hardcorecryptidwitch
Everything is Fine.
Just a plain ol' main blog where I'll be putting various things I like. My most active blog is youllallriseintheink. Icon from Pokémon black 2 and white 2 credits, background image by me.
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an expert analysis of my five day old chicks
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I forgot to post this Crow Time to tumblr! Here it is!
I love Jellybean Juice so much...
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Today's spotlight from @standardizedbogey has us imagining Beelzebub's walk perfectly. Music to our ears! And Gabriel's too 😘
Check out our pinned to see how you can get a copy of the Red Tape Zine today!
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This is one of those ideas that someone's probably already done, but I came up with another concept for a game:
A game where most of the cutscenes are flashbacks of memories the protagonist has, and the "skip cutscene" button says "repress this memory". You can play through the whole game while skipping all of the cutscenes, you don't need to watch any of them to complete the main storyline and get the main intended ending.
But watching through them doesn't just give you a more thorough - and occasionally, even completely different - understanding of the whole game, and information that makes you see certain characters in a different light, but it unocks new options in the game. You watch through the cutscene flashback of the protagonist's mother doing something fucked up, and suddenly all your conversations with her now have the dialogue option to go "hey mom remember when [the fucked up thing] happened?"
This particular conversation branch doesn't seem to lead anywhere, she'll flat-out deny that the thing ever happened, and she calls you crazy for having ever imagined that, but later on you can stumble upon something else that you clearly saw in the flashback, that you couldn't have found out any other way. It's one thing to wonder why you would remember something that never happened, but how would you have known that this passageway was here, and opens exactly the same way you remembered it?
There are passages in the game that aren't required for the completion of the main storyline, that aren't blocked off by anything visible and obvious, but have text like "you cannot go through this way, this hallway is too noisy", and it takes a completely unrelated flashback for you to recognise what that specific sound reminds you of, which opens up a whole sidequest of you figuring out why you can't stand hearing that noise. Once you've made the connections and finally remember, you can go through the hallway. There's nothing on the other side that you need for the main quest, but things that may help unlock some other mysteries.
The main game is simple and straightforward, you can just play through that one and be done with it. But that's not the whole picture, the full story. There are answers peppered thorough the whole game, answers to questions you might not even think of to ask. Explanations of why the protagonist is the way they are, and things that make you see characters you interact with - and your interactions with them - in a completely different light. Most of the relevations are grim. The only question to ask yourself is
Do you want to remember?
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If you ever find yourself thinking "oh, I can't write this Cool But Impractical thing into my story, it's just not realistic", here are a few perfectly realistic reasons why people and even whole cultures would rather do something in an impractical way rather than the sensible one:
weird flex
religious reasons
religious weird flex (someone decided that they are So Religious that they consider the practical method Sinful, and people got competitive about it)
tax reasons (some ruler put a tax on doing something the sensible way and people started doing the impractical alternative as a legal loophole)
someone wildly powerful and popular preferred doing it that way, and everyone adapted to it in order to look cool
someone wildly unpopular suggested doing the practical thing, and everyone went out of their way to avoid doing that in order to not look uncool
it just genuinely never occurred to them that there is a better alternative, and their current method has been honed to perfection/adapted to the infrastructure so deeply that at this point altering it wouldn't be sensible
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Okay so, got here from a book on animal behavior but: Vulcan stand-up comedy as a competitive activity.
Because most Vulcans don't actually pretend they don't have emotions, it's all about self-regulation, right? And good comedy usually hinges on manipulating the relationship between our faculties of recognition and surprise in various ways, you can get pretty scientific with it.
So Vulcans go to the comedy act, and the idea is the comedian is trying to make you crack up, and the audience is trying to not even crack a smile, and if you do laugh, you lose. Like all in good fun, but Vulcans are both really competitive and really aware of how dangerous that urge can be to a society, so this could actually be classified as highly orthodox Surakian practice.
So of course the comedian has to actually be funny, or there's no challenge and the game is boring.
Which means the really good Vulcan comedians (most of whom tend to extremely dry delivery of their bits) are going to go around playing to packed houses, which mostly sit staring stonily back at them, with occasional breaks when someone loses it and reacts.
And after a show you'll have Vulcans walking out discussing with great approval how very humorous that was, with varying degrees of muted smugness or chagrin depending on if they won or lost.
I bet there are human comedians whose grandest fantasy is being good enough to do a set in Vulcana Regatta and have people going around bragging about not laughing at them.
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People who think sheep are killed for their wool are so hilarious to me. Does your barber slit your throat whenever you get a haircut?? Are you a returning customer to Sweeney Todd? Lmao it grows back, fools.
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When my nephew was four, a friend of the family passed away. The man was in his 90s and died of natural causes, and we were going to the funeral. We sat my nephew down and explained who this was, and that he had passed away, and now we were going to a sort of quiet party to celebrate him, and that there he might see the gentleman in the casket, and he might be very still, because he had died, but that everything was alright.
My nephew contemplated this calmly for a few minutes, and then said, "I think he will be very flat."
What.
It turns out that at age four, my nephew's only real context for death was roadkill, which he frequently pointed out while we were driving. He therefore believed that everyone got run over by a car when they died.
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when i started my last director job at a university, they told me one of my duties would be to write all the chancellor’s letters. me: “cool. but why though?” them: “English isn’t the chancellor’s first language.” me: “I’m aware of that.” them: “the chancellor likes the suggestions that autocorrect gives him if he misspells something.” me: “Ah.” them: hands me a copy of a letter the chancellor sent to a donor who had just given a million-dollar gift to the university, which includes the following: ‘The profundity of your gift fills us with the greatest horror. In recognition we have prepared a special plague to compromise you and your family’.
Which is why to this day when I’m struggling to communicate in a different language, i remember the chancellor, who was Doing His Best, and i try to give myself a break.
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