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lunatic-fandom-space · 1 year

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Alrightyyyyy, I just watched the 2018 JCS Concert version and its probably my least favorite version of this musical so far and, unless theres another 'official' proshot of it that Im not aware of yet, I have little doubt that this will be my least favorite professional version. Its not bad, theres certainly things to enjoy but theyre mostly smaller details and I dont really think the whole managed to be greater than those smaller parts, yknow?

Something that I enjoyed overall as someone whos watched and analysed three other versions of this musical before watching this one, is that there were a lot of points where I could tell that the people behind this were inspired by previous versions but still trying to put their own spin on it and not directly copy certain ideas, that was fun

The camera work was fine, there were a few shots that felt kinda awkward like one where Pilate or some other character I dont really remember, just stares dead into the camera with such a weird expression, it made me cringe a little, but otherwise I dont have much to say about it. I unfortunately dont have a whole lot to say about the staging or lighting or costumes either when I usually talk a lot about those so Im expecting this post to be on the shorter side just for that lmao. Like with the musical overall, those elements arent bad theyre more just lacking or dont quite come together as a whole. I did really like the set though, that sort of under construction cathedral looks really cool and it fits this more abstract telling of the story. It kinda reminded me of the 2000s version, which was also a lot more abstract than either the 73 or 2012 versions but was bogged down by these weird occasional half-hearted attempts at more modern political commentary, which this 2018 version doesnt have so I think its an improvement in that way. And just to be clear, I dont have an issue with newer versions of JCS trying for more relevant political commentary at all, I think its actually very appropriate, they just didnt do a very good job at it in the 2000s one and it honestly seemed like they were going to have the same issues in this version at the very start but they didnt, so that was good. The direction in the 2000s movie is wayyyyyy better though and I found it more enjoyable overall despite that and despite really disliking the lead actors

Speaking of which, I actually didnt really like most of the performers in this one. Judas started out great, he reminded me a lot of 73!Judas which is high praise from me since thats my favorite version and when I rewatched it I was metaphorically laying on my stomach with my head propped up on my hands kicking my legs back and forth like a middleschooler with a crush whenever he was on screen. Unfortunately I do think he got a bit worse over the course of the show to the point where he was 'just' good, which, hey, thats still not bad at all and pretty enjoyable to watch and listen to but still a bit of a disappointment because I honestly thought he did an amazing job with Heaven On Their Minds and even in Strange Thing, Mystifying (although that song had a bit of a weak start imo) and his part in Everything's Alright so the decline was still pretty noticeable. I did like his body language and the way he characterized Judas though

This Jesus was kind of a funny one because based on his appearance and vibes alone he probably has the most Just Some Guy energy out of all the Jesuses Ive seen which is saying a lot and yknow, I enjoy that. And then he opens his mouth to sing for the first time and its absolutely amazing and Im like WOAHH because his voice instantly makes me Get why people would wanna listen to this guy and follow him and stuff. Like, I think Jesus is a very difficult role because you have to balance coming across as detached from the people around him because hes experiencing stuff they genuinely cant understand with coming across as charismatic enough to make it believable that this cult of personality would form around while not making him come across as too much of a holier-than-thou asshole, and I think casting a pretty unassuming guy with a kind of stiff but fairly unremarkable way of holding himself but whose voice is very powerful wouldve been an excellent way to portray him. Im saying 'would have' because while hes great for his first few lines and has some moments where I think he really shines sprinkled throughout the musical, but overall he just kinda gets worse from song to song imo. Its not even like hes good for the entire first act and then gets weirdly bad in the second one, like the reverse of 2012!Jesus who was pretty weak in the first act but then randomly got really good in the second one, he just gets progressively worse its a real shame. But I still wanna mention those moments where he really shines, spoiler alert theyre mostly when he gets angry; when hes yelling at Judas in Strange Thing, Mystifying, hes pretty good in The Temple, both when hes yelling n shit and when he has that short quiet verse between the two parts and during his parts in Trial Before Pilate. Funnily enough those parts are also all parts I really liked in the 1973 german version and his delivery is very similar to that Jesus but thats just a coincidence lol

I also have a lot of things to say about like, the non-singing parts of his performance but in the interest of not talking about Jesus for too much bc I still have a lot of other stuff to talk about, Im just gonna talk about something I noticed during Simon Zelotes in this. In the other versions Ive watched it was pretty clear that Jesus was uncomfortable during that part and I noticed that he really wasnt in this 2018 one, which I initially found interesting (in a positive way) because I hadnt seen that interpretation before but then I thought about it some more afterwards and I was like, ohhhhhh yeah, theres a reason I havent seen that interpretation before huh. I think him being perfectly comfortable during this scene makes him feel a lot more, idk if this is the right word exactly, thoughtless ? he feels very No Thoughts, Head Empty, is what Im trying to say. And it makes him come across as less complex and kind of undermines a big running theme in this musical which is that no one really understands Jesus because hes mentally ill on a mission from god. Also, Simon Zelotes very much feels like its trying to comment on the hollow nature of praying to a guy whose actual teachings you dont really follow and that really loses its impact when Jesus just like. agrees, basically. On top of that it makes Poor Jerusalem kinda come out of nowhere so that makes for a weird experience

So, since Ive talked about Jesus and Judas individually I also wanted to spare some time to talk about what theyre like together since their relationship is a pretty big focus. I dont have a lot to say about the kiss that I havent already said in my first post about this version, its awkward I hate how the hug thats supposed to happen afterwards comes in weirdly too late, I did not like it. at all. And after I made that initial post I realized that part of the reason it felt so weird and awkward is probably because they have basically no physical contact with each other before (or after) this and like. Theres a lot of physical contact between Mary and Jesus and Mary and Peter and I think there was atleast an attempt from her to reach out to Judas and touch his arm at some point and when you pay attention to the extras theres a lot of touching going on too, especially during the The Last Supper which is yknow, the scene that almost directly procedes the kiss so its like, extra noticeable. And its extra weird because theres a lot more physical contact between Jesus and Judas in other versions and in this one its like they wont even stand too close to each other for some reason.

Anyway, moving on to a character that I usually dont have a lot to say about: Mary. I like her but shes not that complex and while her songs definitely definitely arent bad (bc none of the songs in this show are bad imo) theyre not necessarily songs I would listen to on their own, but again, I like her and I think she usually manages to seem interesting even when the play doesnt really focus on her. So it surprised me that they could make her so bland in this one. Ive thought about this for quite a while now and I still cant quite get a handle on why exactly she comes across like that, but I think its because shes lacking that bit of edge that Mary had in the previous versions Ive watched. Like, in the 1973 movie shes kinda grimy because everyone is kinda grimy (I think 70s movies are just kinda like that) and I remember her voice having a bit of roughness to it and she did come across as a bit cold on my first watch, like, I was obviously expecting her to be a pseudo-love interest for Jesus but thats just because Im aware of certain conventions that dictate that any piece of media needs some kind of romantic subplot, not because she actually came across as romantically interested in him. Then in the 2000s version she was pretty passive agressive towards Judas and they did some stuff to make them more obvious foils of each other and Ive talked about this before, this ended up making Judas come across as really weird and bad there but I do think Mary came out of it as more interesting so that was neat. In the 2012 version I'll admit its mostly just her outfit that makes her come across as interesting to me but idk, I also really like this actress and it was neat to see her do stuff with the rest of the ensemble in the background sometimes and she definitely never came across as generic in the same way that 2018!Mary did.

The most interesting things she did were, in this order: go up to Judas after Jesus yelled at him in Strange Thing, Mystifying and he walked away, her touching everyone and calming them down at the start of Everything's Alright and her sitting down between Jesus and Judas and holding both their hands for a moment before leaving to put a candle on the table at the start of The Last Supper. And one of those things wasnt even really interesting! And honestly, shes essentially the Token Girl Character of this very male-centric play and those almost always play this kind of mediator role, so this doesnt really help in making her feel less generic to me. Also, like, idk if this really makes sense as a complaint but I feel like encapsulates my issues with this Mary and its that, when she was doing I Don't Know How To Love Him and she got to the line "I'm the one who's always been/So calm, so cool, no lovers fool" I was just like "sorry girlie, I dont believe you, youve got massive Lover's Fool vibes" yknow. Moving on

I dont have much to say about Caiaphas, Annas and their goons, they were all pretty good. My main issue with them was that they were oddly quiet during This Jesus Must Die but honestly thats an issue with the entire production. Like, idk if something went wrong or if it was meant to be like this bit I was watching this on my computer with the volume wayyyy louder than I usually have it and it was still really quiet for some reason. The fact that the audience would applaud whenever a song ended or whenever a character entered or reentered the stage didnt help bc its like, most of these songs come one right after the other with nary a break inbetween bc they obviously didnt accomodate for that and it doesnt make for a very pleasant viewing experience. But back to the priests, I wanted to give a special shoutout to that guy that sings the line "A rabbel rousing mission that I think we must ABORT" I think hes great, hes absolutely insane, hes a white boy off the shits and I love him for it

Speaking of off the shits white boys, I also really liked Simon. I dont actually remember what his singing was like or if I thought it was good or not, I just remember him going wild on stage while looking like the older version of a Die Wilden Kerle movie villain (if youre not german or didnt watch those, please google "Die Wilden Kerle Gonzo", "Die Wilden Kerle Fabi" and "Die Wilden Kerle Darkside" to understand this joke) and sometimes thats really all you need. Also, during The Last Supper everyone is being very effectionate with each other and I love that Simon is included in that. Like, hes this horrible little man whos done nothing except advocate for violence and look, hes got a friend who hugs him, hes got a woman who hugs him and hes got a guy friend who comforts him when their spiritual leader/maybe friend? has a mental breakdown and starts yelling at all of them all of a sudden. Love that for him

I didnt like Pilate though. He did a good job I guess, but idk the vibes just werent right with him. Funnily enough I had the exact opposite of that issue with Herod, whose vibes were absolutely impeccable but whose singing was just kinda strange and underwhelming. I did like him going up to the audience during that dance break to be like "Whos your king?" or whatever, thats was neat

Thats it as far as my thoughts on the cast go, it wasnt great but I did really like the ensemble. I dont have too much to say about the individual musical numbers which is why I didnt split this post up the way I did my 2012 JCS post. I dont think they did anything particularly noteworthy or striking with the chereography or the lighting that wasnt done better in other version, the most interesting part was really the fact that there were two 'audience-walls'. What I mean by that is that, usually when you have a stageplay you have your set which has three actual walls and then one non-literal wall that the audience can see the story through, but this one has two, its like a rectangle with two sides missing essentially. But they still dont do too much with that, the staging of certain numbers is a bit more dynamic than it would be on a traditional stage (like Damned For All Time/Blood Money for example) and it seems like the performers have a bit more freedom to move and turn around and whatnot but thats about it.

One thing that I did really enjoy was the use of these white scarves. They show up during Hosanna for the first time and the ensemble members and Jesus all wave them around, they look cool and I like how actually wear them and put them around their heads during Jesus' second verse. Soon after that we get The Temple, which I think couldve been better, especially the first part, but during the beggars part the ensemble is also wearing scarves (I think theyre more of a light gray but its kinda hard to tell with the lighting) and I know its a stretch to say that this is supposed to be some sortof parallel or whatever between the two scenes because theres only so many ways you can wear a scarf but idk, I really like the idea of contrasting these two scenes where Jesus is surrounded by his followers. Im pretty sure the next time they appear its during The Last Supper scene where they all have them around their shoulders and then when they all use them as blankets when they go to sleep at the end, I thought that was really cute. Also, Mary puts a scarf around Judas' shoulders and Im pretty sure its light gray instead of white which could be a nod to The Temple scene earlier but I actually think its meant to kindof tie in to Jesus' outfit. I just realized I havent talked about the costuming at all but Jesus is wearing all white with a light gray jacket over it, so yeah. The next time the white scarves make an appearance is during Pilate And Christ, all the ensemble members wrap them around their chests like some sort of faux toga and then they take them back off for that mini Hosanna reprise and wave them around like they did during the song proper. The last appearance of these scarves is during Judas' Death, they're scattered all over the floor and he picks them up and hangs himself with them. I think I wouldve preferred it if he just kept that scarf Mary gave him and hanged himself with that but at the same time this is really good and interesting too, yknow, hes hanging himself using whats essentially a symbol Jesus-worship while telling god its his fault that hes doing it. good stuff

I was getting close to ending it here but remembering that I forgot to say anything about the costuming earlier caused me to remember all the thoughts I had about it but Ive already spent too much time writing this and Im starting to forget stuff, so here are my basic thoughts about the costuming in a quick bullet point list:

the outfits do an overall better job at actually looking cool and/or punk than they did in either the 2000s or the 2012 version, although i might just feel that way because theyre the most up-to-date fashion-wise

Pilates outfit was really weird and I still dont know what to think about it, I wouldve probably liked it more if they cast a different actor with better vibes

Herods outfit was great, no notes

I didnt like those background dancer outfits, they looked like bird-themed strippers and they wouldve felt more appropriate for the first half of The Tempel (that part was also in desperate need of some dancing, basically all they did there was rub their faces against a table full of glitter for about two minutes)

Judas outfit feels like an upgrade of the one from the 2000s version, he actually looked cool, h wore red and he showed some cleavage!! Not as much as the 73 version but still

JUDAS GOT TO WEAR WHITE AGAINNN well, he got to wear an outfit covered in white rhinestones which really looked more silvef but I dont think Im getting anything better than this at this point so I'll take it

I like that Mary wore orange like in the 1973 version and her dress was very beautiful but the lighting was kept very cool/neutral throughout most of the show so it made her stick out when she wasnt supposed to and it was really distracting

I like that all the ensemble members wear white and gray outfits for the crucifixion again, to tie in to Jesus' outfit

So yeah, Conclusion Time

I'd give this one a solid 6.5/10, for reference I thought both the 1973 movie and the 2000 recording were 7/10s and the 2012 version was an 8/10. Maybe thats a pretty high score for a proshot that I didnt have a lot of kind things to say about but idk, at the end of the day I still had fun listening to and watching a musical I really enjoyed

#jesus christ superstar

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cfloki · 7 months

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Software Pūmanawa Object Creation

In this post I will illustrate my process of creating an object in Adobe illustrator 2024 using the skills I have learnt over the past week. I've got to admit this was not a simple process, and I probably did not choose the best object- or animal. In whch i chose to create a cat.

First things first I set up my workspace, bringing out the swatches, gradient and layers tool. I also toggled the control bar at the top of the screen. For my file settings I had it set to pixels and RGB.

Then I begun laying down simple shapes, trying to get a rough understanding of where I wanted to place parts of the cat. I started by using the ellipse tool, creating a circular shape for the head. Next I used the rectangle tool and adjusted the shapes to my liking.

The next thing I did was place additional points on the circle using the + key. I used these points to drag out fur and a muzzle for the cat. I used rougly 3-4 different points around the head for this process.

My next stage was to begin shaping the body and tail of the cat, I rounded it out and created a tail that curves around the body. I did this by using the pen tool and creating some anchor points.

The next step was to try and make some sort of front legs, this, as you can see, did not go very well. it was incredibly difficult and it was very very fustrating. However, I still had to persavere. I created this first front leg using the pen tool.

The next thing I had to do, was create a second front leg. I did this by duplicating the first let and deleting the segments that werent visible from the perspective.

My next two steps were the creation of the Eyes and nose, and the hind leg. The hind leg was the difficult part, trying to get it to sit correctly. The easy part was the eye, I used the ellipse tool once more and then used the gradient tool selecting the second gradient option and then dragging the green up from the swatches. The nose I later changed but it was also fairly simple, just using the pen tool.

A quick short step was just adding the white shine to the eye, all that was nessacary was using the Ellipse tool again but having the stroke and fill set to white. This however is where it went down hill.

You might look at this and go 'hey! thats not the same cat!' its because it isnt, excluding the head. I ran into an issue where when i went to fill the body there was a giant invisible white square, I tried for ages to fix this but only ran into more issues. One of the ways I tried to fix the problem was entirely redoing the body, which is why the shape changed so drastically. After googling and searching for solutions and finding naught I decided on just making the cat white, which wasnt my plan but it was the only thing I could think of. As for the coloring I added an inner ear and redid the nose, setting the stroke and line to two diffrent pinks, one dark and one slightly lighter.

My last and final step was adding some sort of shadow, as the body is nearly fully incolorable I went for adding a shadow to the bottom of the cat and the front leg. You can actually see a bit of the problem square on the front leg shadow. It is incredibly fustrating. This above is the final version of my design. Though not entirely happy with the outcome ( because of the coloring issues ) Its cute enough and i think it demonstrates my learning. I also seperated what I could into layers.

Overall, the most difficult and slowest part was definitly the coloring process I chose the cat because I like cats and know their general anatomy, but I think id choose maybe a building or something next time. I definitly need more practice with the pen tool as its still a bit difficult to wrap my head around.

#adobe illustrator 2024

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bedlamgames · 9 months

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https://patreon.com/posts/95542289 First version of the Twine version of No Haven is now up for those on the newly renamed Discord Server+Twine Early Access Tier and above

Text of the Patreon post including the rather speculative notes under the break.

Well here it is.

Man, I hope this goes well.

This is based on the No Haven 0.863 RAGS version which gives you an idea of how long this has taken for the conversion to get to this stage.

The patch notes are going to be a lot more speculative than usual simply as I don't know entirely what works and what doesn't.

It's reached the point where I need more eyes on this so I can get a better idea of what works, what doesn't, and what needs to be worked on first. I'd especially like some feedback based on going for multiple months worth of play to see if the Twine version can hold together that long.

What I know works or are at least mostly

- Most of the Assignments that were added up to 0.863 so that's everything up to and including Lady of Light, Life in Coiled Tentacles, and The Elvish Art. I've tested a lot of these and seen at least one result for many of them.

- Scenarios.

- Unit Barks.

- Finish Days.

- Estimate Value.

- Examines.

- Standard and Quick Starts.

- Frequently Asked Questions.

- Stats.

- All art up to 0.99. Yes, 0.99 and not 0.863 so all the new commission up to and including Whore Makers is in there too so in that respect something in Twine is now ahead of the RAGS version. I did this in the last two days so it's possible there might be some issues where Assignments I've tested and worked before now have miss-named art refferences. For example 'Error: <<include>>: passage "Assignment Tavern" does not exist'

- The UI.

- Likely a bunch more than is either too miscelleneous for me to mention now, or stuff I haven't got to testing and somehow works anyway. This has honestly happened more than you'd expect.

What I know doesn't work or has known issues

- I've turned off some Assignments so they will be just plain text rather than being able to access them. These include Scour Dockside Taverns for New Talent, Price of Freedom (kinda amusingly this was the last Assignment added as of 0.863) , all Training, and Personal Assignments.

- Full Custom Starts (Yes, I know this is priority number one to get sorted)

- Talking to.

- Nightly Activities.

- View Tutorial Options.

- The Morale and Supplies used on Finish Day had some real issues with the existing formatting so I've done something that at least kinda works for now, and likely will need to be entirely redone to improve the look to reflect how it was in RAGS.

- Suggestions do work but appear to be a bit finickity in when they choose to show up. I suspect this is an Assignment specific issue and so should be reasonably straightforward to deal with.

- A number of options on the left side bar like Overview and Removal don't do anything currently. They just lead to a blank screen so I've left them as is. I may change up Overview to how it was in RAGS as the new Regions way of selecting Assignments may make some of it obsolete. Could do with your thoughts on that.

- Turns out I was a bit over zealous with changing 's to Html code. In some menus this will show up as the code rather than it being converted. "Don't" rather than "Don't" for example. Don't bother to report this as I know to sort them out and from what I've seen it doesn't break anything so it's just a visual annoyance for now.

- And outside of the art everything that's been added from 0.87 to 0.963 so that will include some bugs that have been fixed in those intervening versions.

In terms of bug reporting I'm especially looking for things that will show up in red and white proceeded with an exclamation mark. For example: 'Error: <<set>>: bad evaluation: State.variables.Assign[State.variables.Nh_v1].push is not a function'

Please copy those in full and either post them in reply to this post or in a new Twine Bug Reporting channel I've added to the Discord.

Dead ends are the other critical reports. So that's where you click on something that basically ends the game giving you no option to do anything else. I suspect there will be at least some of these in the more complex Assignments which have extra choices in how they are resolved.

Hope you enjoy, and please look forward to many more of these Twine releases in the future as the two versions will get closer and closer in priority until we can finally do away with RAGS for good.

#no haven #twine

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miloscat · 1 year

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[Review] Dead Cells (ATV)

I'm not sure if it's the first "RogueVania" but it's a cool one.

Another recent Apple Arcade addition, this roguelite platformer from a small French studio hooked my interest with the recent announcement of a DLC pack crossing over with Castlevania. When that made its way to this port it was on. As always this version has touchscreen support but I played it on Apple TV with my trusty Dualshock 4.

The teething problems began when the game refused to save my progress on shutdown. The system had neglected to log me in on Game Centre, so my initial few hours were lost. Forcibly closing the app was also a necessary part of my experience at times, due to a strange audio bug that interpolated rhythmic interruptions into the music. Not ideal when the Castlevania rearrangements were a selling point of that expansion. I could turn the music off in settings, but it also affected jingles which were tied to sound effects volume, and I relied on audio cues for gameplay. The audio hitching also got worse over time, and additionally caused stuttering in the game itself. Yikes.

When I got around these issues my experience improved. There's a huge variety of weapons and abilities, and you're always unlocking more. Since the weapons can handle quite differently, it keeps your basic combat mehcanics fresh on repeated runs (although none of the passive "mutations" seemed very powerful or interesting to me). Having all the DLC enabled straight away in the Apple Arcade version also gets you a lot more stuff as well as levels to pass through. Between each stage is a rest zone where you can power up, and use your "cells" (the higher tier currency) to unlock permanent stuff. I had a much better time with the meta-progression when I realised you could partially invest these in things rather than saving them up (and in my case, often losing big chunks of them).

I did lose motivation at times thanks to how easy it is to suddenly die. Losing an hour-long run with a decent build before getting to my goal was a bummer, especially towards the end when all I wanted to do was finish the Castlevania content. The randomness factors into this too: the procedurally generated levels work well, but the heavy luck quotient on whether you get a decent weapon or synergies gets old. Naturally it's the nature of this kind of game to be that way, but that doesn't mean I have to like it.

Castlevania was a good fit for guest-starring in this game. The basic gameplay is kind of similar, the areas having that bit of exploration and mapping. Combat here is based around having two slots for melee and ranged weapons (one of each usually works well), along with a powerful dodge roll which should get a lot of use, as well as two skill slots for deployable traps/grenades/pets/buffs/etc.; the crossover items fit into these in fun ways. The rich, moody pixel art environments acquit themselves well, with series regular baddies making for cool reinterpretations into the game's exaggerated, pseudo-pre-rendered style for enemies. The jokey tone to interactions nicely balances the legitimate worldbuilding.

Although it's rough going at times, there's a lot to like in Dead Cells. Even if it's just pointing at the screen and saying "I recognise that" when they do little shoutouts to other indie hits. (This actually makes for some particularly cool gimmick weapons too.) The Apple Arcade port seems to be a bit buggy on my setup unfortunately, but having all the expansions included—even the brand new Castlevania one—is a big plus. It's the sort of game you could sink a ton of time into and still be finding new things, or just have a few successful runs (eventually) and call it a day like I did. I do recommend using a guide to find the permanent movement unlocks first though.

#dead cells #motion twin #review #indie #atv #apple arcade

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felassan · 4 years

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Dragon Age II and Dragon Age: Inquisition concept art & assets from a 2016 talk/presentation by Matt Rhodes, titled “The World of Concept Art” [watch link & source]

It’s an interesting and insightful talk which I recommend watching, especially if you have an interest in concept art and related things like character design and how it fits into the overall game dev process. It’s also interesting to see a bit about how the DA team’s art direction/process has changed over time between games, and hear a bit about how they’ve been doing things going forwards for the next game.

This is Part 1. [Link to Part 2]

(Some notes on the commentary given on the images and in general in the presentation under the cut due to length.)

On image 2: DAII had a fast, hot production period where decisions were made very quickly. The devs knew that the central hub, Kirkwall, had been a center of an old slavery-based empire in the past, and wanted to have indications of this [in its art direction]. There were going to be giant statues that the PC eventually fought - on the right is the design for the statues as they originally were. In the top left, this is all they had for the location [owing to the intensive prod period]. They also had a general idea that they wanted to have tableaus that came to life, shown in the bottom left.

On image 3: Going back to the design of the giant statues, the beautiful golden clockwork version of the design doesn’t really say ‘tool of an ancient slavery-based empire’, so they took the model and tried to come up with something that had more of the kinds of shapes that get into the back of your head and say things like ‘aggressive, hard, simple’.

On image 4: So here they had started doing concepts trying to find some of the right poses, accessories etc that these things would have. One of the hearts of the internal ‘DA art [direction] codex’ is “gray and pointy”; if they give a concept like this to [then] Art Director Matthew Goldman he instinctively wants to go “Yes! Approve!”, and so has to kind of reign himself in a little bit.

On image 5: This is where they ended up getting to and how the concept art turned out in terms of the model, with some negotiation back and forth. This is an example of how their art direction process now tries to tell a story with the art (i.e. it tries to support the story through art aspects of the setting and the environment). Historically, they would have just thrown the French-looking, Baroque clockwork version of the statue into the game and gone with it. They are getting more and more intentional with this sort of thing.

On this image: This was an internal image made for internal discussion. The characters in it aren’t ones that exist or that became other characters, with the exception of the Warden, who kind of became Blackwall. In this image, they were trying to think about visual separation among members of a group at the most basic level (simple graphic design principles, like different shapes and colors). This image is part of trying to solve the design problem of having 4 different characters on-screen in the party at once in their games - as in, players of course need to be able to easily tell who is doing what and where.

A general comment: At BioWare, the concept artists nowadays involve themselves in the character design process much earlier than they used to. Historically, as in earlier games, the writers would write up a bunch of characters and then concept artists would be brought in to draw them. Through negotiation and back-and-forth they would then come up with something. Nowadays though, the concept artists are involved from Day 1. The writers now write down 2 words to describe a character and the artists do sketches based on that. The writers then will write a sentence and the artists will do more drawings based on that. Then it progresses to a paragraph and drawings based on that and so on. In this way it goes back and forth and they build it up so that the visual aspects and the writeup/content of the character are developed completely in tandem, complimentary to one another. This is their goal. They aren’t quite there yet, but this is what they’re trying to strive for in this area.

On image 6: These are Dorian concepts. His initial 2-word writeup was “rockstar mage”. They had different artists take different swings at him. The middle concept is Matt’s. The third concept is by Casper Konefal. Everyone was very excited about it and so it was then taken up to a more final stage (image 7).

On image 8: Casper is one of Matt’s favorite concept artists because he goes in and lovingly details absolutely everything - all the pieces of jewelry etc. Each ring has a story. This attention and level of detail and thought behind it adds authenticity and verisimilitude.

On image 9: In game development, there is an effect on character design that can happen during review meetings. The concept/character artist will know what they need visually from a particular character’s design in order to visually tell the story and to help the character support that. Oftentimes, people who aren’t artists don’t have the language to describe this or realize that’s what’s going on in a character’s design, and instead they just see imperfections in the presented faces. What this can lead to is that unintentionally a group review meeting can slowly trim away all the features of a character that make them interesting or distinct. This is why, for many characters across the game industry, if they were shaved and had their facial decorations etc removed, it would be kind of hard to tell many of them apart, as they have all been subjected to this sort of “council sandblasting” process. Casper figured out an idea to help with this; annotating concept drawings with artistic knowledge that artists know intuitively, as has been done here. Artists know, for instance, that certain shapes and angles can allow for certain assumptions about the character to be made (for example, think about Cassandra’s personality and then consider the angular, straight strong lines that make up her face). Annotating like this and then presenting both versions alongside one another helps these aspects of character design be recognized in the review process, and helps characters remain more distinct.

On image 10: They knew that in DAI there was going to be a character who would be with the PC for the whole game - the humble little hermit, non-intrusive, someone quite closed off who the player wouldn’t know much about. “[quote] And at the very end of the game you’d basically find out that he’s Loki himself, or the embodiment of this ancient god that had been tricking you and basically manipulating you the whole time, characterized by a wolf.” And so Nick Thornborrow hung a wolf’s jaw bone off his neck and it was just there in plain sight the whole game. Because this detail was in the drawings at an early stage, it sparked conversations with the audio department, and the audio department could add touches from their end like having wolves howling when he walked into a new area. They could then get all of these different elements and things that could be hinted at, so that when you play the game a second time it’s like ‘They weren’t even hiding it!! It was there the whole time!!’ He loves that.

A general comment: Any one of BioWare’s 3D modelled characters standing in-game talking or animating probably ends up costing them something in the 40,000 - 60,000 dollar range (they calculated this).

A general comment: For DAI, the concept artists also started to get heavily involved in the storytelling side of things at a deeper level, doing things like quick’n’dirty storyboards for the cinematic designers and spending more time with the writers talking about what emotions they were trying to convey at different points and so forth. Since starting doing this, this has become a built-in part of their process.

A comment in the context of giving advice to up-and-coming and student artists, on the subject of how concepts and ideas are naturally thrown out during the process of iterating on ideas etc: “[quote] Right now, the project that I’m working on that I can’t talk about, I have 3 versions of the story in the garbage, and it’s awesome. Because now I’m working on the fourth with our lead writer and it’s so much better than it would have been otherwise and we’re doing it so much earlier so that we can actually change things up.” Said project could be DA4 or something else. (Please remember these comments were made in November 2016. MEA came out in 2017 and DA4 has been rebooted)

[source]

#dragon age 4 #the dread wolf rises #dragon age #bioware #solas #cole #cassandra pentaghast #slavery cw #spirit boy #my lady paladin #long post #longpost #da4 tag for the insight into post-DAI era art direction/design process #& for the reference to the project which may or may not be da4 #highlights compiled in case the talk as-is isn't accessible to someone

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softlass27 · 3 years

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an ibhfc version of emmerdale's first pride (plus another one in the future) to make up for this week's upcoming episodes with aaron and the village's resident kayaking creep

AO3 link here

Pride 2021

“Right, that’ll be £7.99, please.” Victoria pushed Aaron’s lunch towards him.

“Cheers.”

“Oh, almost forgot!” She grabbed a brightly-coloured collection tin that was sitting on the end of the counter. “We’re taking donations for the Pride festival if you’ve got any spare change?”

Aaron frowned. “What Pride festival?”

“Oh, didn’t you hear? Charles is organising it.”

“In the village?”

“Yeah, he says it’s mad that we’ve not had one before. Apparently it was always a big event at his last parish. He’s not wrong, really, it’s about time we did more than your mum sticking a bit of multi-coloured bunting up behind the pub each June.”

“Huh.”

“Think you’ll go? It’s next weekend.”

“I – ”

“From what Charles and Ethan said, it should be fun,” Vic spoke over him, hands waving animatedly. “There’s music, food and games, all sorts! It’s family-friendly too, so you can bring Seb. We can go together if you want? I was planning on meeting up with Matty and Amy but – ”

“Vic, stop for breath would ya?” Aaron huffed a laugh. “Yeah, I'm up for it.”

On the morning of the festival, Victoria let herself into Mulberry Cottage and cast an appraising look over Aaron. He shuffled uncomfortably.

“What?”

She gave a quick wave to Seb, who was sitting on the sofa, and looked Aaron up and down again. “That’s what you’re wearing, is it?”

He glanced down at his black t-shirt and jeans. “What’s wrong with it?”

“Nothing! Except, well, it’s not very colourful is it?”

“You’ve known me, what, 13 years? When have you ever seen me do colourful?”

“But it’s Pride!”

“So?”

“Oh come on, you have to get into the spirit of it. Speaking of which – ” She rummaged in her oversized handbag and pulled out a small, light blue article of clothing, passing it over. “I saw this in town and I couldn’t resist.”

As Aaron unfolded it, he realised it was a child-sized pair of dungarees with a bright rainbow stitched across the chest. His mouth quirked upwards.

“Alright, that’s pretty cute.”

“I know, right? Should’ve got something for you too, you big grump.”

The retort Aaron was about to give her was cut off when he felt tug on his trousers and looked down to see Seb standing next to him.

“Is that for me?” He asked, looking at the dungarees with curiosity.

“Yep, Auntie Vic got them for you to wear to Pride today. What d’you say?”

“Thank you.”

“You’re welcome, sweetheart. You’d better hurry and get ready, though, or we’ll be late!”

Seb grabbed Aaron’s hand and started tugging him towards the stairs. “Daddy, come on!”

Although he was a little young to quite get what Pride was all about, he’d been full of beans about the whole thing ever since Aaron had told him they were going to a party, especially once he’d found out Isaac and Dotty would be there, too.

“Alright, let’s get you changed.” He looked back at Vic and rolled his eyes. “I’ll get changed, too.”

She grinned at him.

“Did you and Robert ever go to Pride?” Vic quietly asked as the four of them made their way to the field where the festival was being held, Seb in his new dungarees and Aaron in the one green t-shirt owned (“It’s a colour that’s on the flag, Vic, that’s as good as you’re getting.”)

“Nah.” Aaron shook his head. “Never got round to it. We used to talk about maybe going to the one in Leeds or something, but somethin’ always came up. Then we'd always say we’d go the next year but… ”

But we ran out of years.

“Yeah.” Vic’s face fell a little and she squeezed Aaron’s hand lightly. “But we’ll have a nice time, won’t we?”

“Daddy, there’s music!” Seb called from where he was walking just in front of them. They could indeed hear the sound of upbeat pop music blasting through a speaker as they got closer to the festival. “Hurry!”

“Coming, mate.” Aaron called after his retreating back, smiling at his enthusiasm. He sighed and squeezed Vic’s hand in return. “Yeah, we’ll have a good time.”

Considering Emmerdale’s tiny size, the village’s first Pride event had a pretty good turnout. The festival was full of so much colour and noise that Aaron ended up hoisting Seb up on his hip, slightly wary of losing track of him in among the chaos. The three of them wandered around for a while, taking in the party-like atmosphere and watching Charles and Ethan both make heartfelt speeches on the small stage that had been set up.

At some point Marlon called Victoria's name and she went over to catch up with him and April, leaving Aaron and Seb to carry on exploring alone. The little boy seemed to love it so far, taking in the sights and sounds with increasing delight.

“You wanna get your face painted? Aaron asked, pointing to a tent where Matty and Amy were emerging hand in hand, both of them covered in body paint.

Seb clapped his hands enthusiastically. “Yeah!”

They made their way inside and sat across from a girl who looked barely 20 and was covered head to toe in paint and glitter.

“Hello.” She smiled brightly at Seb, who predictably turned under the attention bashful and tucked himself against Aaron’s chest. She tilted her head down to catch his eye. “What’s your name?”

“Seb.”

“Nice to meet you, Seb, I’m Freya. Do you want some rainbows?”

Seb nodded shyly and sat as still as a three year-old could while she carefully painted a small pride flag on each of his cheeks, Aaron holding his waist to stop him from squirming too much under the tickle of the brush.

“There, all done.” She brandished her brush towards Aaron. “Are we doing your face as well?”

“Uh, no thanks.”

“Yes.” Seb smacked a palm on Aaron’s cheek enthusiastically. “Rainbows for you, too!”

Aaron sighed. The things he did for his son.

“Alright. Do your worst.”

When they emerged from the tent five minutes later and bumped into Vic again, her eyes lit up with glee.

“Aaron Dingle with glitter on his face.” She fumbled frantically for her phone. “Don’t move, I need a photo.”

“No, don’t – ”

“Moira!” Vic ignored him and called over his shoulder. “Both of them, can you believe it?”

Aaron turned around to see Moira coming towards them with Cain just behind her – Cain whose cheek was adorned with a rainbow flag identical to Aaron’s. He let out a snort that had Cain’s eyes narrowing dangerously at him.

“Not a word out of ya.”

“Wow, how’d they get you?”

“This one made me.” Cain gestured to Isaac, who dropped his hand to run towards Seb, the two of them immediately chasing each other in circles around the adults' legs.

“Come on, you two!” Moira was stood next to Vic, both their phones held up. “Smile!”

Neither of them smiled, but they let them take a couple of snaps.

“Perfect,” Moria smirked down at her screen and turned the phone so Aaron could see a photo of himself and Cain both with matching scowls and rainbows on their faces. “This one’s going on the fridge.”

“You have fun today?” Aaron asked Seb as he carried him home.

Seb’s arms were wrapped loosely around Aaron’s neck and he could barely keep his eyes open, exhausted like most of the other kids in the village. The daytime part of the festival was over, only the child-free people sticking around into the night to keep drinking and dancing.

“Mhm,” Seb hummed tiredly, head flopping around on Aaron’s shoulder. “C’n we do it again?”

“If they do another one next year, then yeah. We can go again.”

He unlocked the door to Mulberry Cottage one-handed, depositing Seb on the sofa and carefully easing his shoes off. He glanced at the photos on the mantlepiece, Robert’s smiling face looking back at him. Aaron straightened up and moved to stand in front of them, adjusting one of the frames slightly.

“Finally went to Pride,” he said quietly. “Can you believe it?”

Just wish you could’ve come with me.

****

Pride 2025

“Morning!” Vic let herself into Mulberry Cottage, Harry in tow. “Happy Pride.”

“Happy Pride!” Seb shouted back from where he was fiddling with Molly’s rainbow-coloured leash (a purchase he’d talked Aaron into making from one of the stalls the previous year).

“Hiya.” Aaron jogged down the stairs. “Thought you’d be goin' with Ryan this year. He’s got the girls, right?”

“Yeah, we're spending the day together but I told him that me and Harry would meet him there. Us lot always go to Pride together, I’m not breaking tradition now.” She gave Aaron’s blue jeans and red t-shirt an approving nod. “Wow, red and blue this year. Really pushing the boat out.”

“Shut up, you.”

“Where’s that brother of mine?”

“He was just dropping some stuff from the cafe off at the festival, cakes and sandwiches an’ that. Said he’d come back before we set off, though.”

“Well he’d better hurry himself up, I don’t wanna miss whoever Ethan’s got opening the festival this year. And it’s Robert's first one, we can’t be late!”

“Alright, keep your hair on.” Robert appeared in the doorway, nudging past her to come inside. “You can’t be late to a festival, Vic, they’re sort of all day things.”

“You get the food sorted alright?” Aaron asked, shoving his wallet and phone into his pockets.

“Yeah, Jimmy and Nicola are all set up. They’ve roped Angelica into helping out, poor kid.” Robert ruffled Harry's hair before grabbing a bottle of suncream from the coffee table and kneeling down in front of Seb. “Right, suncream on then we can go.”

“I can do it myself,” Seb protested, batting Robert’s hands away from his face.

“Hm. See, I believed you when you said that at the beach the other weekend and we ended up coming home with you looking like a lobster. Keep still.”

Seb sighed and let Robert rub suncream all over him with only a bit of squirming, giggling when Robert finished by poking him sharply in the ribs.

“Dad, not on my t-shirt!” He said, smoothing a protective hand over his new rainbow-striped top. “Don’t get it dirty.”

“Alright, you big fusspot,” Robert teased, kissing him on the head and rising to his feet.

“Leave him alone, you’re no better,” Vic said with a tut. “Right, come on. Chop chop!”

She opened the door to let both Seb and Harry run outside, following closely behind them. Aaron picked up Molly’s leash and held out a hand to Robert.

“Ready?”

Robert grinned and took it.

“Let’s do it.”

The thing about Charles and Ethan was, they always had to one-up themselves. Aaron had no idea how they did it, but every year they somehow managed to increase their budget enough to make Emmerdale Pride bigger and better until now, four years on, the first festival they held looked tiny in comparison. Huge crowds of people swarmed the village, taking in the countless stalls, games, music, drag acts and and live bands playing all day. There were even a few rides this year.

As they made their way through the madness, Aaron gave Robert a quick nudge.

“Okay?”

They were only in the village and they knew a lot of the people there, but there were still some days where Robert and large crowds didn’t mix well. Thankfully, it seemed that today wasn't one of those days, as Robert shot him a small smile and nodded.

“I’m good.”

“Dads!” Seb shouted, running back to tug both their hands. “Can we do the face-painting first?”

Robert let out a mock groan. “Do I have to?”

“If I’m not getting out of it, neither are you,” Aaron muttered.

“Doesn’t have to be rainbows,” Seb said to Robert, shrugging matter-of-factly. “You can get the bisexual colours if you want?”

Aaron watched Robert’s eyes widen ever-so slightly in surprise, before he nodded and let Seb lead him towards to the face-painting tent.

After a few hours of exploring and mingling with the other villagers, Aaron and Robert collapsed with a couple of pints at one of the picnic tables, both of them in need of a breather. They’d picked a spot in the shade, keeping half an eye on Seb playing with a group of other kids while they listened to the band currently playing on the stage. Molly drank from the bowl of water they’d put down on the grass for her, before jumping up into Robert’s lap.

After sitting in comfortable silence for a few minutes, Aaron took a long, cooling gulp of his pint and looked away from Seb to glance at Robert. His husband was absently stroking Molly, watching the festival with a slightly pensive look on his face that made Aaron’s brow furrow.

“You alright?”

Robert blinked and turned to look at him. “Yeah, I’m fine.”

“If you're tired, we can go home, y'know.”

Robert gave him a reassuring squeeze on the wrist. “I know. Honestly, it's nothing, just... ” He trailed off and stared once more at the festivities around them. “Could you ever have imagined anythin’ like this in the village when we were growing up?”

That was an easy question to answer.

“No.”

Aaron knew for a fact that the teenage version of him would have never imagined in his wildest dreams seeing the village transformed this way, decked out in bright colours, full of people like him, every resident open and accepting. And he knew the idea would’ve seemed even less likely when Robert was a teenager.

“Bet your dad’s rolling in his grave.”

Robert barked a surprised laugh. “Yeah, probably.”

They watched the party for another couple of minutes, then Robert nodded towards where Seb was tackling Dotty in an overly-enthusiastic game of tag.

“I’m glad that he gets to grow up in this version of the village,” he said softly. “Whether he turns out to be straight or gay or bi – whatever – I don’t want him to ever be scared of being different, like you an’ me were back in the day.”

“Don’t say ‘back in the day’, makes us sound ancient.”

“Well if you keep complaining about your back aching every time we – ”

“Oi!” Aaron gave his shoulder a punch, before trailing his hand down his arm to link their fingers together as they both watched Seb. “Yeah, me too. It is different for him, he knows he can be whoever he wants here. No one’s gonna have a go at him over who he does or doesn’t fancy. And he knows we love him no matter what.”

“Course he does.”

Robert grinned warmly at him and leaned across the table to press his lips to Aaron’s. The two of them kissed lazily until Molly jumped up between them to lick at both their chins and they broke away with a laugh.

“Can't go more than five minutes without needing attention, can you?” Robert pulled her back into his lap, scratching her behind the ears until she settled again. The pink, purple and blue stripes on his face were smudged from where Aaron’s thumb had just rubbed over his cheekbone.

“Sounds like someone I know.”

“Piss off.”

Aaron drained the last of his pint and put the glass to one side, resting his elbows on the table. “Good first Pride, then?”

“Great first Pride.” Robert quirked an eyebrow at him. “It’ll be even better if we carrying on celebrating at home. Y’know, once the kid’s in bed.”

“Oh yeah?”

“Think we've got a bottle of champers in the fridge; I say we crack that open, take it upstairs and then – ”

“Daddy!” Seb ran up to them, grabbing Aaron’s elbow with a pleading look in his eyes. “Can we go on the dodgems? Isaac says him and Uncle Cain are going on.”

Aaron groaned and stretched his arms over his head. “Right now?”

“Yeah, we have to get them!”

Aaron huffed a laugh and dropped his arms. “Well in that case.” He paused and turned to Robert. “Unless you’d rather have a go?”

Robert shook his head rapidly. “Nah, me and Molly are good here, we'll save the table. Go crash some cars, boy racer.”

“Come on, then.”

As they headed in the direction of the bumper cars, Aaron looked back to see Vic appearing at Robert’s side, looking a little tipsy as she sat down next to him. By the time they were standing in the queue for the ride with Cain and Isaac, he could see the Sugden siblings had been joined by Ryan and his girls, plus Diane and Harry, all of them piling onto the table and surrounding them. Robert was laughing at something Ryan was saying, eyes crinkling. When he saw Aaron watching, he shot him a small wave. He looked happy and content, and the sight of it made something warm settle in Aaron's chest.

It wasn't his first Pride, but it was the best one he'd had so far.

“Dad,” Seb piped up, grabbing his attention. “It's our turn”

“Alright, let’s show Cain and Isaac how it's done.”

#ibhfc #the pride ep hasn't even aired yet and i already felt the need to do a fix-it fic #my writing #robron

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photiniainsummer · 3 years

Text

Something Worth Celebrating

Rating: General Audiences (basically GenFic)

Summary: Dark admits he sort of, kind of has a birthday. And then he sort of, kind of asks you to throw him a party.

I know. Pinch me, I must be dreaming.

(Basically a purely indulgent fic where Dark gets to be happy for 0.2 seconds. Yes, it's late, please forgive me, Mr. Darkiplier sir.)

(second person POV, gender neutral reader)

Word Count: 4906

Author’s Note: No warnings. Honestly just tooth-rotting tenderness. This is a super-late birthday 'present' for our favorite spooky ego that I just couldn't get out of my head. Also posted to AO3!

The thought strikes you in the midst of your weekly scan of Mark’s content. While Dark makes sure to check his uploads and social media presence moment-to-moment, you often join his weekly wrap-up review sessions as a second, fresh set of eyes. It’s usually a silent and uneventful affair, with Dark sitting at his desk and you to one side of it, both focused on the week’s batch of content as it projects on the opposite wall. Hooking up the projector was easier than hunching over Dark’s laptop, the two of you bunched together around the screen, and it usually meant you could catch and examine any irregularities with greater accuracy. Not that there had been any for months. Mark’s content has become suspiciously unsuspicious, with no odd shot changes in the middle of playthroughs, no sideways comments in food reviews… and so your mind has started wandering during your viewings.

It’s not that his content is boring. But it’s hard to enjoy Mark’s lighthearted commentary, really, knowing the man for what he is: a manipulative, body-snatching, undead creature bent on conquering the hearts and minds of the world. That kind of imposing terror makes it hard to kick back and enjoy him goofing through a new horror game.

And, yet, despite that same terror, it’s difficult to stay fully focused on the task at hand. Maybe it’s the lack of weirdness lulling you into being unobservant - maybe that’s Mark’s goal. Regardless, he makes a jokey comment, surprised by a new onslaught of enemies so soon after receiving a new weapon - “What, is it my birthday?” - and though he proceeds to casually mow down a fresh flood of zombies, your mind is nowhere near his running monologue. No, you’re off on a tangent of wonderings - When exactly is his birthday, anyway? Is it soon? Do the egos share his, or do they have their own, if they know it? When would they celebrate it, anyway? Did Mark build in birthdays for them when he summoned them up, or was it whatever day they were formed from some strange, shadowy process you still don’t know the specifics of? It’s a strange and vaguely sad thing to ponder, your mouth turning down at the corners as you roll it around in your mind. To your side, Dark sighs softly, reaching out to pause the current video. Mark’s face freezes in an unflattering expression, and you turn to look at the entity.

“What, think of something?”

“No,” he demurs, scrubbing the video back. “But you are distracted. What do you last remember?” He doesn’t sound annoyed, which is a little surprising. Where a few months ago he would have bitten off a sharp comment about your wandering attention, he just gives you a mild look when you don’t immediately respond, hands hovering at his computer. It speaks to how routine this has become for you both, how each of you has grown accustomed to the other - the ringing of his aura barely registers for you now, although you were certain when you arrived that investing in a lifetime supply of ibuprofen was a basic requirement for working in close proximity to Dark for any extended period of time.

That’s when the thought strikes you - you meandering thoughts crystallizing around his presence, centering on him. You have to wonder how much of your thought process Dark actually heard, if your idle thoughts are loud enough for him to pick up. But seeing as he’s not making any attempt to immediately answer, nor chide you for thinking about such unimportant things, the thought, as a question, easily tumbles out between you.

“Do you have a birthday?”

He immediately furrows his brow, blinking in surprise. “What?”

“I said, do you have a birthday?” you repeat, committing to this line of questioning. You go so far as to turn slightly in your chair to look at him better, attention fully directed at him. Dark sighs and turns back to the computer, picking a spot in the video a couple of minutes ago, certainly farther back than necessary.

“I heard what you said,” he clarifies. “I am attempting to understand what could have possibly brought that up.”

“He said something about his birthday. It just got me thinking, that’s all.” Dark pauses, squinting his eyes ever so slightly at the screen. His cursor hovers over the playback bar, obviously considering his next move. You pause with him, then a smile tugs at your mouth. “You missed that, didn’t you.”

“I did not. It was merely an inane comment, so I did not take note of it.” He’s a little too indignant, too quick with that response, and it makes you laugh. He shoots you a patented glare, although it carries very little true malice. “When did he say that.”

“A couple minutes forward, it’s right after he gets that new gun.” Dark hums in response, clearly still miffed at having been successfully teased, but in a good-natured sort of way. You watch him scrub for the right spot, lulling back into a comfortable silence for a few moments before you remember what brought all this up and press on. “So, do you?”

“Do I what?”

“Don’t be obtuse, come on. Do you have a birthday?”

“They had birthdays,” he remarks. You recall them, or, at least, a picture of them, the only one you’ve seen that isn’t a staged portrait. You like it better than the stiff, properly posed photographs Dark hesitantly showed you once, when he had finally explained his origins to you. In the one you preferred to remember, a well-dressed woman and man hug each other close as they smile warmly into the camera. It’s some holiday, or just an excuse to get together - there are garlands blurred in the background - and the woman is holding a fancy-looking drink in the hand that isn’t wrapped around behind her brother, tugging him into frame. He looks a bit put-upon, smiling almost embarrassedly as if the woman has cajoled him in front of the cameraperson into taking a picture with her. But his expression, for all it implies, is still warm. His body curls close to his sister, his hold on her obviously affectionate. The woman is beaming like she’s won, squeezing her brother close as her cheeks apple, her painted lips curled in such pride. Her eyes dance, catching the light of the camera’s flash. They look comfortable, happy, beautiful. Full of life. The woman’s smile had pulled one out of you, when you saw it.

Dark’s explanation of how he had come to be makes the memory all the sadder, the melancholia curling around your throat even as you remember it now.

“I, on the other hand, was not born,” he explains, and for a moment you begin to regret bringing it up. But the shadow-bathed man doesn’t seem bothered, his tone matter-of-fact, simple. You know it pains him still, you saw the look on his face as he described how he had come to be, how his aura had raged around him like he was going to pull apart. How their faces had appeared in agonized red and blue flashes behind him - now that you knew what you were looking for, you could see them as themselves, not just as Dark.

Which makes the fact he can say something that directly referential without threatening to rip through existence sort of comforting. Is he just comfortable with you, now, knowing that you know? Whatever it is, you decide it’s a good thing, and settle back in your chair. “Well, sure, not as such, but… do you celebrate theirs?” you ask, as gently as you can.

“I do not.” Dark finds the proper place in the video, advancing to it.

“So you don’t celebrate you… coming into being, on any particular day?”

“I do not.” You squint slightly.

“You don’t,” you repeat. Dark sighs once more, bringing a hand to his brow in the way he does when Wilford is being particularly taxing.

“No. I do not. But the… fans. Do.” It’s an answer given through gritted teeth - the man finds the celebration of him and his many appearances in Mark’s work frustrating, to put it simply. Of course, he’s completely committed to his role as the villain the actor dreamed of, and won’t lie and say he doesn’t find it utterly amusing how Mark’s own fans seem to like him more than the actor himself. But all that is tinged with the truth of his conscription into this role, the indignity of being painted as the wicked mirror image of the man who took everything from him. It is particularly insulting, particularly painful. So to have some false version of him celebrated and adored, is…

Well, to use his words: Disgusting.

You would go for complicated, instead. It does feels strange to have them celebrate a fictionalized version of the entity next to you, given the reality of the situation, but it’s not like you can fault them for what they don’t know. They’re caught up in Mark’s game - it isn’t their fault. Still, you aren’t really surprised they found a whole day to put aside for the man.

“What day did they pick?”

“Hm?” Dark seems caught up in some internal brooding, set off by the memories of the fanart he’s seen. You prod again.

“What day is it? That they made your ‘birthday’?”

He pauses a moment, considering. You can tell he knows, he’s just debating whether or not to tell you. Whether or not this will have unintended consequences. “June 19th. It was the first time Mark posted something… strange enough to be counted as my first ‘appearance.’ So it is my birthday, by their reckoning.” He pauses again. “I suppose it is as good a day as any. Although I do not understand it - why would someone want to celebrate my existence?”

His tone takes this bitter, harsh edge, and you instinctively want to cringe against it. But you also know how Dark hates you trying to be delicate with him. It’s better to be honest, to know his reactions are not for you, but for his situation. For Mark. So you suppress the desire to turn away from it, instead reaching across the bit of desk between you to touch his arm. He doesn’t react, apart from flicking his eyes to rest on your hand. Touching him like this, yours fades to take on the same black-and-white cast as his own.

“For what it’s worth, I’d want to celebrate it. I’m glad you’re here.” You squeeze him very gently, as if trying to impress that more fully into his mind. “And… they don’t really know you, but, I mean. I think they’d like you even more, want to celebrate you more, if they did.”

Dark is silent, gaze falling to a whorl of wood in his polished desk as he considers your words. He doesn’t immediately reply and you take your hand away, not wanting to be overly touchy-feely about the whole thing. Or, at least, you don’t want to be if that’s not what Dark wants. You’d be the first to console him, if you could, but it’s hard to get a read on what might help the man most. He lives in his head, unaccustomed to sharing much with the other egos, let alone someone who hasn’t directly been through what they have. Your position on the outside imposes a distance that even having worked so closely with him for so long hasn’t yet bridged. Still, you leave that door open for him whenever you gracefully can, whenever it doesn’t feel like you’re opening it to force him through.

You try show him he can walk through whenever he likes. If he likes.

The man shifts slightly, reaching out to adjust a small pile of papers. He puts them to rights, even though they’re already perfectly in line with each other. When he finally speaks, his voice is almost covered by its own deep echo.

“If I am honest, I meant more… why would they celebrate the man they see, the ‘Darkiplier’ in his works? He is not a good man, by any means. He tells the truth, Mark’s confidence in himself sees to that. But they do not know it. He seems to seek to trap the audience through lies, manipulation… I simply do not understand the appeal.” You feel a little caught out, wondering if you jumped a bit too eagerly on his statement as a chance to comfort him. “However…”

He stops, realizing he’s run out of papers to arrange, things to fidget with. Folding his colorless hands in front of him, he finally and intentionally turns to look your way. It’s a slow, steady motion, heavy with purpose. When you meet his intensely contrasted eyes, they fall gently on you. His expression is open, almost bare. Devoid of any bitterness, frustration - his usual armor.

“...it is incredibly kind of you to say that. About me. I. I sincerely appreciate it.”

The hesitancy in his voice, yet how honestly he continues on, intent on telling you this… It’s enough to break your heart. You give him a tender smile.

“You’re not exactly that man in those videos, Dark. Not the way he has you play it, know you well enough to tell that… But even if you were, you have reason enough for it, I’d wager.”

That gets you a wry smile from the man. “Enough reason to pull ourselves back from the dead?”

You laugh, softly. “Yeah, something like that.” At your mirth, the lines of his body begin to relax, and he eases back into his seat somewhat. It’s a rare sight, Dark letting himself relax, be still for a moment. Even his aura, ever-roiling, merely seems to ebb and flow around him in gentle pulses. His mouth stays gently turned up as he looks at nothing in particular, gaze easy on some middle distance. You can tell he’s thinking, even at minor peace like this, but has no real intention to speak again. Sensing the Big Heart-To-Heart Moment™ has passed, you sigh and look back over your sparse notes. “Should we get back to it, though? I totally derailed us.”

Dark pauses a bit longer in the moment before he idly waves a hand and reaches out to close the lid of his computer. “There is nothing interesting this week, really. I think we can call it there, unless you are especially invested in head-exploding physics.” You pull a face.

“Not particularly. I can finish going over it later, anyway. Just in case.” You stretch and twist in your chair with a sigh. “Think I’ll make some coffee - can I get you a cup?”

“Are you going to use the cafetiere?”

“No, I thought the Mr. Coffee would be better. Really gets it nice and watery, just like you like.” Dark scrunches up his nose in the most totally undignified way, and god that makes you belly-laugh, bending slightly over the desk to support yourself. It breaks him, getting a real smile to curl over his face. He can be such a goofball, when he wants to be. “Of course I was gonna use the cafetiere. Who do you take me for?”

“I have to check, I have had many a disappointing cup after agreeing too eagerly. But yes, I will take one, if it isn’t too much trouble.”

“None at all,” you hum, coming down from your laughing fit. You make your way out of his office but before you can turn the corner, Dark calls your name, stopping you in the doorway. You look back to him, and he seems… at ease. His hands are folded across his middle, he’s resting back in his desk chair. The ghost of a smile is still on his face. You try to bottle that moment, preserve it mentally. “Yeah?”

“Thank you. Again. And…” He hesitates for a beat, making some decision. “If you or the others would like to do something. On the day. My… sort-of birthday… I would not be opposed.”

You force your jaw to stay in place and not hit the floor. Wilford will go ballistic. You don’t know if the mustachioed ego will be able to handle the thought of throwing Dark a real birthday party - he might just explode in a haze of confetti and glitter stars. Blinking, you right yourself, finding your head nodding before you even know what it’s doing.

“I. Y-Yeah! Sure, we. We could definitely do that. Do… something.” Dark just smiles a little more fully, exhaling a laugh. “I’ll. I’ll talk to them about it.”

Holy shit.

“Wonderful. It will be nice to have a reason to have a proper party. Something to celebrate. Don’t you think?” You’re nodding again, agreeing wholeheartedly, but dazedly, too. You don’t realize you’re just standing there sort of staring until Dark tilts his head thoughtfully to one side. “Is… coffee still happening?”

“Huh?” You remember. “Oh. Oh! Shi- I mean, shoot. I mean. Yes. Yeah. I. Coffee, yes. I’m… gonna do that.”

As you beat a hasty and red-faced retreat to the kitchen, bursting with ideas, you can just make out the man giving the faintest, echoing chuckle.

---

You don’t think you’ve ever felt such pure excitement in the Manor before. The air is practically buzzing with pure, unbridled energy as you approach Dark’s office door. Downstairs, you can hear the egos making final preparations underneath Wilford’s speaking in an overly dramatic tone, giving some kind of grand speech. Likely a rallying of the troops into being on their best behavior for their de facto leader. You can’t help a smile and a shake of your head - maybe he’d take his own advice tonight.

Either way, everything is ready, so you rap on the birthday boy’s outer office door. He’d graciously locked himself away after retrieving his morning coffee so you would all have the space to prepare. Of course, he hadn’t escaped early-morning birthday wishes from you and the Host, nor a fresh-cut bouquet of flowers you two had collected for him. You’d even carried them up to his office for him, just so he wouldn’t have to touch them himself and risk draining their color. The memory of how sort of bashful he’d looked, the you really shouldn’t have energy that had rolled off him as he directed you to set them on his desk - it makes you grin in anticipation for this evening as he calls for you to enter, now.

He’s sitting by the fireplace, apparently killing time with a book which he looks up from as you enter. An inquiring look pulls his brow. “All prepared?”

“Oh yes. Your party awaits you, sir.” Dark huffs a laugh and rises, setting his book aside. He’s dressed a bit differently, still in slacks and a tie but with the addition of a waistcoat closely fit over his dress shirt, which is slightly rolled up over his forearms. Then he begins to fix them, going for his jacket, and you have to interject. “Are you really going to wear a full suit to your party?”

Dark stops, looking confused. And a little concerned. “I. Was intending to, yes.”

Oops. “I mean, you always wear a suit,” you chide as gently as you can. “They look nice, but the whole point is celebrating, relaxing a little? Besides, you look nice just like that.” Dark pauses, casting a look over himself. He absently adjusts his waistcoat, and you notice a thin chain connected to one of the buttons loops into one pocket. Has he always had a pocket watch?

“You are certain it is not too… casual.” He almost sounds worried, the poor thing. You give him a reassuring smile as you approach, picking up his jacket and folding it with care before hanging it over your arm.

“I’ll bring it down, but I think you’ll be more comfortable like that. Though you aren’t totally dressed, yet.” The man gives you an utterly baffled look, and you grin in response, bringing out a brightly colored party hat. His look sours immediately.

“Absolutely not.”

“Oh, come on.”

“No. I am already being made to go down undressed, I will not go with bells on.”

Sometimes you forget he’s just a grumpy grandpa. You pull out the big guns. “Well… we’re all wearing them,” you hum, your own firmly in place. “Besides, Wilford insisted. And he’s the Decoration Czar. Self-proclaimed, but he rules with an iron fist.” Dark makes a valiant effort to hold onto his resolve, but it weakens in the face of you invoking the mustachioed man. With a soft, amorphous grumble, he pulls the elastic band of the hat under his chin.

Now that you understand a little more about how Dark and Wilford had come to be, their bond makes a lot more sense, even for all Dark’s frustrated looks shot the more light-hearted man’s way in the midst of meetings. Even before you knew the depth of their bond, Dark had always seemed surprisingly willing to go along with Wilford’s more doable requests, less inclined to irritatedly snip at him for his foolishness. As Dark adjusts his party hat in a nearby mirror (making sure his well-coiffed hair isn’t too disturbed by his headwear), you’re glad that, although Wilford may not fully be aware of it, the two of them have each other.

He drops his hands with a sigh. “I look ridiculous.” He’s positioned the cone-shaped hat directly pointing up in the middle of his head, and. Well. It looks way too proper, but very Dark all at once. You chuckle, coming close to help.

“You should see the den. It’s a wreck,” you tease, reaching for his hat, giving the man enough time to wave you off. But he doesn’t, just watching you in the mirror as you adjust it (careful of his curls) to a more jaunty angle. His aura has already absorbed the color from it, but it looks party-appropriate. More importantly, Dark seems a bit more at ease as he gets used to how it looks. You wonder if he’s ever worn a party hat in his life. “There, much better.”

“Hm. Then I suppose I am ready.”

“As you’ll ever be. C’mon, they’re all waiting.” When he turns from the mirror, you playfully offer him your arm. You think you’ll get an eyeroll, a dismissive but amused huff at best. You aren’t anticipating him looping his arm in yours and giving you this little smile that warms his eyes and has you pulling up short. He chuckles somewhat at your reaction, your lack of movement.

“I thought I was being escorted.”

“Uh. You. You are, oh, you definitely are, hold on to your socks, you’re about to experience the best escorting of your life.” Dark’s free hand comes up to help suppress the grin that threatens to split his face as you lead him from the office and down to the almost overwhelmingly decorated den. While the room is comfortably illuminated by a variety of the Manor’s most colorful lamps, the light is somewhat low and catches on the sparkling garlands heavily draped on the walls. Matching balloons bob at varying intervals and a rousing cheer goes up as you and Dark enter, a flood of grins turning your way. Music cuts on - something upbeat and jazzy - and the flock of egos quickly descends on the object of celebration, Wilford leading the charge and pressing a drink into the man’s hand after a massive bear hug. You release Dark’s arm to let the crowd of other egos at him, covering him in birthday wishes and affectionate pats on the back (their boldness inspired by Wilford, no doubt), before eagerly showing off all their preparations.

While Yancy explains the variety of possible games he’s worked up, getting a horribly wry grin out of the shadowy man at his creation of ‘pin the cravat on the Actor,’ you step back a bit to make sure Dark’s suit jacket is safely out of the way of the night’s oncoming revelry. Clearly, he’s already forgotten it, much to your pleasure. The bar is lined up with a few drink options, pre-made cocktails and bottles of wine opened to breathe, a number of elegantly arranged finger foods courtesy of resident chef Google Alpha. Carefully, you tuck Dark’s jacket under the bar in an empty shelf and before scooping up a drink of your own and tossing yourself back into the fray.

It goes a lot more smoothly than you had anticipated - everyone quickly falls into comfortable conversation, dipping into the snacks and games when it lulls. Wilford manages to keep his pants on despite threatening to provide a different kind of ‘entertainment’ at one point (and in spite of encouraging whistles from Bing and the Jims, who are quick to shove a camera in Wil’s direction). Further, Dark survives having ‘Happy Birthday’ sung to him, even blowing out the single candle in the middle of the complicated-looking tiramisu Alpha crafted.

It’s a rousing success, by all measures.

By the time you finally get a chance to sidle back up to Dark, the easy hum of the party has kicked up to a bit more of an excitable buzz as the jazz records have turned more and more swinging. Yandere and Illinois clearly know what they’re doing, beating a quick step around the open dance floor and grinning like bandits as Yancy does his best to help poor Eric get over the hurdle of not staring at your feet when you dance. The Manor feels more full than it usually does, with all of you crowded in the one room together, and you can see the warm, pure energy of it all is having a similar effect on Dark as it is on you - you don’t think you’ve ever seen him smile so much, small as they are.

Another thought hits you, even better than the one that prompted this whole affair. Grinning, you quickly gesture over the nearest Google. With the music like it is, it’s hard to speak over the ruckus, but you mime taking a picture and Green gets the idea, his glasses getting a particular sheen to them so you know he’s flipping through his interface. Once he gives you a thumbs up, you gently tug Dark down by the arm and gesture in Green’s direction. “Say ‘cheese,’” you prompt, and the shadowy man pulls a face.

“I don’t think-”

“Oh, just one, Dark, c’mon,” you poke. “He’s set up and everything.” With a sort of resigned huff, the man twists and gets his free arm around you, hand resting carefully on your back as you get yours around him, bringing him in closer.

Then, almost in your ear, you hear his very dour voice say, “Cheese...” and it breaks you. You’re busting out laughing, forcing yourself not to double over or spill your drink, and over the music and your own laughter, you can hear Dark chuckling, the subsequent snap of Green’s camera feature. The latter catches the most attention, the gathered egos coming running as soon as they realize pictures are happening.

Suddenly, everyone wants in, smushing in as close as they can get to you and Dark, bickering when elbows ‘accidentally’ find soft sides and someone worms in front of someone else, Green taking pictures all the while of the ensuing chaos. Dark’s aura is starting to rouse from its relatively peaceful state when you decide it’s gone on long enough. You quickly clap and break up the worst of the infighting, getting folks arranged as best you can. By the time you finish and most everyone is settled, Dark is wearing a very betrayed look and Wilford’s heavy arm, which is hugging him quite close to his side. With a playful shrug, you pick your way back to your spot.

“I thought you said one,” he grumps softly even as you both get your arms situated comfortably around the other.

“You believed me?” His eyes get a bit wide - you trick Dark? You trick him into photograph like the child? - but you turn away with a triumphant smile. “Green, set your glasses on the bar, get in!”

The android quickly obliges, setting the timer and sliding in among his copies as he counts you down. “Okay,” you call, “everyone say ‘Darkling!’”

The cacophony of laughter and broken-up attempts at the word is something you’ll never forget.

---

Google sends you the photos the next morning, as the Manor collectively attempts to nurse minor to severe hangovers. Flipping through and marking the best ones to print and frame, you get to see the first one of the two of you.

In it, you’re hugging each other close, smiling warmly into the camera. There are garlands blurred in the background and you’re holding a fancy drink, tugging Dark into frame. That slightly embarrassed tinge is gone from his smile, but he still looks cajoled, still smiles as affectionately as he ever has. There’s no doubt he’s changed - the photo warps to try to capture his existence, red and blue fragments breaking up the image - but his expression is still warm. And you look so pleased with yourself, so amused, eyes dancing with success and joy.

Full of life.

It pulls a smile out of you.

#markiplier fanfiction #markiplier egos #darkiplier #ego fanfiction #happy birthday mister man light of my life #sorry it is late i was a pile of mental goop after exams #mad market pliers ramblings #fanfiction

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starr-fall-knight-rise · 4 years

Text

HASO, “A Gift.”

Ok, so someone somewhere, I thought asked for Adam/Sunny Fluff. I don’t know where or who that was, either that or I am remembering incorrectly, but either way here it is whether you wanted it or not :)

Thought I’d focus a little bit on Sunny.

Ignore if you are NOT interested in the relationship subplot.

I am trying to do this right, but who knows if that is going to work because I don’t usually write this sort of thing.

The humming of the ship’s engines reminded her of Anin, and reminded her of the distant roaring of the volcanoes as she slept in their family’s little hut at the center of the fertile belt. The feeling the memory provoked in her was a fond one despite being tainted by years and years of her mother's overarching disapproval, disapproval she was only now casting off, shedding it like an alien might shed a second skin.

It was a thing slow in coming, after years and years of constant disapproval, but becoming a Saint had been her last push into shaking off the insecurities of her childhood. The spirits of Anin had chosen her, and that was something even her mother could not deny, it was something sunny herself could not deny, despite her own fears and insecurities telling her otherwise.

She was worthy.

Finally worthy.

It felt good to wake up like that, felt good to sit up in the dim light of her little room aboard the Omen, and know that she was enough. She lay there in the quiet for a moment, in her own small room, with her own little window that looked out on the stars to her side. She rolled over to stare outward watching a distant galaxy spinning past in all of its glory. Adam liked to park the ship in places like this, places that would remind the crew of where they were and what they were doing.

From this distance that spiraling galaxy seemed so small despite being billions of lightyears wide, dim and distant, though still shedding a faint light upon her from so far away. As she lay there another light pulsed over her body, luminous purple-blue LED strips around the bottom and top of her room, dimmed for the proper ambiance.

She sat up slowly stretching and flexing her feet.

She sat up looking around her room and the familiar space lit by the glowing purple blue neon.

It was a strange mixture of things alien and things familiar.

Beside her bed, a tall, climate-controlled glass case held a large armature upon which her saint’s armor was proudly displayed, little white stage lights shining pearly waves of rainbow across it’s outer metal, beside that a metal rack on the wall held a collection of spears, some worn and used with age, others sharp and new, one glittering with the same pearly white sheen as her armor.

On the headboard of her bed rested a pair of lime green headphones.

There was a Holo-screen on the wall across from her bed and a couple of photos tacked up on the wall across from her. They were hard to make out in the dim bluish lighting, but there was one of Anin and a few of her and her brother, a couple more of her and Adam, and a single image in the middle.

It wasn’t as refined an image as the others, having been hand painted by a crewmember as a commission for her….

An image of a tall golden Drev in mighty war armor.

Just below that image, set back into the wall, there sat a small, almost-shrine, with a spirit light and a few other odds and ends from Anin.

Sunny stood and stretched rolling her muscles and joints as she walked over to the little shrine and knelt before it.

She reached out and cupped the spirit light in her two lower hands as she bowed her head.

She stayed there for some time as the minutes ticked away.

A clock on her nightstand gave her the time in human hours tiny numbers glowing green.

As the clock hit 30, she opened her eyes and turned to the side dipping a rag into the sink and proceeding to rub it over her body.

Drev didn’t need to bath as frequently or as…. Heavily as humans. Where humans relied on natural oils to keep their skin healthy, the Drev had no such problems, and rarely produced the amount of bacteria that humans did. For that reason, Drev didn’t tend to smell, and if they did it had more to do with what they ate than it did with their own festering nastiness.

She set the rag down and stood, pulling on her headphones and scrolling through her playlist using the implanted chip in her arm, like the humans she had taken up one of the devices to store her information and money, along with the implanted translation system just below her ear. She kept it off most of the time, but she could turn it on when needed.

Scrolling through the list, she paused at one and then hesitated before clicking on it.

Sunny knew a lot about music for someone who grew up without it. It was a piece of art she thought the Drev were sadly lacking, and listening to the drums and rasping vocals of humans two thousand years dead, she wondered why they had never thought of it.

The playlist, had been one she hadn’t touched in a while.

It tended to make her sad despite it’s upbeat and powerful music.

It reminded her of Adam.

It was his playlist after all, but she really did feel like she needed something to get her going this morning,

With the music going, she grabbed one of her spears from the wall, and then stood at the center of the room.

She closed her eyes as the blue neon light glowed over her. WIth her eyes still closed she began to move slowly, one foot forward one foot back dropping into a crouch pulling the spear back and then beginning to move slowly remembering the forms, remembering the mountain and the voice of Naktan as he urged her through the new and emerging steps.

***

0400

Adam sat up, cool air blowing on his skin from the vent above.

Outside the window the vast spiral of the Milky way glowed in from his viewing window casting delicate yellow light over his skin. He stretched muscles flexing and tensing as he extended his body to a brief maximum before relaxing.

He sat there for a moment taking in the view, allowing it to bath him in cosmic light.

And some people wake up to a sunrise.

He reached down to the side of the bed, gripping the cool metal and carapace surface with his left hand before socketing it into place over the stub of his missing leg. There was a sharp whirr and then a sudden rush of sensation. He flexed the two toed alien foot of his right leg and stood stretching his legs as well.

He turned and walked to stand before the full length mirror by the window. The light was dim, but it still cast enough illumination that he could see the hills and valleys of his own body set in sharp contrast in the light.

He stood straighter lifting his chin and surveying himself in the mirror.

He was almost proud of what he saw. Never a slouch, he had always been active, and during training he had been in good shape, but a few years as captain of the ship, with more duties and little time he had neglected his physique for other matters. It hadn’t done anything horrible to him, but he had seen better days.

That was, of course, until his breakup with Sunny. Granted a week of binge drinking hadn’t exactly helped matters, but his following vacation time that had included a stint of time with a human colony of Neospartans had kicked his ass back into gear. A few months and a couple of personal revelations later, and he had made it his goal to mold himself into the best version of himself he could conceive. His body was just beginning to show that dedication.

He bent down, tugging a pair of shoes from one of the drawers under his bed, and sat down to tie them on.

He stood and walked over to the side of the room pressing a button on the wall. There was a sharp whirring as the floor rotated and three large screens slowly pulled down from the ceiling.

Off to his left waffles opened one sleepy amber eye before heading back to sleep.

He flicked his arm once and stepped onto the small rectangle of floor.

The screens lit up in front of him showing an open mountain landscape and a trail.

The floor below him slowly began to move, and he broke into a jog. The music flipped on at his request as his feet began pounding against the moving floor. He kept his back straight and his arms against his sides as the floor tilted and rolled slightly below him, mirroring the trail on which he now ran.

Sweat rolled down his bare back as, forty minutes later he dropped to the floor, hands held at shoulder width pushing himself repeatedly up and down and up and down. When his arms shook, he stood and leaped upwards, catching onto the padded black bar on the ceiling. The muscles in his back flexed firing as his teeth clenched and sweat dripped down his face onto his shoulders.

He repeated that sequence for some time before returning to the side of the room and picking up the silver metaled spear.

Still breathing hard he pulled on the VR glasses and followed the Drev training simulation twice before putting the spear away.

Waffles at up and stretched.

He patted her head once before passing into the bathroom.

Water cascaded down his body where he sat washing salt and sweat down the drain, only to socket his leg back on again and dress himself. Eyes stared down at him from the walls, vintage movie posters from years long gone.

A replica lightsaber glittered dully in the light where it sat on his nightstand.

He adjusted his uniform cap before the mirror, and whistled once for waffles, who ran up to stand at his heels.

He opened the door just as Simon was raising her hand to knock.

She stepped back in surprise, and he smiled, “Beat you again, Simon.”

She opened her mouth nonplussed and then closed it again holding out her clipboard, “Morning, Sir.”

He took the clipboard and marched with her up to the bridge where he got his work done. Waffles lay at his feet as he gave the morning crew their orders, and inspected their trajectory, reading their orders from the UNSC and the GA,before sending off a few reports. He read through the reports of his chief staff and approved a few important changes.

Once upon a time a day like this might have overwhelmed him.

He stepped down from his chair and turned to Simon, “Command is your Simon, I have a few things to attend to this morning.”

She saluted crisply and traded seats with him as he turned and stepped down the stairs.

***

The sound of the engine was louder down here and his heart thrummed along with her as he stood with his back to the cold metal. At his feet Waffles stared up at him with her big brown eyes, waiting.

Deep breath.

He turned stepping into the doorway and looking into the small workroom, lined on all sides by unfinished projects and hanging blueprints. He stood quietly in the doorway, watching the light play over her blue carapace, rolling down her like rivers of sunlit water. The way she moved was so steady, and so sure, that it seemed as if she herself were the waters of a mountain river, steady, changing only with the greatest deliberation.

The movement of her hands on metal was so precise and so predictable he might have been able to pound out a beat to her movements, but this was hardly the time. He stepped forward silently over the metal.

“Someone once told me you can only find Gemstones in the darkest of places.”

Sunny turned her head and rolled a great golden eye when she saw it was him, “You know you flirt like a…. Hut being tipped over in a windstorm.”

“How’s that?”

“A mild disaster.”

“How ironic, so are you metaphors.”

She eyed him up and down with one golden eye, “Where is he and what have you done with him?”

“What do you mean?”

“My Adam is a stuttering idiot, where did you put him.”

My Adam.

He walked over and sat on the bench next to her leaning back against her work table, “Tied up and locked in the closet for the time being.” he smiled and scooted a little closer, “He tends to get nervous talking to pretty girls.”

“Oh, does he?”

She leaned forward a little bit one of her hands brushing up against his leg.

Shit

Dammit! The stuttering began in earnest and he felt his face go red to the tips of his ears.

She hummed deep in her chest, “That was a good try, you almost made it a full minute.”

***

Sunny hummed in mild pleasure as she watched him squirm, her superior cones and rods picking up the delicate change in skin tone as subcutaneous blood rushed into his face. The Delicate pattern of UV light that played over his face glowed in green blue pearl patterns, swirling over his cheeks and face.

She knew those pattern well, and guessed she could probably have drawn them from memory if someone had asked.

He ran a hand through his hair, and as he did she could pick out the individual strands of hair and the color changes. A few of the hairs at his temples had bleached white. She wouldn’t tell him that, but the number of white hairs had been increasing rapidly over the past few months. Weather it was stress or genetics she didn’t know.

He cleared his throat awkwardly.

“I tried.”

“You did.”

He continued to rub the back of his neck, “I um…. I brought you… s-something.”

“Oh?”

He reached down beside him and pulled a long black box from the floor offering it up so she had to pull back to let him set it down on the table before her.

He turned to look at her, his one green eye so alive with worry she wanted to reach over and take his hand just to calm him down.

But he remained even, and with a smile of his face, he reached over and flipped the case open. She glanced in, eyes wide with surprise, “What…. This is all for… me?”

“I thought you…. Might like it. I mean they aren’t really my thing you know, but they did, they did make me think of you and I, well I picked up a few things but I…”

One look from her silenced him and he wilted back into his seat, “It was during my little vacation…. I was going to give them to you earlier, but I didn’t want it to seem like I was trying to buy you back. I really just thought you’d like them.”

“Tell me about them.”

He scooted over to sit next to her, and he was close enough now that she could feel the heat radiating from his body, “This knife, I won in a bar fight with an outlaw, stole it off him while he was unconscious.” She watched him blush again a little, “I would have felt bad about it accept he was kind of an asshole.” he pointed to the next item in the velvet lined box, “That is the revolver of another outlaw I met by the name McBride, bested him in a boxing match on the back of a moving train. That spear was given to me as a gift by the NeoSpartan king for prowess in battle, and that triton was something I picked up free hunting alien sharks.”

He turned to look up at her, “I’m not pushing or anything,” he held up his hands, “Jupiter knows I don’t deserve it, but, it is a gift, and I want you to have them-”

He trailed off.

She stared at him.

He stared back.

She leaned down a little lowering her head and lightly touching her forehead against his. He wasn’t speaking any longer. Her eyes were half closed. She leaned forward, one of her hands resting on his real, human leg. He was warm below her hand, almost burning. One of his hands rested over hers.

They sat like that for a minute.

And then she felt him move. Something brushed over her cheek, soft, human lips depressed against her skin warm and humid. She hummed softly in her chest until the pressure pulled back, and she opened an eye. Before she knew what had happened she was on his feet, gone from underneath her hands.

He stood about two or three feet away skin on his face and hands bright with blood flow.

“I-I have to…. To do a.-something, a- about a thing, but I hope you like…. The gift.” He turned.

“Watch out for the-’

There was a clattering noise as he caught his toe on the step, pitched forward, landed on his hands and knees and then scrambled out the doorway with all the grace and beauty of a meteor collision.

“Step.” She finished to the empty air

She could still hear him clattering his way up the hall.

ON the floor below her Waffles looked after him with a comically confused expression for a dog.

“Well go on after him, and make sure he doesn’t accidentally kill himself.”

Waffles yipped low in her throat and charged off after him

Sunny hummed and turned back to her work bench staring down at the box of items, reaching up a hand to rest on her cheek.

They were getting there.

Slowly.

But they were getting there

209 notes · View notes

astrovian · 4 years

Audio

Richard Armitage interviews Harlan Coben for the Win audiobook (released 18/03/21)

Full transcript under cut

RA: Hi, I’m Richard Armitage. I played Adam Price in the Netflix series The Stranger, which was adapted from Harlan Coben’s novel of the same name. With me is the man himself, Harlan Coben, number one New York Times bestseller, the author of over thirty novels, including the one you’ve just listened to. I’m delighted to be talking to Harlan about his book, Win.

Okay Harlan, thanks for taking the time to chat about your audiobook and thanks for sending me a copy of the book. Um, it was so nice I ended up wrapping it up and giving it to my brother for Christmas.

HC: *laugh* You’re supposed to read it first, but okay, thanks Richard.

RA: No, I got the electronic version so uh, so I’ve had a good read. Congratulations, a great story. Brilliant, brilliant central character. I mean the first question I’m gonna ask is – because people listening to this have just been listening to the audiobook – are you, um, a big audiobook listener yourself?

HC: I – I go through stages, um, because my mind wanders, I sometimes have trouble focusing. But when I’m in a car, um, that’s most of the time that I’m- that I really love to use the audiobooks because it does make the ride just fly by. However, I’ve set up my life that I don’t have to commute to work every day, so I don’t have it steadily – it’s usually when I’m doing a nice long ride, I get a really good audiobook and time just flies by.

RA: And have you- have you got any favourite audiobooks that you’ve listened to recently, or any podcasts or what is it that floats your boat?

HC: You know, it’s funny. I still remember when I was a working man, way back when, when audiobooks were really first starting out and we had them on cassette tapes, I listened to the entire Bonfire of the Vanities by Tom Wolfe, um, it was about thirty hours long, going back and forth to work for almost a month. And I still have memories of that experience, and it’s probably, well god, it’s probably 1990 I did that, 1989, something like that.

RA: Mm-hmm. Yeah, I mean I’ve got a- I’ve got a few journeys up and back from Manchester this year, we’re about to start working on Stay Close, so I’ll happily – I’m happy to take any recommendations of any good books, so maybe I’ll listen to Bonfire of the Vanitites.

HC: Well I tell ya, a lot of people – first of all, it’s a brilliant book, it’s maybe a bit dated, but I doubt that, um. I think Richard, I get more people telling me to listen to any book that you read.

RA: *laugh*

HC: I said, “Hey, I spend a lot of time with this guy, I’m about to do my second television show that stars Richard Armitage. No one I think has starred in two shows that I’ve done ever, so I get a lot of him anyway.” *laugh*

RA: You don’t need my voice in your head when you’re driving, that’s – that’s torture.

HC: That’s right, I’ll be hearing notes on, on scripts in my head if I hear you going. For those who don’t know who are listening, y’know, Richard starred in The Stranger, um, and now is going to be starring in Stay Close, uh, based off two of my novels which I’m sure you can get on audiobook.

RA: And on that note, what um, you’ve had so many adaptations now that have moved from page to screen – what is it like when you go through that process? When you’re – ‘cause you’re very hands on in the way that you kind of collaborate with not just the actors, but with the producers and y’know, the writers. I mean, you’re – you’re writing it yourself. Um, what is it like through, through that whole process, from starting to developing to seeing it kind of realised on screen?

HC: I think the key for me is not to be slavishly devoted to the novel. I think that’s a mistake that a lot of people who are trying to make an adaptation make. So, I go into it, ‘what is the best TV series we can make?’, if it’s true to the book, great. If it’s not true to the book, also great. Um, so I move my stories to various countries, we’ve changed characters around, we’ve changed motivations. Because they’re two very different mediums – a book is a book, and a TV series is a TV series. They should not be the same. One is a visual medium, one is not. Even, even um, audiobooks are slightly different um, than what you read. And they should be. Um, y’know, there’s a performance involved.

Also, because I’ve spent most of my life alone in a room coming up with writing a book, um, where I am just everything – I’m writer, director, actor, key grip. I don’t even know what a key grip is, but I’m that. Um, it’s really nice to collaborate. So um, you’ve worked with me, I hope you agree – I like to collaborate, I like to hear the opinions of other people and um, I really enjoy that aspect of it. I look at it like I’m – like I get to be captain of a World Cup football team, rather than being a tennis player where I’m standing there on my own, which is what happens with a novel.

RA: Yeah, and actually it’s the same when I get to narrate an audiobook, like you say – you get to be director, you get to be the cinematographer to an extent ‘cause you’re setting the scene, but one thing that I’ve – I really appreciated about working with you was having read your, your books and sometimes you’ll pass by a character that is useful to the, to the narrative that you’re telling, but when that comes to developed for TV or film you’ll take a bit more time to investigate that character, and you’re very open to treading those paths, which makes for a very kind of dense narrative with the screenwriter.

HC: Well that’s what I think we’re trying to do. If you think about The Stranger, um, y’know in the book the Stranger is a sort of nerdy teenage male.

RA: Mm-hmm.

HC: And that just – we even tried out some people, and that just didn’t work. And it was really my idea – and I don’t say it in a bragging way, I say it as a way to show how open we all are – to change the character from being male to being female. And once I saw Hannah John-Kamen do it, then I pictured her in a room with you in that first great scene in the bar, um, or at the club when she tells you the big secret, it just worked. Um, you have to be willing to, to sort of stretch your imagination all over again and re-think your story. Which is also fun.

RA: Yeah, and also I suppose because y’know, as much as we love a faithful adaptation of a novel, um what you don’t wanna do is just deliver the novel in screenplay. You want to, for everyone that has read it it’s a new and exciting surprise, and for everyone that hasn’t it’s, y’know, it’s gonna be the same. So, um, it’s nice to kind of have a, to have your audience ready for people who have read a lot of your work, and there were, y’know, a guaranteed audience of people that had, had looked at The Stranger but what you gave them was something really surprising.

HC: Yeah, it was a lot of fun. A lot of fun. And Stay Close, there’s a change in the ending to that which will hopefully shock everybody but especially the people who have already read the book, who will smugly think they know exactly what’s going on.

RA: *laugh* And me, probably. I haven’t read it yet. Um, so when you’re writing – I’m gonna double up on this question now, so when you’re writing, do you write in silence? Do you have any music playing in the background or are you – do you have like a, a kind of sacred writing space?

HC: Um, my routine is not to have a routine. Uh I, I do whatever works until it stops working and then I change up. It’s like I’m riding a horse really fast, and then the horse dies so I gotta find a new horse. So most writers will tell you ‘yes, I use this space, I do it at this time’. Um in the days before Covid, I would go to different coffee shops all the time, I would try out different… any place. Y’know, my favourite example is the end of – when I was writing The Stranger, um with about three weeks left to finish it, I had to take an Uber for the first time. This was a number of years ago. I had to take an Uber in New York City, and I felt really guilty about spending the money on an Uber and trying to justify it, so I was sitting in the back of the Uber and I was writing down notes, and I start writing really well. So for three weeks, I took Ubers wherever I went just so I could finish the book *laugh*

RA: ‘Cause that was the magic formula.

HC: Yeah, that worked! Then that stops working and then I have to find the new, a new place. So my routine is not to have a routine. If you’re trying to write out there, the key to anything is ‘does it make me write more?’ – if the answer is yes, it’s good. If the answer is no, it’s bad. It really is that simple.

RA: I’m gonna make a note of that for when I start writing myself. Um, do you – do you speak any of your characters out loud, your dialogue or your prose passages, do you say it out loud?

HC: The very last stage um, of editing. Okay first of all, no writer gets it right the first time. I know a million writers, I don’t know any writer who doesn’t re-write and re-write a lot. Well, I know one but he’s the guy none of us wanna hang out with, you know what I mean?

RA: *laugh*

HC: So um, the last stage that I do, and it’s usually after I’ve done all the editing with my editor and everything like that, we’re ready to go. I will sit in a room and I read the entire novel out loud to myself. Um, because what happens is, it’s a little bit like a musical score. Where you can – if you read it out loud, I can detect false notes that I may have missed along the way. Um, I can hear them. So the last step is that. I rarely y’know, I’m not – I’m not crazy, I’m not sitting there maybe talking out loud to myself, I’m maybe testing out lines by doing that, and I do that a lot when I’m helping with the screenplays on our shows. But um, for the most part that’s how I do it.

RA: So, in that case, would you ever narrate one of your own audiobooks?

HC: I did narrate one, uh, many years ago called Promise Me. What had happened is we had - my Myron Bolitar series we did seven with the same reader and he retired. I hadn’t written um, I didn’t write Myron for about five or six years it was. And so they said, ‘hey, why don’t you do it?’ which was a huge mistake in many ways. One, I’m not a professional. But two, the people who were fans of Myron Bolitar liked the first guy, and it felt to them liked they had tuned into their favourite TV show and every actor had changed.

RA: *laugh*

HC: It’s really difficult to re-do or start a series, uh, when people know the- the old reader. So um, I also figure- it was also, Richard you know this of course, so for people who don’t know, it’s a lot of work. I’m a guy from New Jersey. I speak very quickly, which does not go over well in audio. I don’t do voices. I would have to sit with a pillow on my stomach because uh, my stomach would sometimes grumble and that would be picked up- *laugh*

RA: Oh, yeah!

HC: By the microphone. And it took me um, a week to record it because – and I don’t know if this is still the case – but back then, the abridged version wasn’t just a cut up version of the unabridged, I had to do a whole different reading for it. So um, it was – it was a lot of work. Um, and it’s a skill that I’m not sure I’m best to do.

RA: Yeah, it does take a lot of stamina. I mean what’s interesting is, having gotten to know you, and when I, when I now read your work, I can hear your delivery, I can hear your voice. And there’s humour in the dialogue, and there’s humour in the as well, and I – it’s an instant ‘in’ for me, so I – ‘cause, ‘cause often I read and I speak aloud when I’m reading alone in the dark, I say things out loud but I think people approach it differently. But I definitely hear your voice in, in these characters. And I think particularly in Windsor Horne Lockwood.

HC: That’s so interesting because Win, I think of my heroes that I’ve had, Win is probably the least like me. I mean um, when you think about Adam-

RA: *laughing* You have to say that! You have to say that because he’s such a badly behaved person, isn’t he?

HC: *laughing* Yeah! ‘Cause I usually like to think of myself as more of like Adam in The Stranger, who you played, or some of the other characters that – the ‘I’m a father or four’ or those kind of guys. What I love about getting into Win of course is that Win is something of an anti-hero. Um, he sort of says and does things that are not necessarily prudent or appropriate, and he can get away with that. Um, so I really loved – I loved getting in his head, it was really an interesting experience. But on the surface anyway, he’s probably the least like me of any uh, main character that I’ve ever written.

RA: Yeah, I mean I- I relate to that totally. It’s a little bit like- it’s probably a side of you, you daren’t investigate, but- but when you get the chance to do it in a fiction um, you can tap into those things that we’re not allowed to do or say in your, in your regular day. But um, where did that character spring from? What was the seed that germinated into his story do you think?

HC: Rarely is this the case, but um, Win is actually – y’know, he’s the sidekick in my Myron Bolitar series but um, when I first created him I based him off my best friend in college roommate, who has a name equally obnoxious as Windsor Horne Lockwood the Third-

RA: *laugh*

HC: Very good looking, blonde guy who used to say before he would go out to parties when we were in college, he would look in the mirror and say, “It must suck to be ugly”. And so I took him and I tweaked him and made him more dangerous, uh and that’s how I, I kind of came up with Win.

RA: And does this person know that you’ve based this character on him?

HC: Oh yes! In fact, some people know who he is, he uses it. He’s still a-

RA: Oh, really?

HC: Owner of all these fancy golf clubs, he’s president of one of the most famous golf clubs, um, in the world right now. He looks the part. In fact, he one time came to one of my books signings years ago and um, he’s sitting in the back, and I tell people the story of how I created Win, and I say, “I’m not gonna tell you who, but Win is actually in this room right now”. It took the crowd about four seconds to figure out who he was, and he had a longer line to sign books that I did *laugh*

RA: Amazing. I mean I have to say, it’s- you, you start reading the story and thinking, ‘I don’t know if I’m gonna like this guy’ but he really grows on you, warts and all. I wonder how many people are gonna go into Saks on Fifth Avenue and go looking for the vault.

HC: *laugh* Yeah, no, I made that up. But there is place in Saks-

RA: I know, so brilliant!

HC: -but the rest of it is completely made up, this involves an app that you’ll read about when you- hopefully when you, when you read book. But yeah, it was fun to do an anti-hero where he makes decisions and does things that you don’t like, and yet you still wanna hang around with him. I always think the key to a fascinating character is not um, that he’s likeable necessarily, but that you wanna spend time with him. Not that he’s a nice guy, but if you were at a bar and you could sit with somebody and have a conversation with them and learn about their life, would this be a person you’d wanna do that with? And that’s sort of the test whenever I do a character. And Win, I think, passes that with flying colours. There are people who love Win and wanna be just like him and there are people who loathe him! But everybody, or I hope many people, are fascinated by him and his life.

RA: Well, also you’ve given him such an incredible kind of tool kit, like a skill set. I mean, I think everybody would look at that character and wish they could do the things he does, maybe not in the way that he does them, but I mean he’s- he’s exactly the kind of character that you’d hone in on, certainly from an acting point of view. I look at that and if I was, y’know, like fifteen years younger, I’d be leaping on that character to play. Which is, it means – it means he’s sort of relatable or aspirational in a kind of anti-hero way.

HC: I’ve heard this a lot, and I think it’s one of the most flattering things that I hear from my actor friends – I think everybody would want to play Win. I mean, I think the- it’s an interesting challenge, um, for a lot of actors. More so than even Myron Bolitar who is my lead series character. Um, everybody kind of wants to play win and kind of wonders who would play Win. Uh, and I take that as a – as a compliment.

RA: Are we gonna see more of him? Is he ge- are you writing more stories for him?

HC: My guess is the answer’s yes. I plan each book as it comes, so I never know until I’ve started. Is it gonna be a stand alone? Is it going to be a Myron Bolitar? Is it gonna be a young adult? Mickey Bolitar is now going to be a Win, and I don’t know until I – each book, y’know when I finish a book, I’m like a boxer who’s just gone fifteen rounds and can’t even lift my, my arms anymore, I gave it everything I had, I can’t even imagine fighting again or writing another novel. So I don’t know is the answer. Probably? I do wanna see Win again, separately or at least back with Myron, so I do think we will see Win again. But the book I’m writing right now is a sequel to The Boy From the Woods, which is the book that came out in 2020, so that’s what I’m writing now. Will I return to Win? Maybe. Maybe. We’ll see how- we’ll also see how people react. Not that I would work necessarily off of commercial interest, but it people really love this book, y’know, we don’t live in vacuum, that would probably somewhat influence what I do.

RA: Right. I mean, because so many of your- your books are being developed and being snapped up to be turned into film or television – I mean, Myron Bolitar is, is a recurring series waiting to happen, and then you’ve got your spin off of Win – I, I- I wonder if, y’know when your first ever, uh novel, did you write with kind of cinema television in your head? Is that something that as modern storytellers we can even avoid? Um, did you ever dream that these would ever turn into sort of film and TV?

HC: Well, everybody dreams, but there’s sort of two answers to it. The first answer is when I’m writing a book, I never ever, ever, not for one second do I think ‘Ooh, this would make a really good movie’ or ‘Ooh, this would make a really good TV series’ because that’s the kiss of death for a book. It really is. It’s, it’s- it’s just a disastrous thought, and if you’re out there writing really don’t try it, because it’s, it’s a big mistake. At the same time, to be realistic and honest, I grew up watching TV. Who didn’t? That’s my – I mean this is what we grew up with. To pretend you’re only influences – y’know you ask a writer ‘What’s your influences?’ “Oh, Shakespeare and Proust and Yeats” – come on. You watched TV growing up. And so that’s an influence on how you tell a story. To deny that is silly. So writers today do think in terms of cinema more just because they grew up with it. Where writers of a different generation did not, so they wouldn’t have that influence.

RA: Yeah, I mean I- I think this all the time – it’s impossible to even de-program your brain not to imagine scenarios in terms of cinema. I mean I- I often think about sort of Victorian novelists that didn’t have y’know TV, and their trying to describe something that they’ve never seen or experienced. And we have references for so many things – I mean it’s almost impossible not to, we’re- we are and will always be influenced by one or the other, especially in the written word. But I- I find that it means that you can kind of uh, put aside the investigation and just get on with the storytelling. And maybe go even a little bit further. It’s like instant access. Y’know, I know exactly the world that you’re talking about when you’re y’know at the beginning of Win, but- but y’know at the same time I felt there was something very Agatha Christie like about the um, the backstory of uh, of this book, I really liked the fact that there was a historic event that was really informing what was happening right now.

HC: Well, y’know when I start a book, there’s- I’m always- I have a bunch of ideas and I’m trying to think which ones are going to go in the story, and it ends up being several. So for example, in this book, I wanted – I’ve always wanted to do an art heist. Y’know, like the Gardner Museum Heist, where they still haven’t found the paintings that were stolen, the Vermeers and the Picassos that were stolen in that particular – I can’t remember if it’s Picasso now, I know it was a Vermeer – um, stolen in that- that, heist in Boston years ago, I wanted to write a book about 60’s radicals – the Weather Underground and what would happen to people who were involved in that so many years later. I also wanted to write something about a kind of Patty Hearst-type character who was a famous kidnapping here in the 70s. So those were like three of the things that I wanted to like – to delve into. And I ended up delving into all three *laugh* which sometimes happens.

Oh, and the last one I wanted to do – I always wanted to do um, a hoarder that was actually someone famous. There was actually um, something of a case of this in New York City where somebody died who was living in a top floor of an Upper West Side building, and it ended up being the missing son – not really missing, but had just kind of gone off the rails – of a very famous American war hero. And so, I took all of these aspects, which would seem to make three or four different novels, and I make it into one novel if I can. It’s not that different from – again, I’m referencing um, um – The Stranger y’know, because you’re here and provably a number of the people listening to us have seen The Stranger on Netflix, but it’s the same thing with The Stranger a little bit, where I had a lot of ideas for secrets that could be revealed by the Stranger, and each one could have been a separate novel. And instead, the challenge is put them all in one story and find a way to hook them together.

RA: Yeah. I mean, it’s rich in a way that when I- I’m reading it and the producer head in me is saying ‘gosh, this is gonna be a great TV show’ ‘cause you know, you’ve got the present day, you’ve got the near-past and the um, the heist story, which uh, is kind of crying out for – you just want more of it, which is brilliant in a book. When you’re – you’re leaving the reader wanting to know more and wanting to, to know more about that family and what happens to them. It’s – it’s the perfect recipe, really.

HC: And so much of it does come from your life in ways that you don’t expect – right now, maybe a lot of people are watching this uh, the Aaron Sorkin movie about the Chicago Trials from the 70s, Abbie Hoffman, who is played by uh, I think Sacha Baron Cohen played him in, in the movie. When I was in college at Amherst, Abbie Hoffman was on the run, um, but he still showed up one day at our college and gave a speech, then disappeared again. And boy, that stuck in my head always. Man, I’d love to write a character that’s kind of like Abbie Hoffman. ‘Cause he had that charisma even then, y’know on stage he was funny as heck, I must have been eighteen or nineteen um, when I – when I heard him speak. And so that – I never consciously back then, I didn’t think that, but every once in a while those experiences come to head and you wanna write about it.

RA: Mm-hmm. You’ve been writing for quite a few years now-

HC: *Laugh*

RA: -you’re – I don’t know if you can even remember what it was like when you first stated your very first book. Um, and some people have said that books are like children in a way, you sort of rear them and then the more you do, the more familiar you are with that process. But would you – I mean, it’s difficult for you to answer this, but would you say you have a favourite book that you’ve written?

HC: I don’t have a favourite book that I’ve written. Um, this – this sounds self-serving, but it’s usually the book, the most recent book, that I like the best. Um, it’s a little bit like – and the way I try to explain this is – maybe you wrote a paper, an essay when you were in college which you thought was brilliant. You remember that moment in school and you wrote a paper and you thought it was brilliant and you find it now and you re-read it and you go, ‘wow, this wasn’t good after all’. It’s not that it’s not very good, it’s just that you have sort of moved on and you’re not that sort of person and so you see all the flaws. So in the older books, which I don’t re-read, I see all of the flaws. I always think, y’know even if you think of yourself, what you thought ten or fifteen years ago – you sort of go ‘ugh, what did I know back then, I’m so much smarter now’. So the same thing a little bit with books, where I think I’m learning more and the current book is better. One of the interesting experiences of working on these adaptation is having to go back and read a book – in some cases we’re doing one, the next one I think uh comes out in France for example, is Gone for Good, which I think was released in 2002! Or 2003. So I wrote it twenty years ago. And to have to go back and read it now, I’m always kind of cringing at some of the stuff-

RA: Mm-hmm.

HC: -some of the stuff I’m kind of thrilled with, like ‘wow, that’s an interesting twist. You don’t have that kind of ending anymore’ and some of it I’m like, ‘wow, why’d you go there?’ so it’s an interesting experience.

RA: Yeah, I feel the same. I very – I, uh, very early on in my career I would watch my work back in quite a lot of detail, thinking ‘I’m gonna learn something’ and then as I got older it was – it was almost unbearable to just do that. And I actually haven’t been able to do that, but it’s because when you’re – when you’re first starting out you throw everything you’ve got into that first breakout role that you do, and then your realise that you’re always in danger of repeating yourself and you think – ‘gosh, people are gonna suss me out that I’m only capable of doing one or two things’, but you live in hope that you can, y’know, find that one thing that you can completely reinvent. Y’know I still hope for that.

HC: I still think that everyone who I’ve ever met who is successful at what they do has imposter syndrome. If you don’t um, you’re prob- you have a false bravado and you’re in trouble. I always say, “only bad writers think they’re good”. The rest of us really suffer with that, and really questioning and always think we’re gonna be sussed out. And I can tell you, um, Stephen King sent me a book not that long ago because he’d nicely put my name in it and wanted my reaction. But even Steve, after all his success and whatever else, he still worries about the reaction, that he’s as good as he used to be, that people will still like it, he’s – I know him. He still worries about it. And when you stop, that’s when you’re in trouble I think as an artist, when you’re starting to doubt what it- when you don’t have the doubts, you start having an overconfidence that you sort of got this. It’s a little bit like my golf game, frankly.

RA: *laugh*

HC: There’s moment’s when I’m about to swing, y’know, I’m gonna be okay and then you get out there and you stink all over again. So-

RA: Yep

HC: -you’re constantly trying to get better and so I imagine it must be difficult to look at your old roles and you – you’re kinda cringing, right? You see all the mistakes you’re making. You see through you so to speak, right?

RA: Yep. Absolutely.

HC: And then someone will come up to you, right, and they’ll say, “Oh, my favourite thing you ever did was-“ and then they’ll list something you did twenty years ago, and you want them to pay attention to what you’re doing now *laugh*

RA: Yep. Yep. Seeing through you is, is one of the things that is quite haunting because I do, I see through me. I can’t shake myself off, if you know what I mean.

HC: Well, you are very cool, you don’t watch any of it until it’s all over. Uh, that’s correct right? You never watched any of our rushes or I remember trying to tell you that you’re doing great and all that-

RA: No, I watched, I watched the first shot-

HC: -and you had not seen any of it and I watch you every day when you’re on set working on our shows and I’ll comment if I see something or whatever, to either you directly or the director, uh, and most of the time I’m – I’m complimenting you, but you don’t – you don’t know either, because you’re not watching, you’re not getting lost in that.

RA: Yeah, I don’t like to watch or be somebody that studies myself to much, I don’t think that’s my job. I think my job is to be inside the character looking out, rather than the other way around. I leave that to the experts like you and the director.

HC: Also, I think it’s- I think if you start worrying about what – you’re right – and also you don’t have the distance. This is always an issue when I – I first start watching the cuts of the first episodes, and I read the book while I’m editing it, while I try to take time between my writing it and then seeing it, I have to sort of put myself in the position of being somebody who knows nothing about this, and doesn’t come in knowing the story already that I’ve already read or seen a thousand time. How do I keep it fresh in my head when I’m trying to be objective and watching it so we can make edits. Uh, both on the screen or on the page.

RA: Mm-hmm. What draws you to crime/thriller? What – I mean is that – I, I can’t often imagine you writing a romantic novel, but what is it that draws you to this particular genre?

HC: Well, y’know to me it’s uh, not really a genre. It’s more like – it’s a form. It’s more like saying it’s a haiku or a sonata.

RA: Mm-hmm.

HC: And within that form I can, and hopefully have, done everything. Um, I think The Stranger for example is more a story about family, uh, and the secrets we try to hide, rather than it is about who killed who – y’know, the mystery angle of it.

RA: Yeah.

HC: One of my most, uh well-known books, my first bestseller, was a book called Tell No One which was made into a French film starring François Cluze, and that’s really a love story, it’s about a man who’s madly in love with his wife and eight years earlier, she was murdered. And then eight years passed, he gets an email, he clicks the hyperlink, he sees a webcam and his dead wife walks by, still alive., And the pursuit, the wanting to get back, the hope for full redemption is really what drives the story more than ‘who killed who’.

RA: Mmm-hmm.

HC: So different stories do different things. But the great thing about the form of crime fiction is that it compels me to tell a story. I’m not getting lost in the beauty of my own genius, my own kind of navel-gazing. I have to continue to tell a story and entertain you. So any of the themes that I wanna tell, any of the things I wanna discuss, has to be slave to that story. And I think that’s probably a rich tradition. If you think about Dumas really, wasn’t that all crime fiction? Even Shakespeare is mostly crime fiction.

RA: Yeah.

HC: Most great stories, if I ask you to name a favourite novel that’s over a hundred years old, Dostoevsky, whoever, you will find that there’s almost always a crime in it. There’s almost always a crime story.

RA: I mean it’s one of the things that I get very excited about, um, I mean obviously I haven’t read your entire canon but I – there’s a signature, or a theme that you love to play on which is this idea that – that um, the people you know aren’t telling you everything about themselves, or that there’s something to hide and that in our modern world, with technology, we have this sort of ability to – to sort of lead multiple lives of truths or lies. And it’s something which I think we immediately recognise. ‘Cause I think we – we’re living that, that reality, and it’s a theme that I really enjoy about your writing.

HC: Well, first of all, thanks. Second, um, there’s a lot of things we’ve heard about the human condition. One of my favourites about the human condition that I used to write, is that we all believe that we are uniquely complex and no one knows the inside of us. And yet we think we read everybody else pretty well. We all think we are uniquely complex and the person across from us, we can kind of figure out. They’re not quite like us. Um, and that’s something I love to play with when I write. Because you’ve gotta remember that everybody is uniquely complex and on a humanity level, and on an empathy level, I raise my kids and I’m always teaching them that every person you see, the richest, the poorest, the happiest, the saddest – everybody has hopes and dreams. Just think that, when you see a stranger on the street, when you’re going to interact with somebody, when you’re getting angry at somebody, whatever it is – just remember, they have hope and dreams. Um, small little thought, but it helps me create a character as well.

RA: There’s also a- a kind of very strong level of self-deception involved, which I think can be quite surprising. Because you always read a character and go, ‘I’m not like that’ or ‘I would never do that’ and then if you really think about it, we – there’s a truth we tell ourselves about ourselves which isn’t always honest.

HC: Well, exactly. It’s really come to fruition in the world the last few years, where I kind of joked that I’ve been working too hard on making my villains sympathetic, the villains in today’s world don’t seem to be very – very complex at all.

RA: *laugh*

HC: But for the most part, people don’t think they’re bad guys. Even the bad guys don’t think they’re bad guys.

RA: Yeah.

HC: They have some way of, of justifying. It’s one of the great things about human beings, or one of the most prevailing thing about a human being, is we all have the ability to self-rationalise, to self-justify. Um, and so I’ve always tried with my villains, and I hope that I did it in everything that we’ve done together, to try to make even the villain – you may not like the villain, but you get them. I don’t really write books – I don’t write books where the serial killer is hacking up people for no reason, that doesn’t really interest me. I prefer the crimes where you can say, ‘Yeah, I wouldn’t have done it maybe, but I can see why that happened. I can see if I was put in that position, um, where I may have done something similar’. That to me is a much more interesting villain than somebody who’s just cruel and evil.

RA: Yeah. Um, final question actually, is – I mean, as a listener/reader yourself – are there any other authors whose books you love and just go back – I mean, you’ve mentioned Stephen King, um I’m with you on that one – but are there any other authors who really kind of inspire you and, and y’know, like a little guilty pleasure reading for yourself and not for work?

HC: Yeah, well the problem always is that I start listing authors, and then someone will say, ‘well, what about so-and-so who’s a friend of mine’, and then I say ‘oh shoot, I forgot – I forgot that one’.

RA: *laugh*

HC: Y’know I saw recently that it’s the eleventh anniversary of the death of Robert B. Parker, who wrote the Spencer novels, if by any chance you haven’t found the Spencer novels, and I don’t know how popular they are overseas – they’re fantastic, wonderful detective series. Um, so that’s one guy I would go back in time and try to find for audio. But I actually like Philip Roth a lot on audio, even though he doesn’t do crime fiction. I’m a big Michael Connelly fan and I like Lee Child, um and Laura Lippman. Y’know, I could sit here just naming um, people all day. I’m always curious also – who is reading – who does it because of the reader and who does it because of the writer. I know there’s a number of people who will listen to anything you read, Richard, because it’s you. Um, which is really quite nice, but it’s interesting the combination of the audio reader. I have Steven Weber, he’s been reading most of my novels, though I’ve had a female lead – a woman named January LaVoy who’s fantastic – and I think Weber captures my voice. He sounds a little bit like me, we both have a similar background, similar sense of humour, so part of it with the audio is also the match you end up making.

RA: Yeah. It’s interesting, isn’t it? Because I certainly find I don’t often get to read something which is purely my choice, I have a stack of things that are work-related, or that I’m about to record. So I don’t think I’ve – I’ve chosen a book recently which is just been- I don’t know how I would pick something, it’s usually a recommendation, so I’ll certainly have a look at the Spencer novels, they sound – they sound brilliant.

HC: Yeah, and they’re fun – there was a TV series in America for a while called ‘Spencer for Hire’ – this is s or going back to the, I guess the 70s or 80s I think. Um, those were not great, but the novels themselves were sort of – Raymond Chandler to Robert B. Parker to the guys who are working now. So he’s a huge – he was a tremendous influence on most of your favourite crime writers. I said in his obituary eleven years ago, I said, “90% of writers admit that Robert B. Parker was an influence and 10% lie about it”. So um, if you can find Robert B. Parker Spencer novels that would be a good clue for everybody out there.

RA: Brilliant. Well, that just about wraps it up. And uh, thanks for talking to me. I really enjoyed the book and no doubt it will be another best-seller and fingers crossed it ends up as a TV series.

HC: Well, thanks Richard, and I look forward to seeing you work on uh, Stay Close. I know that uh, Armitage Army out there *laugh* that – your, your loud uh supporters and fans who just adore you are going to go gaga cause you get to play somebody quite different from Adam in The Stranger. Um, it’s-

RA: Yeah. Looking forward to it.

HC: Yeah, it’ll be a lot of fun. Thanks very much.

#this was actually more interesting that I thought it would be #sorry the audio ain't great I had to compress it a lot #it is longgg #richard armitage #harlan coben #win

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steve0discusses · 4 years

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S5 Ep 3: Apdnarg is Really Hard to Spell

Yo guys, people are getting vaccinated, the sun is parting through the clouds, and I felt so nice that I even stopped listening to quite so many throwback 00′s BTS mashups (and yet I keep clicking on these dissonant catastrophes thinking “this time it’s got to be better. This time they’ll figure it out.” and like, no. Turns out you can’t match Brittany’s Toxic with BTS’ Black Swan. You can’t do that.)

This must be a sign that things are getting better. If anything, it means my personal tastes are improving. I mean I only clicked on like 3 “Dark Academia” Playlists where I could pretend I’m some sort of spooky witch in an abandoned library with a bad music player and basic taste in classical music (like can we ban Satie from Youtube for a little while?). Hell, I might even do a prompt update to this blog!

Yeah, you heard me, I’m actually going to stay ahead of the update schedule for Yugioh Abridged (maybe. I haven’t actually watched cuz of spoilers, I just noticed the thumbnail pop up on Youtube and was like “Damn it, they came out of hiatus??? I got hurry UP.”)

Anyway, speaking of the sky parting.

I’ll have you know my bro said this is actually more like a circumcision and it was one of the worst thing I have ever heard.

We get a chance to take in this lineup of confusing and varied character designs, and Joey. who is...still Joey.

The animators probably had to hold a strike in order for them to put Yugi in the audience, lets be real. There are TOO MANY PEOPLE in this shot and one is wearing a turban where you draw every single wrap. I hope those artists charged by the line.

Tea has a subplot where she’s just very frustrated with everyone she knows. They have been traveling together for like many weeks and got trapped in a foreign country so I get it. But at the same time, it’s kind of hard to picture Tea with female friends.

Because right now you got this 12 year old child, the other duelist who does not care about anything besides cards, and Kaiba’s 3 dragon cards that we’ve all collectively decided are female.

Hell it’s almost like the writers are asking themselves why Tea is here. Maybe they forgot. There’s no more ghosts to bus, no more people to knock out with her ass with random Olympic feats. Tea’s just sidelining.

(read more under the cut)

Mokuba is a itty bit bit taller this season, and so I guess that means he can legally climb on top of the cherry picker in order to give a riveting speech.

Really says a lot about Mokuba that he is so unphased about talking to, I dunno...an entire planet of people. Kind of a shame we never see this courage from Mokuba used for anything other than talking really, really big and giving everyone around him a really hard time.

Mokuba takes a moment to dunk on Yugi Muto, as is Kaiba tradition.

And then introduce the first pair of duelists, which obviously must be between the few people in this tournament that we actually know and care about.

Thankfully, in between last episode and this episode, Yugi has figured out who his own Grandpa is. This is a relief, because Yugi is such a mess, that I was fully convinced it would take over half a season for him to recognize it. I mean how long did it take him to figure out he shares a body with a ghost? Like half a season?

Instead Yugi recovered gracefully from not recognizing his grandpa, but it’s not like he bothered to tell anyone else, so the rest of our cast is just gonna be like “Is he my hairdresser? The guy who delivers my mail? Who is this guy who made absolutely no significant changes to his outfit or voice?”

Like sometimes this show goes full Spongebob silly kid’s show and you never know when to take it seriously or not. They might be sacrificing the entire cast next episode. I really don’t know. But for now their big concern is who is grandpa??? Like an innocent card version of “Are you my Mother?”

Faced with public speaking, Yugi decides to have a melt down.

We have seen him face monsters, we’ve seen him on TV dozens of times, he’s been in multiple competitions...but give a speech? Of course he can’t do that. The kid doesn’t attend enough school to know how to do that. Them’s learning skills.

And that was when a newly assembled wife-jet spliced through the sky like a souped up razer scooter and deposited 1 fully equipped Seto Kaiba in a Buzz Lightyear jetsuit.

THE RECOVERY.

Seto always watching over his Brother, ready to save this awkward party if it kills him (and it really should, that suit is held together by two seat-belts), making sure to get on that platform before Yugi starts going off about how he’s half an Ancient Egyptian. (Ah, life before social media. You could just be hella famous and also half a dead dude and people would just not know. I kinda miss the time before I knew literally everything about everyone.)

Please admire how close those flames are to setting Mokuba’s heavily hairsprayed mane completely alight. It would be an unforgettable spectacle.

These were absolutely just random ass jet packs that Gozaburo Kaiba made to kill hell tons of people, right? Like Seto found it in the family cabin, clutched to the heart of some crispy fried corpse and was like “neat! Mokuba! I found a cool toy!” and just plucked that thing out of that skeleton’s clutches and has been flying around for months?

Like this is Seto Kaiba’s Butter Glider, right?

Seriously what type of vehicle license do you need for one of these things? RIP My ‘Seto only has a scooter license’ headcanon.

Which I’m only even thinking about because I’ve had to try and make an appt with the DMV for days to get a freakin REAL ID. I went to sleep in 2019 and I could fly on a plane. I woke up in 2021 and it’s like “Want one last screw you?” and just...can 2020 please stop screwing me over? It’s March.

Anyway, the Jet is removed soon after, so no, this is not part of his new outfit. He goes right back to his Post-S4-Trauma-Normcore.

After wrestling this competition out of his brother’s hands and confusing everyone in the audience, Roland must have gotten the memo to cut the microphone before Seto got too excited and we were quickly ushered on to the next stage of the tournament.

One sec...the BTS Mashup playlist I just clicked on did a Black Swan X 7 rings mashup and it’s the worst thing my ears have ever heard.

Holy crap. I had to actually turn down my volume. Like...Ariana Grande already has music that has way too many overlapping singing parts on it--and then lets just stick a 52-person boy band on top? That’ll fix it. Yeah. Go ahead.

Wow. Even I had to change the song and you know how much I enjoy pop culture mistakes.

Spot the Mickey but like a million times easier because it’s a Massive Dick Shaped Dragon.

Yep. That’s my grocery shopping outfit. Except maybe not a lab coat and a duel disk. Wish I had a duel disk, that would make social distancing just a hell ton earlier. Just a “Yo, only one person in checkout, please” and then bap them on the head with a propelled discuss/hologram.

Anyway, Grocery shopping/Doctor man dueled the Purple Hair Boy, and considering that Purple Hair got screen time and shook Yugi’s hand once--I think that Doctor man doesn’t stand a freakin chance.

Good. I hate him.

Also, every time he breathes he’s gonna fog up his glasses. I have experience in this area. He can’t read his own cards in the same way I can’t read my phone if I’m in the refrigerated aisle.

So the way this tournament works, is everyone has to sit in the stadium to watch the show. Kinda like showing up to a football stadium just to watch a recorded TV monitor...but then again...that is how it feels to watch a football game at a football stadium when it’s live (at least with the tickets I usually get.)

And as we watch Grandpa waiting for his competitor, we find out that his competitor (Joey) is too busy eating snacks to give him the time of day.

Why do cartoon hot dogs always have lettuce? Is that seriously supposed to be relish? Or is there a place in the world where you put lettuce on your hot dog?

Sorry, bro has just informed of his favorite hot dog order, which is absolutely terrible so I will share it with you: a Five Guys hot dog with ketchup, mustard, pickle relish, onions, mushrooms, pickled peppers, and you guessed it--topped with freakin lettuce.

My own kin. How am I over 30 and just finding out that my baby brother thinks it’s normal to walk into a restaurant with normal god-fearing law-abiding people and order lettuce and mushrooms on a hot dog?

I have fully failed him.

The rest of this episode is watching both Joey Wheeler and Mokuba have a shared panic attack while Seto does freakin nothing.

Please remember that Seto has both a jetpack and a dragon wife plane and could have easily solved this problem. But nah.

Then again, Seto Kaiba has given this crew so MANY rides, that maybe he’s tired of being the Soccer Mom for the team?

Like they don’t actually say this episode, but Seto was the one in charge of like...this entire place, do you think he made the 2 for 1 special just to get Joey where it hurts the most? Or does it actually not take any subterfuge to screw Joey Wheeler because he’s just naturally this way?

Like Mokuba wasn’t there when Joey was told “stay right here, and then we will all go together to fight Dartz” and Joey was like “I’mma save Mai from herself although she told me not to!” and then he Hella Died. But, Mokuba did see the result, AKA, Joey’s dead body being carried on the back of Tristan. Maybe Mokuba never realized that Joey died because he went out of his way to be late?

Lets do a tally of every time I can recall with my dodgy memory that Joey was threatened to be DQ’d/pretty much was DQ’d either by his own fault or no fault of his own

-When he wasn’t allowed to go on the boat to Murder Island because he was a stupid nobody kid who did not have a dueling glove

-When he wasn’t actually supposed to be in Pegasus’ tourney and was, in fact, secretly using half of Yugi’s entrance ticket the entire time

-when Bandit Keith stole the ticket that Joey got from Yugi so then Joey had to borrow Mai’s ticket although she had just used it so it really shouldn't have counted. Because, really anyone could have just piggy backed off of each other’s ticket until the whole boat went through that castle.

-When his account was hacked to get entered into Kaiba’s tourney when Kaiba very clearly told him he could not apply solely because he was Joey Wheeler.

-When he was late to his sister’s eye surgery because he got mugged by Marik’s Rare Hunters, so she almost refused to do the surgery.

-When Joey got possessed by Marik, and as Marik, threatened to murder everyone else in the tournament including both of the Kaiba brother’s who’s tournament it was, and then chained himself to Yugi Muto to throw both of them to the bottom of the ocean.

-I think there was a point when he threatened to attack Kaiba in Kaiba’s own tourney while not possessed? Like several times?

-when he got struck by Lightning and almost did not stand up fast enough after being struck by lightning, which is apparently a type of DQ in Duel Monsters.

-When he tried to save Mai from getting hit by a fireball, but then Yugi did it instead, and then so many people were standing on the dueling platform that Kaiba couldn’t possibly DQ them all.

-When he entered the restricted area of the blimp in order to hassle Kaiba into landing the Blimp, which Kaiba did not do.

-When Marik killed Joey before Joey could press the “go” button on his duel disk to play the card that should have won Joey the match.

-When he was dueling a lawyer in a digital universe but then the dice was like...weighted? So Noah had to walk over and be like “The hell is this weighted dice? This is my perfect digital world? How did you even do that?” and then Joey won because the match was no longer legit.

-When Joey yelled at Noah too much and so Noah turned Joey to stone for being a rude ass spectator

-When Mai was like “Wheeler and Valon, listen closely: do NOT murder each other” and then Joey did a murder on Valon so she was like “I guess I have no choice, I was very clear” and killed Joey straight up.

-When Joey decided to block Seto’s fireballs while Joey Wheeler WAS a playing card, somehow disrespecting both Dartz and Seto Kaiba at the same time.

-When Joey was playing cards but then got absorbed into a giant Leviathan and basically couldn’t play anymore after that.

-There’s probably hell ton of S0 stuff I just haven’t seen yet.

-This episode

And Joey runs fast for a montage of wacky things that really have no business being in a theme park. Things like this:

(remember when Bakura almost died from a rock that ended up being a balloon? It comes full circle.)

The stuff that the Kaiba brother’s think is normal and fun.

Anyway Joey fights off a bunch of hologram snakes and bats and everyone is like “Should we tell him it’s just holograms???” And it’s like wow, guys, how many times have these ‘holograms’ straight up murdered Joey Wheeler and everyone else on this cast? Too many? Because I have a google doc with so many deaths on it. 7,805,844,048, to be exact.

Anyway, he gets there with five seconds to spare and Mokuba’s like “well at least you were still entertaining while we filmed you in front of a live audience being a total spaz for 15 minutes straight, so I’ll let you go.”

Grandpa and Joey start playing, Joey completely oblivious that this is just an older Muto, while Hawkins walks up awkwardly and is like “hey guys. I’m so sorry about this.”

(welcome to my font choices, for those new here, I have to make weird font color choices to make sure it’s legible for the colorblind and also for the non-colorblind. This one is not much contrast, so I may change it up in the future, but for now, this is Grandpa Muto’s new font. I apologize to every graphic designer reading this. Please don’t tell anyone who has ever hired me for graphic design about this blog.)

What’s funny about this exchange is that after they find out that Yugi’s Grandpa is Apdnarg (HOLY my brain cannot get around the spelling for that, and I will not change it in the caps. I cannot do a ‘pdn’ ever again), they don’t stand on his side of the field or anything. Hawkins is legit Solomon Muto’s only fan during this exchange and like...damn. Way not to back your Grandpa, Yugi.

Yugi immediately strides up to Mokuba to non-confrontation-ally inform him that he has stepped over a line and Mokuba is like “what are these things you say called ‘lines?’”

According to Mokuba, Solomon Muto begged him to be in the competition so he could relive his glory days (glory days making no sense here, because the game has only been released for the past 15 years, so glory days is like...the before times that can only be referring to disgraced archeologists and Pegasus ((who is, in his own way...a disgraced archeologist, too))) and Mokuba was like

“You trained Yugi Muto, right? Hey that’s good enough for me. This drama is gold. People will eat it up. Hell yes. Don’t be afraid to abduct him a little bit. Maybe trap a couple people in a digital hellscape for a little while? Now we go by Pegasus house rules here, so fire as many lasers as you want, but just make sure not to hit anyone in the face. Oh man, we are going to be swimming in cash. Love it, Muto Sr, love it.”

But I dunno, I feel like Grandpa won’t make it past next episode. It is Joey. We kinda need him to make it past Ep 4 of the arc. If Grandpa Muto becomes the new Joey Wheeler, that will be a weird transition for this show to make.

But that’s all for today, as always, here is the link to read these in chrono order becuase there’s SO MANY that you don’t need to read backwards--don’t do it--just use the chrono tag (and I don’t know if you can add compound tags, but I did separate the Season from the Episode, so if you write S4, it should only pop up stuff from S4. I didn't’ do that to seasons 1-3 though because I just...didn’t.)

https://steve0discusses.tumblr.com/tagged/yugioh/chrono

And because I brought it up: here it is, the best BTS Mashup that I found on my deep dive. Like legit--this one isn’t a mess:

youtube

Most of other ones are horrible in a fascinating way. Like I’m not even a BTS fan, I think I sort of age out of that metric, I’m just bored and quarantined. And lets be real, we all appreciate a good bop when we hear it.

#yugioh #ygo #yu gi oh #photo recap #recap #episode recap #yugi muto #seto kaiba #mokuba kaiba #Joey Wheeler #Apdnarg #Grandpa muto #tea gardner #tristan taylor #professor hawkins #and then I ranted about BTS #but please don't quiz me about BTS I know nothing about them aside from the music #I actually thought there were over 12 of them because every time I see them perform it feels like an entire stageplay production of people #like a 101 dalmations situation where every time I saw BTS there were 3 new people #I assumed it was like the Gorrilaz where people just show up and then disappear in a rotation #but no. There's 7 BTS members #that can't be right #there has to be more than 7 #is this a berenstein bears situation?#how is there only 7?#I swear there used to be like 16 #and they would be introduced like here's jimin and Jungkook and red and yellow and green and brown and scarlet and black and ochre and pea #like is google seriously telling me there's only 7 kids in this band?#this is the biggest scam google has ever played on me #this weird alternate timeline that not only has an epidemic but also only 7 members of BTS

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thoughts-on-bangtan · 4 years

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Let’s talk: the Vmin “no on screen interaction = no bond” Paradox

by Admin 1 & 2

One of the reasons that are usually stated for why people are so insistent on their claims that Jimin and Tae supposedly aren’t close anymore, that their friendship is nothing but PR for Friends, and that the whole “soulmate agenda” is fake as well, boils down to the statement of “we rarely or never see them interact on screen, no touching, no talking, nothing”. We find this both misleading, since it isn’t true, but also disrespectful, since it means that the only way in which some are able to accept closeness between the members as real and valid is if they see it, nothing else. So, just because you don’t see it through grand physical touches, hugs and whatnot, does that mean if they speak about each other, for example, that doesn’t count?

You could argue that the power of pictures is greater than that of words, but to that I would like to ask: do they owe us visual proof of their closeness when we already have so much that shows how truly close Jimin and Tae are, how much they care about each other and how much work across years they’ve willingly and eagerly put into their bond for it to grow as deep and beautiful as it is?

As a way to showcase how misleading the screen time = friendship/closeness argument is, especially in connection to Jimin and Tae, I’d like for us to look at two different instances: Black Swan MV (the MV Sketch as well as the “opera” b*omb and the basket ball b*omb) and the Jingle Ball 2019 EPISODE.

Let’s start with the videos surrounding Black Swan below the cut:

Around that time I saw a lot, and I mean a lot, of chatter (mostly negative) about vmin since a very loud portion of the fandom were very up in arms after we got Friends. Not only did it solidify their preconceived notion that they are just friends, because the song is titled like that and none of them really cared enough to check the lyrics, but also because it opened up a whole new discussion about “but like, are they really friends?” To which, of course, their answer was mostly “no”. It’s just PR, they actually don’t really like each other, they barely interact, we see nothing of them, both interact way more with the other members, you know the drill. So when the MV Sketch for Black Swan came out it was, once again, like more “am/munition” for their arguments.

The thing we find laughable though is this expectation of “ship moments” in a video that’s literally about the filming of their music video, most of the scenes showing said filming happening though there’s also a few scenes of the members interacting. But, at the core, this isn’t like a bangtan b*mb of them hanging out backstage waiting for something or another where it makes sense that we’d see them interact a lot and be silly, instead it’s a video in which their focus (as well as ours should be) is on filming and giving the best performance they can so the MV turns out amazing, which it did. They are doing their work, not enjoying their free time. When you’re at work, do you really spend the majority of your time playing around with your friends? No, you do your job, the thing you get paid for doing.

The first few times I watched the video, I was so captivated by the theatre and their dancing, their mindset and performance, I didn’t even really notice any of their interactions or pay attention to who interacted with who or who did not. Guess my priorities and expectations are simply a bit different when watching a music video being filmed...

So what was the conclusion people drew? While Jimin and Tae are both close to JK and the other member, they are not close to each other, they don’t even particularly like each other. It was a narrative I saw repeated across various sns and, really, while it made me sad, I also wasn’t surprised. It’s nothing new that people treat vmin in such a manner.

Then, months later we got two Bangtan B*mbs from the same time and surprise, surprise Jimin and Tae did interact, a lot even, in ways that show how attuned with each other they are, how easy it is for them to fall into one of their role-plays or just be silly together, how gentle and thoughtful of the other they are, and how much they enjoy doing something together, regardless of what it is.

The first, posted October 1st 2020, showed Tae playing basket ball while Jimin and JK sat off to the side and watched him. Like you can see in the above pictures, eventually Jimin joined Tae and they played together for most of the video. Since the sun was shining at them, Tae stood before Jimin and raised his hands so the shadow fell onto Jimin’s eyes and he could see better, later on doing the same for Tae. It’s a small thing and yet it shows they care about each other. At some point Jimin pretended that he’ll be leaving, twice, and yet he stayed and they played some more. Toward the end of the video Namjoon joins them and eventually vmin leave and Namjoon stays behind and plays with Seokjin before the video ends.

Based on all that you’d assume the people who, seven months earlier, claimed vmin are essentially estranged and barely even like each other would reconsider, but of course not. Despite the focus being largely on them across the entire video, many comments by non-vminies (and non-namjinists) I saw on sns were about Tae playing on his own, Jimin and JK sitting off to the side together, and Namjoon playing with Seokjin.

The second video was posted October 24th 2020 and began with Jimin pretending he’s an opera singer, which Tae noticed and immediately joined in, since we know this is the sort of thing Tae enjoys doing, even occasionally turning their own songs and lyrics into opera style to make the other members laugh. This sets off this entire sequence of Tae and Jimin singing different things, JK also joining in for a moment, and then vmin ending on that sweet moment of Jimin standing behind Tae with his hands covering Tae’s eyes before concluding that “it’s hard to play with him”. And yet, even if it’s hard, can we talk about these two screenshots of Jimin fondly watching Tae and looking like he can’t wait until his stylist is done so he can go join him? Adorable.

But again, even here while the focus is on vmin for a large portion of the video, this fact was largely omitted and instead people zeroed in on moments in which Tae was alone, Tae or Jimin interacted with JK, and Tae singing with Namjoon and Seokjin. It seems to me like the council of “how valid is a friendship” decided on their opinion months prior and stuck with it even if it meant, as always, to just ignore vmin interactions in favor of other things while at the same time spreading the “vmin are not friends because they don’t interact” agenda to anyone who’ll listen.

Generally I don’t really care all that much for all the chatter happening among parts of ARMY, but seeing these comments belittling and erasing the bond Jimin and Tae have, regardless if you see it as platonic or potentially romantic, is just really hard to read sometimes. Not even because I’m a vminnie, but simply because they are erasing something that is so important to both Tae and Jimin, this bond they have with each other they themselves spoke so much about, showed so much of, and yet people refuse to accept it, like they have any right to make such judgements about their bond.

The second example I’d like to show is Jingle Ball 2019 in LA and how deceptive, paradoxical and misleading the no screen time = no bond agenda really is.

For context, the Jingle Ball happened some time in December 2019, the same month as when we got the vmin “let’s take a half bath together” while holding hands during Seokjin’s birthday vlive happened, meaning a time when Jimin and Tae were just as close as ever, even occasionally giving us glimpses into their bond, giggling together and being all smiles. Also the same month as the famous holding hands because we think no one sees us anymore moment at the airport.

On July 22nd 2020 we got the EPISODE showing the behind the scenes of the Jingle Ball performance. It’s 11 minutes long and includes the BWL performance with Halsey, but largely shows the members getting ready, practicing their English and being excited to perform. If we focus solely on vmin then sure, I’ll agree that there were no interactions between those two whatsoever, not a usual or out of the ordinary thing, and not something I see any kind of problem in. They don’t owe us interactions in every piece of content. And yet, as always, it just added fuel to everyones favorite agenda that vmin are not close, ignoring all the prior time frame context we established previously. But who cares, they didn’t interact in this 11 minute video therefore they definitely didn’t interact at all and now hate each other.

Jokes on those people because of course that isn’t true.

Excuse the rather mediocre quality of those pictures, I tried my best with the screenshots taken from a video taken by a fan (one of many) who got to see BTS behind the scenes before going on stage from the stands further up. There’s this video on twt that shows just vmin and then I found a longer version in this person’s vlog (around the 7:25 min mark and onward). You can check both and confirm that it really is vmin in those screenshots. Also, as memory refresher, Jimin was the only one with a black collar and shirt along with blond hair. Namjoon stands further away and can be seen in the three lower pictures.

So, what does this tell us? Easy--just because it wasn’t shown in a condensed and edited video it doesn’t mean it doesn’t exist. Just because Jimin and Tae don’t show us things on screen, or the editors don’t use scenes where it can be seen, it doesn’t mean that it’s an accurate representation of their actual, real life bond. They weren’t in the EPISODE but hugged and walked together off camera.

Notice how this agenda merely applies to vmin, how their bond, their soulmate status and closeness is the only one that gets questioned at every possible moment. When Seokjin said that Yoongi feels like his soulmate nowadays in an episode of In The SOOP no one questioned his words and accepted them as true, because he said so himself and we should believe their sincerity when they say these things. And yet when it comes to vmin, the rules are entirely different.

This was a post brought to you by Admin 2 coming across yet another thread on twt filled with ARMY claiming outlandish things about vmin and their bond and getting annoyed.

#lets talk #vmin #taehyung #jimin #we try not to get annoyed by these things but...#bts #bangtan sonyeondan #honestly this agenda is awful and unfair #just needed to get this out of our system

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felassan · 3 years

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Gamers For Groceries 2 event

A Twitch stream event from a few days ago. It can currently be re-watched here (it was fun & interesting, so I do recommend to check it out direct). This post contains some notes on things of particular interest & relevant timestamps, in case this is useful to anyone (for example bc of accessibility reasons).

First up is the All About Animating panel, a series of mini-interviews with game devs (animators) asking what they do, how they got there, and advice for anyone interested in getting into the industry. Some or all of the devs that were interviewed are currently working on DA4. They talked a bit about their day-to-day work and a lot about the craft of game dev animation in general. This segment runs from timestamp ~38 mins 40 secs to 1:07:50. Some notes:

[sounded like DA4] Right now the creature team are working on different creatures in a way which involves going through a lot of mocap data

At BioWare they have a pretty big technical animation team, to support their animators, so each tech animator has a different specialty. Tech anim involves animation support, character art support, and rigging the characters so that the animators can pose them

[not sure if re: DA4 work specifically, another project or a general comment on the craft] One of the featured animators’ area of specialty at the moment is faces and hair (building the control structure for face animations). First they had to decide how the face rig and its control structure would work. This involves a lot of performance capture of live actors for things like cinematics and gameplay animation, therefore the rigs for bodies and faces have to be able to accurately capture the full range of expressions and emotions that the actor is portraying. Right now the stage that this dev is working on most is setting up the heads that they’re getting through the pipeline from character art e.g. making adjustments based on feedback from the cinematics team. “Polish - just trying to get realism”

Hair tech has come quite a long way in the last few years [in the industry]

[not sure if re: DA4 work specifically, another project or a general comment on the craft] Hair is very complex to get right. “In the past most games have used card-based hair, which is basically like sheets of polygons with a texture on it that looks like hair, through layers of transparency. But real hair is strand-based, digital strands, so we’re starting to look into that kind of tech - try to get more realistic, more beautiful hair, but there’s always a performance cost to hair. Layers of transparent things are always an expense, they need to balance like, it looks good and moves well, but it doesn’t make your computer or console chug. [...] I guess we’re in the prototype stage but we’ve almost got a set pipeline. It’s always fun to experiment”

In Mass Effect 2 or 3, Miranda’s hair was as expensive as a whole character (!)

[on balancing hair costs/performance, general] It depends on things like character importance and how many characters are on-screen at the time. When you’re in gameplay fighting a bunch of monsters you’re not going to be giving full beautiful hair to all the characters and the monsters, as it will cost too much. (Having a helmet on is a convenient way to get rid of hair.) But if it’s a cinematic scene, with 2 characters talking to each other in a dramatic context, there’s a better budget for nice hair allocated

Some of the hair in Anthem was quite expensive in cinematics. They kept getting bugs from QA saying (for example) that a character’s hair was tripling the performance cost in the scene, so it would go back to character art so they could take away some of the hair cards. “Tough balance, quality versus cost”

“I wish all the characters could have beautiful strand hair”

For p-cap, a lot of the time they don’t want to be too prescriptive in terms of the direction that they’re giving the actors, as the actors know what they’re doing and have a lot of experience, so they give them vague instructions that they then riff off of

[sounded like DA4] They recently did a mocap shoot

[sounded like DA4] There’s a bit more productivity happening now in the pandemic situation; now that the animators are not all going to the capture lab in Vancouver in person for shoots, if it’s not their turn to direct a shot they can instead be working on something else on their computers (multi-tasking). ((Lead DA4 Producer Scylla Costa recently gave a talk at a games festival on the challenges of DA production during the pandemic. In part of this talk he talked about various benefits and drawbacks to the remote-working situation. He also talked about and showed some behind-the-scenes stuff for p-cap and mocap. Notes, images and link here))

[sounded like DA4] Special mocap suits were sent out that they can use with a laptop to go anywhere and shoot motion capture. It’s not as high fidelity as what comes out of the capture lab, but it’s really good for prototyping stuff. Before the pandemic they did some of this (going to a park and shooting some running around)

[sounded like DA4] In one of the shoots they had some actors who were really well-trained in dancing. They were trying to get them to do some combat stuff. This was a bit challenging in the pandemic situation as there’s only so much they can demonstrate/portray as an example to the actors from a distance on camera. “It’s hard to describe what a ‘dodge to attack’ is through the camera to somebody who has no idea what combat looks like in video games”

[not sure if re: DA4 work specifically, another project or a general comment on the craft] The pandemic has really affected performance capture for the face side of things badly, as in order to record, the actor gets dots painted on their face in specific locations by a makeup artist. They can’t do that right now because of social distancing/restrictions, so they haven’t been recording faces at the moment

The more detailed a face, the more joints it has, the more the cost to performance is

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There was also the Writers’ Block panel, featuring DA writers Mary Kirby, Sheryl Chee and Patrick Weekes, and DA editor Karin Weekes. The timestamps for this segment are ~2:37:50 - 3:26:20. Some notes:

PW has never been weirder than when they were writing Cole on DAI

PW thinks that they accidentally wrote part of “Timber” by Kesha into Solas at one point and they were like “Well, okay, I have to stop listening to Kesha”

For Sheryl, after a while Blackwall’s VA always nailed doing his lines. She loved the quality of his voice and so after a while would always hear his voice while she was writing. This really worked out

^ Mary had this with Merrill. As soon as they cast Eve Myles she listened to several hours of her in Torchwood, and then just wrote to the way that she spoke as much as possible

^ PW had this with GDL as Solas and FPJ as Bull. As soon as they heard FPJ’s delivery, they were like “Oh, okay, I have to write some lines differently, because Bull is smarter than I realized”. With GDL they were like “Okay, he’s going to put poetry into anything I say, in the best way possible”. In early drafts of Solas lines there were parts where they [PW] wondered “Is this too melodramatic? Is this too tragically-angstful?” and then they would hear GDL and be like “Oh! [It’s fine] Game on!”

For localization, German words are often quite long so they often have to make sure that everything fits on the GUI

They think scenes like the romance scenes sound prettier in the Italian versions

Behind the curtain in creating the in-world languages: PW: “There are some awesome websites that have every elven word, like ‘Here are the translations and verb tenses and conjugations’ [etc], [...] and usually Mary and I get very sad slightly looking at those pages going like ‘Does that mean that we have to stick to that?’ [...] The rule is, if I’ve looked at the Wiki and the words, and I go ‘Here’s the correct grammatical way to do it’, and if that turns out to be too long or too many disconnected syllables and it just looks bad or sounds bad, then we shorten it to something simpler, because the key is we want to give the flavor of a foreign language, but we don’t have the world-building budget and capacity to make something that is going to be dictionary-real [in a way that] someone could go through and translate all the background things written on the old temple walls”. Part of the reason for this is the consideration for VAs, who already have to act while bearing lots of things in mind, like the cues in the script for each line

Mary: “For building a language, the first things that I started with for qunlat, elven and dwarven, was what words do we need to use the most? Greetings, farewells, words for friend and enemy, basic things that will come up easily in conversation. After that it’s ‘How difficult is this for other writers to use?’ Can they just pick it off the Wiki? Do they need just one word? Do they need to write whole sentences, and how does that work? Qunlat has almost no grammar to it because asking anyone to learn how to use Qunari grammar and conjugate verbs in a pretend language is impossible, and then once you’ve done that a human being has to be able to read it, while not knowing what any of it means”

PW: “One thing that I was really impressed with with Mary in particular doing, Mary was one of the big lore people across the entire DA series; I can look at a word and go like, ‘That has two A’s in a row, that’s definitely a Qunari word. That word is kind of long and maybe has some apostrophes and has a couple of flowy vowel sounds, that’s probably elven’, I think that’s what’s important. You want players to be able to look at a word, players want to feel smart, [like] ‘Oh I don’t know what that means but I totally know that’s a word from the Qunari people!’”. Mary: “Every language has its own set of phonemes, the sounds that they make, and the sort of word structure and spelling so that it gives a flavor to that language. Hopefully that is always chosen to be pronounceable, because again, very important that the words can be said by human beings :D”

Sheryl: “One of the fun things to do is to make up swear words in the fake languages [...] Recently Brianne wanted a word, I don’t know if she managed to find one”

The origin of bosh’tet in ME: it’s just saying “bastard” and slurring it

PW: “I feel like there are times when past writers kind of leave traps for future writers, where past writers will go ‘Okay, I’m going to write this detailed phrase in a codex entry but don’t worry, it doesn’t matter if it can never be said aloud, because it’ll never have to be voiced!’ and then, next game, guess what guys! Look what you have to make someone [a VA] say! And you’re like [facepalm], c’mon!”

Karin: “Now, four games in, we have pages and pages of all these examples, and I wanna say this, well that’s how we said something before, well that’s ridiculous, I don’t wanna say that, but now we’ve said it and it’s out there, so it’s like, how do we, y’know, how do we evolve, and sometimes we just go ‘Screw it! Languages are living languages! We’ll just say it like this now!’”

PW's favorite is the sarcastic Mythal’enaste, “Because it’s the sarcastic Mythal's blessing that basically means you’re getting screwed over somehow. I love it because Mythal nasty! Whoever wrote that clearly never thought that someone would have to say this out loud”

Sheryl wrote Bull’s joke icicles line. She also wrote Isabela’s big boats line - Jennifer took it out but then DG was like “No it has to come back”

They have a pun test, they get a few of them and have to allot them wisely so as not to oversaturate on the puns. “Is this good/bad enough to be one of the times that we pull the trigger? We did have one of those recently, I obviously can’t talk about it, but it was pronounced Okay to go ahead”

The ‘baby-est’ writer is Brianne, who’s been there 8 years

It makes PW sad that the players never get to see the writers’ temp-text [placeholder text when portions are a WIP]. “People have the best temp-text". Mary: “The number of conversations that I’ve temped in like ‘WELL. I hope nothing BAD happens HERE’”

Q. If you could bring in anybody from outside of gamedev, who would you like to work with and do a writer’s session with? PW: “I will say romance novelist Nora Roberts, she is really smart and also she knows how to write inside a genre, and do wonders within it. Her structure is so good. If you pick up one of her books, you know here’s when this is gonna happen, here’s when they’re gonna meet, here’s when this first moment will happen. We’re all experienced and I feel pretty good about that but I really like all of the things she does that way, and also I am a sucker for romance so I would love to bring a romance novelist in and just have them look at our scenes and go ‘Okay here, no, they should pull the tie so that the article of clothing comes open, we need a sense of how warm the skin is here’ - something like that. I’d wanna see what they could do with that”

“Luke writes the best worst lines”

“I’m always impressed with Mary getting away with lines. There are lines that I look at like, wow, you buried that one. [...] The only players who get that line, I feel like they earned it if they went that far into it. [...] And then Varric or Merrill says a ridiculous line in a one-time throwaway”

Karin: “The group dynamic, you’ll see conversations or snippets of a lunch chat or a thing we’ve been joking about and you’ll see it get pulled in, and how all of you [the writers] are able to take a normal kind of thing - as normal as we get as a group anyway - and then turn it into a moment, and use it to further the plot or use it to further a character. It’s just the cleverest thing and it happens in so many different ways. [...] The little snippet of life, then how you crafted it into this very cool thing”

Quartermaster Threnn was written by PW in half a day. “When I was writing Threnn, ‘Okay, this is a good-hearted [person], I was doing a little bit of Steel Magnolias, southern, no-nonsense, but like, blue collar Steel Magnolias’. This is someone accustomed to the ways of the world so she’s going to call a spade a spade. If you come up to her and you’re an elf she doesn’t recognize you and says ‘Buckets are over there’ because she thinks you’re there to clean, [but] ‘Anyone calls you a knife-ear you come to me I’ll take care of it’. It’s problematic but she’s trying - the good-hearted person rooted for the wrong group on every occasion. She was a proud Loghain supporter, she gets really exited if he comes to Skyhold. That was a fun character for me to write because I had a viewpoint in my mind. I remember someone was like ‘Threnn is really important to me’. And you have to honor that, cause you’re like ‘Cool, it means so much to me that this connected with some part of you’”

---

Also of interest was the Mass Affection panel, in which BioWare devs looked back in over a decade of history to remaster a classic. It featured devs who worked on MELE. The timestamps for this segment are ~3:36:09 - 4:24:37. Some notes:

When the pandemic hit the MELE team were in a relatively awkward spot. They were really entering into what they consider full production and were on-boarding a bunch of teams, as well as training and on-boarding third-party external partner specialized teams worldwide. When the pandemic hit, BioWare and EA were super on top of it. They were tracking it weeks beforehand, getting everyone their computers ready, and getting everything encrypted. When the middle of March 2020 hit they were home rightaway. EA were nothing but supportive throughout the entire thing. They got money every quarter for stuff. It functionally ‘hit’ at 4-6 different times for them as the pandemic occurred in different places throughout the world at different times depending on each country’s response plan (and their external partners were in different countries). “So it was one of those things where it was just like, every day we’d come in like can we still work with this company anymore? Do we need to find someone else? Do we need to pull people in off the other projects at BioWare to fill gaps here and there?”

There was a bug on Virmire at the part when you’re coming into the STG camp. If the Mako had its new boosters on and you came hurtling in really fast, it cut to the cutscene, but the Mako hit a jump and when Ash was like “What do we do now?” the Mako ended up literally flying around in the background sideways and then crashing into the camp

Another bug: when they were re-tuning the guns, the physics force on some of the guns with Hammerhead rounds was so high that when you were fighting some of the Thorian Creepers, you could ragdoll them so hard that you could basically embed them in the roof. They’d be moving so fast that they’d penetrate all the walls with their legs dangling out. It was so easy to do and you could do it to everybody. You could launch a geth halfway across an Uncharted World

Another bug: with Shepard’s casual appearance in ME3, if you didn’t have it set up perfectly correctly it would default to Grunt for some reason. You’d be walking around as Grunt, going on dates as Grunt, and your face would be all scrunched up because it was all mapped to human bones still, so it was just, like, Nightmare Fuel of Grunt

Another bug: in ME2 on Illium when trying to recruit Samara, the Asari enemies just would not stop screaming - regardless of whether they were hit or not, it was endless screaming. Later one of the devs got an audio file of the scream, endless and looped, and now one of the devs has it on their phone and uses it for their morning alarm tone

“Shepard would come up to characters and they’d just be screaming”

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There was also the Programming Variables panel, talking about what hurdles game programmers face. Some [or all?] of the devs that were part of this panel are currently working on DA4. They talked a bit about their day-to-day work and about the craft of game dev programming in general. The timestamps for this segment are ~ 4:24:46 - 5:06:02.

[source]

[insights/notes from Gamers For Groceries 1]

[☕ found this post or blog interesting or useful? my ko-fi is here if you feel inclined. thank you 🙏]

#dragon age 4 #the dread wolf rises #da4 #dragon age #bioware #video games #long post #longpost #in case this is of interest to anyone #mass effect #anthem #covid mention #cole #spirit boy #solas #lul

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