 2 * Super Mario Odyssey * Undertale * A Hat in Time * Legend of Zelda Breath of the Wild * Stardew Valley * Monster Hunter (3U and World) (If you wish for me to write up about these games like the list below, shoot me an ask.)

The Binding of Isaac (2011 and 2014) (Franchise)

To me, the Binding of Isaac is a trend-defining indie game that, along with a couple other entries on this list, I believe contributed to the indie game boom.

The Binding of Isaac, created by Super Meat Boy's Edmund McMillen, depicts a young boy trying to escape his mother (and his inner torment) by delving into his basement and slaying countless monsters with his tears. Amongst many things, The Binding of Isaac stands out due to its simplistic art, unusual fleshy monsters, frequent depictions of... excrement, and a variety of other unsavoury material.

In spite of the crass material and immature nature its contents carry, The Binding of Isaac is a surprisingly deep and heavily replayable game. Many Roguelites that have sprung this decade like to say “No run is the same” but nowhere is this more clear than in the game that kickstarted the modern Roguelite trend. Within the game, Isaac can collect a wide variety of items that can help better slay monsters or navigate the labyrinthine levels of his basement. Isaac can pick up an item that allows him to shoot a large laser of blood, he could obtain a knife to throw at enemies, he can pick up an item that suspends his tears in midair and then release in a volley of bullets Kylo Ren style. When this game says “No run is the same”, it means it.

On Steam, I have over 250 hours on the game’s 2014 remake (Binding of Isaac Rebirth). I have approx. 300 of the 413 achievements the game has to offer. To say that I love and play the heck out of this game is an understatement. And it’s not even my most played game on Steam.

Hollow Knight (2017)

Hollow Knight was a surprise favourite of mine. Being a big fan of metroidvania games, I knew I was going to like this funky little bug game. After all, the game seemed fun and was going to be something of a hybrid between Metroid-style exploration and progression but a Dark Souls health system and storytelling. What’s not to like?

I will be real here, the first two areas of the game weren’t all that amazing. Though there were pleasant sights, neat characters, and simple but kinda fun gameplay, I couldn’t help but feel like wanting... more. Something more captivating. Perhaps something more amazing might await me if I push on through. A hurdle that I needed to overcome. Would it actually happen or will this fun but unimpressive saunter through the world of insects be all there is? And boy were my instincts right.

I will not go into the specifics but the game’s appeal and charm finally clicked for me after a few hours in. It was a combination of taking on two very specific bosses and entering a specific area of the game that instantly made me fall in love. I was enamoured. What had simply been me crossing a game off my bucket list had turned into an adventure I was whole-heartedly engaged in. This game’s adventure was now my own. It was an adventure that I hadn’t been quite as engaged with as... Kingdom Hearts, honestly. And if my posts on here are any indication, that’s quite the feat.

Hollow Knight’s usage of atmosphere, clever writing and worldbuilding, and simple but challenging gameplay are something of a brilliant recipe. I was fascinated by every single snippet of dialogue, smiling as my little insect buddy clashed with perilous foes, wowed by some of the levels, and charmed by every character who I happened to stumble upon.

Though I only played it so recently (Spring 2019 for reference), I can very confidently put it as one of my favourite games of all-time. A list shared by greats such as The Legend of Zelda Ocarina of Time, Cave Story, Kingdom Hearts 2, and Super Mario Galaxy.

Terraria (2011)

Ah, Terraria... The “2D Minecraft”, the “Minecraft but not as good”, the “Starbound but not in space”.

Terraria, as you may know, is a 2D action-platformer sandbox. It’s a game that drops you into a large (but not unlimited) world and says “You’re gonna need to gear up, bucko.” So, you tear down some trees and dig up the land a bit in a bid to gather some resources. After all, this is a sandbox! It’s mine, mine~ Mine for the taking~ It’s mine, boys. Mine me that gold! *ahem* Seems I got a little carried away. Anyways...

Within the first few minutes, the sun starts to set on Terraria’s world and you’re being mauled apart by zombies. That is unless you built a house and hunkered down for the night to avoid the ghouls that intend to ruin your night. Seem familiar? Well, it should. And it’s why people drum up the comparisons above, flag it as just another sandbox game, and leave.

This, I believe, is not really a fair look at Terraria. Yes, you mine blocks. Yes, you fight monsters at night to survive. But that’s it. Those are the only substantial comparisons to be made. Terraria, as I described earlier, is an action-platformer. To me, Terraria’s sandbox nature and simplistic Minecraft-esque survival come secondary to what I consider to be the meat of the game. The exploration, the combat system, and the shenanigans.

Within the game are several set pieces to explore and countless bosses to fight. Players are expected to plunge headfirst into the rotting landscape of the Corruption (or the more eldritch and bloodied Crimson), delve into the skeleton-filled Dungeon, brave the perilous Jungle, and even venture into Hell itself. In exploring and slaying the many powerful foes that await the player, one can go beyond just “I swing my Iron Sword at a Zombie. Yaaaaaay... =_=“ and into extreme levels of zaniness. Wanna beat up Martians with a lightsaber? I don’t recommend it but you can. Wanna kill a giant robot worm of doom with a minigun? You bet your butt you can.

Minecraft (2009, 1.0 release in 2011)

To say Minecraft didn’t define the 2010s would be a blatant lie. As the #1 best-selling game, a spot hotly contested with Tetris, it’s hard to deny the influence and critical success of this simple voxel-based sandbox game.

What is it that makes Minecraft such a perfect and fantastic game? To me, it’s all in the simplicity of it all. The lack of goal, the blank slate of a world you’re given, and the openness and accessibility of the game. Minecraft expects you to take whatever inspiration and ideas you may have and construct them in this blocky world.

Wanna build a plane? Wanna build a sweet mansion? A bit too normal for you? How about a working computer? What about recreating settings from your favourite games? In Minecraft, you can do just that. And let’s not even forget about the enormous modding community this game has. Automation, adventure, aesthetic, graphical enhancements, quality of life. Mods have everything and more!

Above all else, Minecraft helps to connect. With its huge player base and countless public servers, you’re bound to find a community that will welcome you and treat you right. Minecraft is best played in multiplayer, in my honest opinion. Explore caves with friends, collaborating on build projects, or just plain old chatting and hanging with folks.

For me personally, Minecraft is an invaluable game. Through it, I met countless people, made many friends (several of which I consider my best friends), I even found love through it. Minecraft came to me at a time I needed it most. As a late teen, I was at one of the lowest points in my life. The game allowed me to express myself and work past what issues I had developed over the years. In finding friends and a way to express, Minecraft helped shape me into a much better person. Were it not for this game and the folks I met through it, I wouldn’t be the person I am today.