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sege-h · 4 months

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Thoughts on the State of Play reveal

Under a readmore just in case

1- I know I said I'd keep the Son*dow tag blocked for a bit after Prime ended but I think I'll keep it blocked till the end of the year now lmao

2- I know the rumor has been going around since yesterday but I took it with a grain of salt since it's. Yknow. A rumor. But even when I let myself think 'what if its real tho' this is SO FAR FROM WHAT I EXPECTED. A!!! I thought at most we'd get is a remaster that'd also make Shadow playable! As soon as I saw the new level I was like WAIT WHAT. WAIT WHAT!!?!? and it just kept going from there!!!

I'm so happy we'll be getting a HD biolizard fight! He'll no longer be contained to the 3DS! Also from what little we saw Shadow will get to have some dynamic posing in the boss fights, like Super Sonic did in Frontiers. Good! I loved those!

3- Ian Flynn has #KnowingSmile'd the announcement and I'm hoping this means he got to write for whatever new content there is.

And speaking of Frontiers! I'm hoping that this ends up being Shadow's 'Frontiers' moment. In that his writing and character get what Amy's, Tails', and Knuckles' did in Frontiers.

4-I had the stream off to the side in another tab since I wasn't interested in most of what was shown. And then I heard the first few notes of the Generations music and i immediately switched tabs and I just!!! Feel like I did in 2011 except my computer/internet is way better, and you tube is shittier!

5- I'm excited for this for such Me reasons. For those new here- I live in a country that had no Sonic stuff for...well, never, really. Not until about 2022. The second movie did what I'd hoped the first movie would do (but then the pandemic happened) and brought over Sonic stuff here. For the first time in my life I went to a toy store here and it had Sonic stuff. I got to buy physical Sonic comics for the first time. For the first time in my life I can go to a video game store and actually see Sonic games there. It's been wild

That being said, 2011 had Nothing. Sonic Generations came out. And I didn't want to pirate it because a friend of mine had worked on it. I was determined to find it. And I only saw it irl one time- for the Playstation. A console I've never had. It was pretty upsetting! I remember posting about it here even....I've been on tumblr too long SHDGSHDHS

Later I'd find that there was a 3DS version. I have that! So I looked for that version of it alongside the PC one

So, for almost a decade, I looked, to no avail. And for this whole time I refused to look at any playthroughs! Any knowledge I had on whats in the game came from the trailers we saw

And then in 2019 my best friend helped me buy the 3DS version. I had 9 dollars on my 3DS and whenever the game went on sale it'd be on for 10 dollars. So he gave me a dollar and helped me get it SHDGSHDH

So I finally experienced Generations! It was surprise after surprise in that one, because I knew it was different but I didn't know how. I didn't expect a Rush level in it, or for the Biolizard to be in there!

And then in late 2020 when I got my new computer and could finally get steam, another close friend got me Generations for the PC! I'd somehow managed to dodge spoilers on it all those years so all I knew about it was: Theres Green Hill, Chemical Plant, City Escape, and a Silver boss fight.

I got to play modern City Escape for myself- which is the level that inspired the current iteration of my main OC, Storm. It was a joy

All this rambling to say...it's wild to think that once this remaster comes out, I'll be able to get it day 1, at least I hope I will. Still-it won't take me almost a decade to get to it

And if there's a physical release? I'll be able to go to a store here- HERE, not in one of our neighboring countries, not from somewhere else, but in a store here. Right across the street. And I'll finally have a physical copy of Generations. That was my final goal with the game-- I love it, I have two versions of it! And the plan was always that even though I'd gotten to play them now, if I ever ran into a physical copy of the game, I'd buy it. And now I'll really get to do it

6- Bonus thought of me being silly: Wowow my OC was shown at the State of Play--

#Personal #Sonic spoilers #Generations #Sege rambles

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spikeinthepunch · 11 months

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maybe itd be good to also dump the timeline of what i have taken out or changed that i feel was affected by my own anxiety of why i could or couldnt tell and story with 'dark themes'. and ill just talk about it with Penrose because that is the story i am currently telling in the game i am making.

TW but not really detailed here- sexual, emotional and physical abuse. horrible toxic relationships in general. grooming. pedophilia.

.... Penrose (or TIWIFL)

TIWIFL it was obviously based on trauma stuff. the title gave it away ("this is what it felt like). the original ideas are entirely thrown out so i can be more clear about it without caring for spoilers. the first version of the story was about Mick, and her group of friends who i think were highschool students. the general line up of characters was Mick, Mars, Babs, and Haiden (a few other unimportant ones). Mick is a sophomore who was in a toxic abusive relationship with Haiden, a senior. Babs is a freshman who had been/was being sexually abused by an older man who groomed her. Mars is a senior who dealt with extreme anger problems that often resulted in him abusing girlfriends he tried to date. Yeah it was uh, a myriad of problems. I had no clear story with all of them together. Mick was a lone character at first who was to have a comic that had her exploring memories she forgot. Eventually they were to all be in a single story though i dont know how. there are some random drawings and map parts related to them though!

eventually Mick got selected for a short finished comic- Trip- which personified the idea of her past manipulative and gaslighting relationship. but i had no longer ideas at the time. now its just her and some new characters for this game jam story i am whipping up.

either way, while i didnt get any solid story for the old stuff, these guys sure represented some tough topics. and the content i did make was very triggering for me to even do. this version of the story may have gotten thrown out for many reasons (well, i had no story i could figure out, for one) and i think my age and mental state halted much of exploring it properly at the time. it was like desperate trauma dumping to get things out but it wasnt healthy- i think a lot didnt happen either bc i was throwing Types of trauma at various characters bc i needed an outlet. but still looking back at it, there was nothing wrong with trying to cover that- i ended up facing a lot of conflict and anxiety when i saw all the various opinions of Who could tell those stories and How to tell them. im sure that piecing out exploring these characters, would make a good story. and maybe i can still use this in my new iteration of this long running messy all over the place story. idk.

Penrose especially is one that was intended to feel more like "home" in the sense its grounded in a simple modern day world in a small town inspired by mine/one very close to me, and the concept of exploring forgotten memories is definitely based of myself- and then covering topics that are close/familiar to me. But when i started to of think of why's or what's for the memory loss topic and the trauma topic i did start to hold back when i took it out- for all the reasons echoed prior. i end up with a story that doesnt have any of the content i keep wanting it to have!

its current story now has to do with recovering memories of a cult Mick never realized would have been a cult in the first place. there is a lot that happens in cults, a lot of hard shit to consume. and its not all relevant to my characters or story or... i guess maybe, i made sure to write it so i didnt have to try and tackle those subjects. And yes, I don't by any means intend to or need to cover every possible bad thing that happens in a cult. But at the same time I know there is a lot of me that is nervous at even trying to explore themes of abuse, grooming, etc if it were to come up. and some of it HAS to if this is about a character coming to realize the bad of something she normalized for so long!!

its a whole process to realize this now. i want to change it and i guess its also hard to change my OC stories AGAIN. but im trying to be aware and trying to push away anxiety about the stories and subjects i want to write.

#penrose

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fyeah-anya-corazon · 3 years

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Ranking every potential love interest for Anya

Happy Valentine's day!

To celebrate the occasion let's look at every single character she has had as potential romantic partners. I'm including here every iteration of Anya so far.

For a teen character with more than 15 years of existence, it's amazing she hasn't had any sort of stable partner. As far as comics go, her main version has only had one romantic partner so far, but calling it a "relationship" is kind of a stretch. MSM did what the comics (embarrassingly) haven't and give her a romantic partner that I think we were all happy for, and even though it's not my favorite, it's probably the most high profile partner she'll have in a while.

Anyway, let's start the countdown!

Peter Parker

NOPE. NOPE NOPE NOPE NOPE. Sorry shippers from MSM, but this is a big nope from me due to their student/teacher relationship from the comics and that she's still a minor in them.

Possibilities of becoming canon: I mean.... I don't doubt that at some point some hack writer might pull a Bruce/Barbara with them for some au. Probably one of the blessings of her not being as relevant as Batgirl.

Score: -110000/10 HELLSHIP HELLSHIP

Paul Townsend

Her original potential love interest in comics, he disappeared after Amazing Fantasy. He was still important enough that he even appears in the cover of AF #6 as part of Anya's civilian life.

Possibilities of becoming canon: Zero. It's clear we'll never see him again.

Score: -10/10 dude was very clearly into some shady stuff.

Rocky Flint

Her new best friend (?) they even lived together for a while. Introduced during the Spider-Girl relaunch, she is nice friend, but Rikki was the one who took the spotlight during this period.

Score: 1/10 prefer them as friends.

Black Tarantula

From the MC2 universe, I guess it works within it's "What if?" premise. A series that gives a antagonistic-but-not-too-much role to Anya in it's "what if she stayed longer with the Spider Society?" it does kinda feel natural that two characters with characters with similar origin to be attracted. (Let's not even mention how comfortable she feels with Fabian pursuing Mayday to join their harem).

Possibilities of becoming canon: canon in a reality, doubt in main reality this would happen. It would be interesting if 616 Fabian resurfaces as a enemy to Anya.

Score: 2/10 kinda works in it's reality, but I can't forgive DeFalco for thinking it was a good idea to pair a character who lost her family to narcos with a narco.

Lynn Sakura

Oh, the panel that started it all....

Anya's BFF, is a shame she was dropped after the original Araña series. There's is potential in there, but now it all rests on anyone remembering Heart of the Spider.

Possibilities of becoming canon: I mean, it cooould happen. To say there's no subtext in there would be a understatement....

Score: 4/10 just as Rocky I prefer them as friends.

Reptil

So far her only romantic partner she's had. It didn't start the best way, and ended... we actually have no idea how this ended. Next thing we know Berto was pursuing other relationships with Finnesse and White Tiger. It seemed that only Paul Tobin wanted it to happen.

Possibilities of becoming canon: He is kinda dead. He reappeared for a panel thanks to Bendis not caring about continuity, but God knows if anyone is gonna pick that up. Overall, I think there's a bigger chance for Reptil to pursue any of the previous relationships than going back to Anya.

Score: 5/10 good guy, but who thought it was a good idea making Anya's first kiss against her will?

Julie Taregon

Anya's hockey captain from very early, interviews from the time indicated that she was originally meant to have a much bigger role in Heart of the Spider. Just like Paul she was dropped by the main series, but nothing takes away from the distinction of being the one who activated Anya's powers for the first time after she asked her out.

Possibilities of becoming canon: As much possibilities as Paul or Lynn. Assuming a new Anya solo is greenlighted she would make a interesting addition to the supporting cast.

Score: 7/10 I dig it but wish she would appear more.

Mayday Parker

The newest addition to her potential partners, I've actually been shiping them from before Spider-Girls, the fact that in short 3 issues they generated enough interest that this is probably the second most popular ship at this point (came first in a twitter poll I made). There's a story with them just waiting to be written, they need to be together in a series again!

Possibilities of becoming canon: Um... I think that at this point both have the same level of relevance that if someone pitches a story were they become a couple it wouldn't hold much objection.

Score: 1000000/10 currently my fav ship.

Miles Morales

Marvel comics should be embarrassed that a cartoon made this pairing happen, as meanwhile in the comics they haven't even talked to each other. As you may notice, this list is dominated by women, if there's one guy I would smile from ear to ear if it becomes a thing it would be with Miles. They both have so much in common, it's a match made in heaven.

Possibilities of becoming canon: I actually think this has a good chance of happening. They will probably not be endgame, but I see them having a relationship along the lines of Tim and Steph.

Score: 9/10 If only Miles were a woman 😔

Gwen Stacy

Just like Miles, the cartoon did what the comics haven't and developed them into a lovely friendship (with something more...?). Arguably, the most popular ship involving Anya; on ao3 is the one with the most fics, and there's probably more fan art of this pairing than from anyone else. The main limitation with this is how in the comics writers tend to underwrite Anya while putting the spotlight on Gwen, and never developing their partnership into something more. Hopefully the upcoming Order of the Web series they've been teasing they'll finally have some heartfelt interactions.

Possibilities of becoming canon: you know what, I legit think this has a actual chance. As I said, this is a rather popular ship, at least even Seanan Maguire is aware of it and is fair to say other people at Marvel are aware of the fan art and the like. Gwen in the comics so far has ambiguous sexuality, it wouldn't be too far fetched if someone makes it canon. Just as Miles, I can't see this as endgame, but it can become a recurring relationship like Gambit and Rogue.

Score: 10/10 Marvel don't be cowards challenge.

Rikki Barnes

The og. The one that turned subtext into text. Completely unintentional, yet their relationship did eventually had ramifications on at least one of them. At this point, if anyone wants to reveal Anya as a wlw, they just need to point this relationship to justify it. Anya and Rikki were probably the closest between them than any other superhero they ever interacted with.

Possibilities of becoming canon: Uhm.... Just when I thought that Rikki wouldn't be back, she comes back AND confirmed as bi. The problem? Rikki currently has a girlfriend. Breaking up Julie and Rikki seems very mean spirited, specially for Julie. Hypothetically, if for any reason their relationship ends, Rikki and Anya would definitely become canon at some point.

Score: 1100000/10 @Marvel you owe Anya a girlfriend.

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nightwings-bussy · 3 years

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random question but im super curious, whats your opinion on teen titans go and their portrayal of dick? they make him out to be an over bearing whiny loser with nothing special to his name besides being batmans sidekick, even to his own teammates, and other jokes that constantly nerf him/his capabilities. i get its for the comedy, but imo they rlly massacred my boy on that show ;_;

i've never seen teen titans go, so i'm not gonna sit around and hate on it. but aw man nonnie i'm sorry that was your experience with it :/ i will say, i've never felt a huge compulsion to watch teen titans go, bc my sense is that that's true for every character in it. i liked the 2000s teen titans show fine but i prefer the ntt versions of the characters by far.

i think in a general sense something's been getting lost in a lot of the attempts to animate the titans. i don't tend to like many animated versions of them; if i had to rank my favorites, i'd rank young justice above the 2000's teen titans run and that above dick as depicted in the dcau. i'm not really thrilled with any of those.

largely i attribute this loss in quality to people feeling the need to "update" character designs, backstories, personalities etc. to match more closely both with current comic runs (for marketing reasons) and with the sensibilities of the modern day. for some characters, an amount of tweaking probably makes sense - there's some vaguely racist/xenophobic undertones to kori's original backstory for example that should probably get workshopped a little. not a ton - i actually think ntt does a pretty great job for its time - but enough to make a show about teenagers appealing to its core demographic.

but in dick's case, what i've observed - and this may be true in the comics as well - is that in his animated iterations since the 00's, there tends to be a lot of cross-polination between his personality and tim's. tim's the robin that most teenage television viewers and comic book readers in the 2000's would likely be the most familiar with - he'd been robin since 1990, and would be until 2009. as a result, i see a lot of mixing and matching of his personality and dick's in the myriad animated series. mind you, they have a lot in common: they're both highly capable perfectionists who often play the light and upbeat snark to bruce's dour shadow. but for example, i read the dick in young justice as essentially having tim's personality, general appearance, skillset, weapons, and interests and dick's backstory, and that's just...not my favorite thing. in yj it's egregious enough that when tim actually showed up in yj he felt totally redundant.

(obviously dick's not the only person who gets personality-swapped in the animation process; the "tim" of the dcau is pretty plainly jason in everything but name.)

and this isn't even getting into the fact that even in the 2000's teen titans show, we don't have donna. kori's...essentially a different character in a way i'm not a huge fan of. i would say of everybody who gets a personality makeover, i'm the most enthusiastic about the way they altered beast boy and raven, fairly neutral about the changes to dick and vic, and most negative about the changes to kori and the elimination of donna from the team comp. i've already talked way too long, but i personally feel that taking the team from an even 3 girls/3 guys split into an uneven 2 girls/3 guys split where the two girls are polar opposites, don't really get along until a significant amount of time passes, and who are both ultimately endgame love interests for two of the boys on the team is... not a good change. i know this is some people's favorite versions of these characters and that's fine! but i really don't like it very much, and unfortunately (at least imo) it really affected pretty much every iteration of those characters from then on due to the show's popularity.

so...yeah. i'm not a huge fan of any animated version of the titans, or of dick in any of the animated features i've seen so far. if i had to pick one animated dick grayson i really like, it would be the one from the lego batman movie. when in doubt i'll choose goofy over self-serious any day.

#asks #sorry BLAH BLAH BLAH i know #i kind of went on and on #anyway the point is i feel your pain #i clearly had stuff to say about this sdljfdlg #sorry nonnie hope this counts as commiseration #teen titans #dick grayson

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ordinaryschmuck · 3 years

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Why I (Want to) Love Rise of the Teenage Mutant Ninja Turtles

Salutations, random people on the internet who most certainly won’t read this! I’m an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons. I also LOVE the Teenage Mutant Ninja Turtles.

Whether as a kid, or an adult pretending to be a kid, this franchise is one that I’ll always revisit no matter how old I get. So when I heard that a new version of the series was coming out in 2018, titled as Rise of the Teenage Mutant Ninja Turtles, I was excited about it. Then I watched the series...and most of that excitement went down the sewer drain.

Don’t get me wrong, there were some elements that seemed like there was some definite promise for a good series, but other aspects...I’ll have to explain.

But keep in mind, I am going to be spoiling a lot about the series. So if you haven't watched it yet, I highly recommend you do so to form your own opinions. Because while it may not have grabbed me as much, that doesn’t mean the same can’t be said for you. With that out of the way, let's get started with--

WHAT I LIKE

The Animation: If anybody ever tells you that Rise of the Teenage Mutant Ninja Turtles has awful animation, they are objectively wrong. Rise of the TMNT has some of the best, if not the best, animated fight scenes I've seen from any action series in recent memory. Probably because the show understands the number one rule of action animation: Good animation is a requirement. Not an exception.

For an action-oriented animated series, the audience needs to feel the impact whenever characters punch, block, or dodge in each fight. Yes, even dodge. Because if you can feel even the tiniest gust of wind that passes by a character's face after a punch, then you know the animators are doing something right. And trust me when I say that is present in the majority of most fights in Rise of the Teenage Mutant Ninja Turtles. Are there moments when the movements are slow and rigid? Yes...during the dialogue and comedic scenes. Moments where good and quality animation isn't really all that necessary. You see this same technique in most modern anime: The animation is rigid and cheap for the dialogue-heavy scenes so the animators can give extra attention to the epic action set pieces. Not a single person complains about this happening in their favorite anime of the week. But when Rise of the Teenage Mutant Ninja Turtles does this, apparently it's a bad thing? Explain that logic to me!

The animation is phenomenal in this show. Don't let anybody tell you otherwise because those people are either blind or insanely stupid. Either works.

It’s Pretty Funny: And that's about it. It's nowhere near one of the funniest shows I have seen, and previous iterations of the franchise did a much better job at balancing humor and heart, but Rise of the Teenage Mutant Ninja Turtles did a great job at getting a laugh out of me from time to time. It has a very random sense of humor that works well with its manic energy, similar to what Star vs. the Forces of Evil did early on in its first season. Even if one joke fails, about ten more take its place, most of them funnier than the others. There may be an occasional issue where a joke spoils a dramatic moment, but Rise of the TMNT is one of the few shows where that issue doesn't happen often. Besides, the series sets itself up as more of a comedy than other reboots and reiterations, so it wouldn't look good if it wasn't funny. Thankfully, it is, and in a way, the show is a success because of it.

It Tries to be Something New: This is what I respect most about the series. The downside about a reboot is that writers have to find a way to tell the same story but with adjustments that make it seem different. That's the same way Teenage Mutant Ninja Turtles operates as a franchise. The original concepts of the stories and characters are always iconic, and I'll love them with my whole heart, but I will admit, there's a point where the same thing over and over again can be a little tiring. Then there's Rise of the Teenage Mutant Ninja Turtles, which makes changes where other shows would ask "why," this is the one that asks "why not?"

Why not change the personality and backstories of characters that still fit with the spirit of the original?

Why not change the genders, races, and possibly sexualities of these iconic characters?

Why not make something new?

Now, some have argued that the show is a little too new. Which I can kind of see the point of. After all, what's the point of changing characters and concepts so drastically when you could just make an original series? But even then, most of the changes are pretty clever, that I think it’s worth remembering for future iterations. Like making Casey Jones a female. Casey is a gender-neutral name, and I legitimately thought this series would do it for that reason alone. So I feel bad that the writers never got a chance to allow the series to reach its full potential with ideas like this due to Nickelodeon screwing them over (Seriously, never pitch a show to Nickelodeon. It rarely ever works out, and it's not worth the risk). I can see how these ideas could result in an incredible show that might cement the series as one of the best iterations of the franchise. But I can't base a story on potential. I can only judge what I see, and what I see are brilliant changes that impress me from time to time.

The Creators Are Still Fans: Despite making something completely different, you can tell that everyone working on this show loves TMNT as the rest of the fans do. There are dozens of references to previous versions littered throughout the series. Whether it's shoutouts to the 90s cartoon to bringing back voice actors from the last one, there are moments where the crew behind the series emphasizes how much they care about the franchise. There are also times when a reference has such a deep cut to it. For example, the series has the previous VA for Splinter to voice the current version of Shredder. I shouldn't have to explain how that is a brilliant idea, especially given Shredder's relationship with Karai...which I can't fully explain due to it spoiling TMNT (2012). This might be a whole new experience, but it is clear that history is not ignored when it comes to Rise of the Teenage Mutant Ninja Turtles.

The Cast is Colorful: It's not precisely a diversity win to have half the Turtles voiced by black VAs, but it is unquestionably some good sign of progress. The Teenage Mutant Ninja Turtles are...accurately what they are called. So they are not defined by the skin tone of the VAs themselves. So having half of them be voiced by people of color makes me hopeful that maybe future reboots would consider more colorful castings. Hell, maybe one day we'll have a Teenage Mutant Ninja Turtles reboot where all of them are POCs, to the point that we'll have an all-Asian casting for these timeless heroes (which makes way too much sense to me).

And it's not just the casting of the turtles that impresses me. Because the series making April O'neil black is an idea that I'm more than ok with. It's implied that she's black in the original comics by Keven Eastman and Peter Laird, so it works as another deep-cut reference that proves how big of fans the crew is. Plus, who cares? I mean, if we're still having issues of changing the race of a character who was originally white, all I can say is grow the hell up. You can complain if they don't grab you, but if the issue is because of one decision that shouldn't negatively affect anybody, I don't see the problem. Besides, at this point, a character being white is basically the base plate for someone in the future to change their race at another time.

Also, let’s give the people behind the casting a pat on the back for casting Asian VAs for characters who are, well, Asian. It’s the bare minimum of common courtesy and avoids the trouble of having white VAs do asian accents that have become quite culturally insensitive nowadays. So it’s a pretty cool decision if you ask me.

Diversity is never an issue, especially since representation always matters for people who demand to be heard. It's definitive proof that anybody can be anything, whether it's a hero in fiction or the voice of that hero behind the scenes. And you can't really do that when everyone is so white that it's blinding.

Donatello: This is the best character in the series. Not only because Donatello has the most consistent personality (more on that later), but also because I'm a sucker for the cynical super-geniuses. These types of characters always have a quick and dry wit that never fails to get a laugh out of me, and this version of Donatello became my favorite just for that factor alone. Most of the credit goes to Josh Brener, who does a phenomenal job at his performance and comedic delivery. As for the emotional bits, he's...fine, but the drama isn't the show's best strength anyway, so it doesn't matter as much. Because the fact that it's Donatello who earns the spot as best character in a Teenage Mutant Ninja Turtles reboot is an impressive feat in itself that any criticism offered for him is moot in the process.

WHAT I DISLIKE

Leonardo: I'm willing to make half of this a personal issue because I have grown to despise Ben Schwarts in the last four years. No offense to the guy, I'm sure he's a really great person in real life...but he has done nothing but play the same character in FOURS YEARS! Whether he's Leonardo, Dewey Duck, Sonic the Hedgehog, or even M.O.D.O.K.'s son (yes, that's a thing), Ben Schwarts has practically played the exact same character each time. The highly energized, dimwitted, and egotistical character who slowly tries to learn to be a better person in the end. AND SOMETIMES, NOT EVEN THAT! I'm sick of it, as it always breaks the immersion of the series as all I hear is Ben Schwarts and not the character he's voicing. But it's not just the voice behind Leonardo that frustrates me. Because the thing is, I can see how this version of him can be incredible.

It doesn't take a genius to know that this version of Leonardo is meant to be more childlike and carefree so he can morph into the more mature leader we all know and respect him as. The issue is that the writers barely do anything with that idea. Sure some episodes make this Leonardo more like, well, Leonardo, but they're far and few between the ones where he's the same Ben Schwarts character that I've grown to hate. Even when he is at his most Leo-like, as seen in the episode "Man vs. Sewer," it's so drastically different from how he usually acts that it feels less like character development and more like inconsistency. It's a shame too because I really love this idea. With a little more polish, it could work out. As is, it's just a huge chunk of wasted potential.

Raph’s Too Good of a Leader: This is a similar issue to what I've mentioned about Leonardo. Because, again, I love this idea. Raphael, in multiple iterations, complained about how he should be the leader and just as frequently learns why the job rightly belongs to Leo instead. So starting with this role reversal should be a well-executed idea that gives Raph what he wants while eventually giving the fans what they want. And it would be if not for the fact that Raph seems to be too good at his job.

I get it. If Raphael was too incompetent, the turtles would have gotten nothing done, and it would get too tiring too quick as Leonardo constantly proves why he should lead and why Raph should follow. This actually happens from time to time, and it is already tiresom. The issue is that the intention was to make Leonardo the leader in the end. So why spend so much time showing how Raphael is capable at the job and barely any time showing why Leonardo is a better fit? There are even times when Raphael seems like he really is a better leader than Leo, which I feel as though it is contradictory to the point the writers are trying to get across. In the end, it's nothing more than another really great idea met with insanely poor execution.

Master Splinter (Early Season One): ...Did anybody like this version of Master Splinter in the first half of season one? Because this character was atrocious, especially compared to the previous Splinter from TMNT (2012). We went from what is easily the best interpretation of the character to what was, at the time, the worst. He was lazy, selfish, and emotionally distant with his sons to the point where he only acknowledges them by the color of their bandannas. I understand that the writers needed a more comedic version of the character due to leaning extra hard into comedy, but I don't think I laughed once with his antics in the first half of season one. Thankfully, he's been gifted with a softcore reboot during the second half and onward. This Splinter is awesome, serious, he works well as a straight man, and he has a backstory that's easy to follow while still being kind of heartbreaking. It's a tremendous improvement from what we've been given, but it still doesn't change how downright painful he initially was. I won't complain about the results, but I do have the right to complain about what we got beforehand.

Characters are Inconsistent: A common complaint you'll hear about Rise of the Teenage Mutant Ninja Turtles is that the main characters are the same. That's not true because there are definite differences that separate each one apart from the other...the issue is that the writers are not consistent with those changes. I've touched upon it with Leo, but the truth is, everyone in the main cast suffers from inconsistency with their personalities. If Raph is supposed to be the meathead with a good heart, why are there times when he acts like the smart one who occasionally enjoys violence? If April is supposed to be as wild and carefree as the rest of the guys, why are there episodes where she seems to be the sane one? If Mikey is supposed to be kind yet somewhat stupid, why are there episodes where he's selfish and more intelligent than Leonardo? Even Donatello, who is the most consistent out of the whole cast, still suffers through moments when he isn't as clever and cynical as he usually is. These inconsistencies are annoying, and at times, it feels like their personalities are dependent on what the writers need for a joke or for the episode. Characters are the most essential aspect of any story for any medium. If audiences don't care about the characters, they'll find it hard to care about anything else. And how can we care about anyone if we're not one hundred percent sure what their personalities are in the first place?

The Pacing: I sort of expected this when it was announced that this reboot was swapping the franchise's usual half-hour runtime for a ten-minute one, but in all honesty, it isn't that bad. It is slightly fast at times, but that's just as quick to get used to. However, there is one strange phenomenon about this show that I can't let go of.

You see, this series somehow has worse pacing with extended episodes and specials than it does with its usual ten minutes. I don't know how this is possible either. Because despite having as much time as the writers want to establish each plot point, it still feels like they fly through them a little too fast than they regularly would. It makes no sense, but it's constant in every extended episode, especially the series finale (which, to be fair, is partially Nickelodeon's fault. AGAIN!). So keep that in mind when watching.

The Characters Are TOO Overpowered: It feels weird complaining about this. Because making the characters capable of doing anything and surviving much more leads to some of the most epic action sequences in animation history, not just the series or the TMNT franchise as a whole. Despite that, though, there is one crucial thing that is always missing from those fight scenes anyways: Tension.

To fully explain why tension is required in action, I'll have to use Samurai Jack as an example. You see, the titular character can, at times, be just as invincible as these versions of the Turtles and survive even worse. But regardless of him being victorious after nearly every episode, no matter how high the deck is stacked against him, there was always a sense that he fought hard, literally and figuratively, for those victories in the first place. Jack losing articles of clothing or getting cut up gives the illusion that he might not win in the end. He still does, and he always does, but showing the audience that he can and will get hurt makes seeing that victory feel earned. The only times the Turtles, April, or Splinter get hurt is either for comedic slapstick or because the story says so. This is why I consider Shredder destroying the lair is the best fight scene in the entire series. The second he starts destroying their weapons, it gives the tension required to believe maybe, just maybe, not everyone will make it out alive this time. Because if the characters aren't careful, they will face intense consequences as a result. Thus making an adrenaline-pounding moment in the process. Unfortunately, this is the one and only fight scene where that happens. Every action set piece is still epic, don't get me wrong. But there's a reason why writers make even Superman seem less invincible than typical in a fight.

Baron Draxum: THIS is the biggest issue that I have with the series.

As a villain, I didn't give a s**t about Baron Draxum. He was a dull antagonist with a generic evil plot, but other than that, he was perfectly serviceable for a series like this. Even getting a few chuckles now and again...but then the writers decided to make him REDEEMABLE!?

This guy?

The maniac who wanted to commit genocide on human beings, all because of insufficient proof that they'll do it to his species first?

Didn't we already learn how that's awful reasoning after Steven Universe?

Actually, that's not fair...because Steven Universe has a better explanation behind wanting to redeem the Diamonds than Rise of the Teenage Mutant Ninja Turtles does about Baron Draxum! And I'm not kidding! For Steven Universe, the characters believe that it's better to end things peacefully than killing anyone, even if they're the worst criminals. It's a flawed mentality, sure, but it's one you can grasp and understand. What's the reason for redeeming Baron Draxum? It's because he's the reason why Splinter and the turtles are a family...F**k all the physical torture Splinter went through on top of the social ostracization he experienced because of it. No, no, it totally validates the decision to forgive and forget...Oh, wait, no, it doesn't. BECAUSE THAT WOULD BE INSANE!

Who in the f**k honest to goodness thought that would be a good idea? I'm all for finding silver linings in a bad situation, but that is just flat-out lunacy! Because it's the equivalent of saying, "Yeah, this person was a complete a-hole, but they're still the a-hole that made you who you are today." But that is a very dangerous lesson to preach to kids. Because here's the--Hey *snaps fingers* Here's the thing: If a person treats you like garbage, you don't owe them anything for who you are. It's one thing if a person inspired you or cheered you on, but if someone basically ruined your life and physically harmed you and others, don't forgive them. They don't deserve it. ‘Cause f**k Baron Draxum. And whoever thought this was a good idea, you seriously need some help.

Man, is this how it feels to be Lily Orchard? IT SUCKS!

IN CONCLUSION

And that's what I think about Rise of the Teenage Mutant Ninja Turtles.

It's a fantastic series! I just like everything except for the execution of ideas, most of the characters, and the overall pacing of it...that means it's not a good series, is it?

Yeah, it's a real shame that I don't like this. Because I want to. I really want to. The pieces are there, and I can see how this could be a great and memorable version of a series I loved since I was a tater-tot myself. But I don't. I'm sorry, but I just don't consider this to be an A+ series. It's a solid C, for sure, because it's mostly just style with very little substance. I still respect the amount of effort everyone put into this reboot, but for me, it just never had its chance to fully rise to the occasion.

#rise of the teenage mutant ninja turtles #rise of the tmnt #what i thought about #why i want to like

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misterbitches · 3 years

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i keep thinking about this and coming to more conclusions like both as an artist and me.

we always think first about the aggressor and not the victim. so, for example, with history 4 and yong jie what will their relationship look like now given the trauma? if they have no interest in fleshing this dude out and having him just be an annoying clingy little ugly bitch then acknowledge that pain and how it will affect them. it’s so easy for xing si to get over being raped? what about xing si’s relationship with his mother? what about the fracturing this does to the family when there’s an intense violation that was aided and abetted by the mother?

that would be far more fascinating trying to figure out and they could still have them be together if they so desperately need it but they can’t ignore everything. that means the trauma will permeate through every part of your life. it’s hilarious that so many fans say the portrayals are realistic because they are not. these shows do not have the time and many of the writers or producers do not have the care or prowess—or will have to cut things to please the state—to execute this. they expedite the healing process but we are left reeling.

in film school one of my teachers was always like, “what happens in the world when the film ends?” and this is something to ask. are we approaching it from: a man falls in love with his brother who raped him and the mother encouraged it and the shock and taboo of that or are we approaching it from a man is forced and trapped into a rship and stockholm syndrome and how that plays out. even if they stayed together even so it would give us more reason and understanding and then we see and know the foundation is built on nothing but darkness and may never recover. after this chapter ends there may be destruction; it’s possible because that’s how it all started.

but after this story ends, in the way it is presented, what will happen? it’s not just entertainment and that doesn’t mean it’s as big of a deal as i think it is even as i write these things. these are just things to keep in mind and things i think the younger viewers absolutely need to see. for themselves like as creative people and enjoying the media they consume and seeing what works and what doesn’t especially when a work serves a purpose. nothing is made for no reason so don’t expect it to be. to me i’m like: why was this made and what could have been better?

there is NO improvement which is why we run around in the same circles. the way to untangle that is being clear about the message and its faults. the audience can’t be clear about it if the show isn’t doing its job for a team of professional fucking writers trying to entice people by poorly approaching topics and leaving them empty handed. life is not as hollow as these things make it and yet we eat it up hook line and fucking sinker.

time and time again we see what these things must establish and how far they can push themselves. it isn’t until the material world gets better that we see a turn in the media but time isn’t linear. sometimes things are worse in years, sometimes things are better. these tropes last because they are a direct reflection of life and the failures in society. so of course it’s about the perpetrator and how they can get their prize but not how we can manage these things when there is a clear victim and we pretend like it isnt there under some sense of potential reform. 1. people do not need to be reformed in a story and that isn’t what this needs 2. is that compelling? 3. yes morally grey things exist but this is not morally grey when it is a violation adn that person’s action was not morally grey. there was a victim and he neeeds to be away from that victim. if he is going to stay we need to see the affects of him being there as real things and there is nothing realistic about that. in no fucking world would someone like xing si a grown adult fucking man be able to temper things that quickly as in the show. NONE. that shit lasts forever but we are supposed to see them kiss and be liek “aw wow morally grey” like what about him is morally grey in relation to xing si? specifically. whihc is the personhe will be with forever.

no it’s how do we get ourselves to see him and engage with him. you can engage with him or be enraptured sure but that doesn’t mean anything and it doesn’t mean the writers are even doing anything with it! i’m glad eveyrone can garner there own idk ideas or get what they want out of a work but what about the victims? what about the relationships? what happens when the story ends? what are dinners like? cos their lives don’t stop when it’s not being recorded (as in these worlds we are shown are always going to exist so they continue on even without us seeing it. so the characters don’t have a stop point we just usually see their happy ending and many times with shitty relationships it’s like why are we here now?) at this point it’s comical and it’s boring.

there’s a film i like with cameron diaz where she falls in love with someone who kidnapped her for a job. there’s no perosnal connection which really helps as well. he did it for a job, doesn’t know her, they fall in love. they get together at the end. that still affects her but it’s also way less psychological trauma then somoene stalking and grooming you and violating you and trapping you by direct action and constant manipulation. there’s no way to turn that around and it’s even worse when you try to with literally no other explanations. like who are these fucking characters and why should we even want them to continue to be here? yong jie could have even been a vehicle to help xing si like idk unpack everything in his brain in a helpful way even through his violation. they chose none of that lmao i could write a better fucking script and im a moron

why should we believe in their love? why should we believe in yong jie? why should we believe in any of these people when they don’t prove shit to us. they just exist. why is that interesting? why do we root for them? that’s certainly not something they even asked themselves cause they sure as shit don’t know. the writing here cannot make up its mind on its own morality and i think the idea of morally grey only works if you have a fucking idea of what you want to do not just throwing shit at a wall. and we feel something for these “morally grey” characters—frankly this term is also a mistake because it’s so much about good/bad and ignores history and peoples lives and what leads to events and it is a super WASP-y concept in its current iteration anyway with a belief that punity is justice when it is not. that is why i say get the fuck away from this dude instead of going to jail. we could see yong jie grow but FUCKING OUTSIDE OF XING SI.

aey from lovely writer is one where im like wow i feel so bad 4 u i think ur gonna like kill urself someone get this messy ass bitch some help. people hate this kid and they totally can! i feel bad for him! dont love him and maybe i wont even want the best for him but rn im like “omg i dont want u 2 die sir.”

i dont feel that way in many other shows. i feel fucking nothing for these men. not yong jie and not even the old guy from modc im just like ok you exist and i’m going to ignore you. there is nothing in my chest lmao. i look at them and feel cold, couldnt be drier, cos it’s stale and boring and trite and nothing new at all. it’s not realisitc and it’s not even entertaining. it’s just...there.

i mean it’s there with the reminder of “oh man i am not interested in your love story also isn’t your boyfriend like 40 and you’re 17? why do you like each other again? does this kid have parents? Wait, what’s happening? uhhhh am i supposed to like this? where are his parents? what’s gonna happen when he turns 23 and realizes how fucked up that shit is? can we see that?” and before u know it the sex on screen is over so that was just unpleasant all around.

and i cannot give u a single reason for so many couples why they like each other. like literally what on earth is there for the two of these people to be attracted to. at least one is being swayed by power but what’s the other one doing? oh nothing he just sucks? ok got it.

if we don’t approach it from a “how do we get people to like a shitty person or a person who does things that harms others” it continues on like this. questioning questioning questioning the comfortableness and never thinking about what the fuck the victim can do, what the fuck is even going on in their heads. and if they can’t do that then we go back to the question: what is the purpose of it? if the answr is “just because” then you have a failure on your hands and a lot of annoyed people. sorry not sorry

#history 4 #history 4: close to you #lovely writer #a thot

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hellyeahheroes · 4 years

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Marvel’s Spider-Man: Miles Morales story and character review

So let’s state a disclaimer, I didn’t like the PS4 Miles character as it was blatantly clear that they never read a Miles story with the actual mistakes they made(Miles going to the wrong school, Rio being a science teacher, Jefferson loving vigilantes/supers, using MJ as an origin for Miles, the skin lightening of both Miles and Rio). It was insulting because they clearly researched and had a fidelity to Peter Parker as they had references from both of the 616 and Ultimate Universes but with Miles, they somehow missed the first thing about Miles: he doesn’t want to be Spider-Man. I didn’t like this version. Notice the past tense.

Miles Morales PS5 redeemed him. I am half-way as I’ve done all of the side quests and pretty much half of the main story. And I also seen the whole main story on YouTube. So yeah.

First off, the first thing I noticed about Miles was his fresh-cut. It was, to quote my brother, “a hot mess” in the first game. I was delighted to hear that the first thing the “black” consultant told the Insomniac developers. His edge was fucked up. Second thing was how social Miles was. Third thing is that they retconned Miles going to Midtown. Yes, in the first thing they did actually have kid in Brooklyn attend a public school in Queens. I am pretty sure in the remaster the changed it to Brooklyn Visions.

These changes along with the fidelity of the relationship between Miles and Ganke were what sold me on this version of the character. I get it. No one wants Peter to die and honestly, they probably should have just used Anya, but Miles is popular now and it’d be stupid to just not capitalize.

So let’s talk about a few characters starting with the actual main character of the game: The Tinkerer.

Let me tell you that at first I thought she was redundant. I am not going to spoil it, but it was obvious the moment she is introduced in the game and Miles mentioned her twice before she is formally introduced. It’s clear that she was the focus. I felt that she was redundant because there is a literal harem of morally dubious women who Miles has a close connection to that she takes aspects from. Tinkerer is an amalgamation of all of them. She is a girl leading a gang(Diamondback/Tomoe) who is a genius inventor(Ceres). She wants revenge against a company that is poisoning the city and killed her brother so she becomes a ruthless vigilante(Tiana). Her powers or devices are that she manipulates a metal to form any shape she wants(Tomoe). Her relationship of Miles is one that is really platonic with some romantic undertones(literally every single person that I mentioned) but it is torn apart because Miles lies and keeps secrets from her(Katie Bishop).

What sold me on her character is the work they did in her collectibles which I implore you to collect because they provide so much depth to her character and also, it doesn’t really bother to explain Miles’ character in this world but hers. This girl is hurt because her loved one was killed and she saw Miles as family or a second brother. They hung out together and as soon as Miles went to Visions, they drifted apart. I’ve always wondered about the kids Miles left in his whole transfer situation and Tinkerer was one of them. Her pathos and identity is very much tied to Miles. And I love her.

Look, at first, I was reluctant to want her in the main comic, but someone put in too much work to not include her in Miles’ main rogues gallery. I hope that Saladin sees it and implements a version of her in the MM: Spider-Man comic. She also reminds me of Gear from Static Shock except she is not a gay white man.

Ganke was spot on. This is the best adaptation of Ganke I’ve seen.

Yes even better than Homecoming.

Ganke is part of Miles’ Spider-Man. He is not just the fat Asian kid providing tech support. He is the motivation and is apart of it too unlike the thing they tried to do with MJ and Peter in the first game. This also shows the clear contrast of Peter and Miles. Peter never trusted anyone enough to be that involved in his being of Spider-Man. Miles knows that he can’t do it alone and relies on Ganke for information gathering and webs. Ganke is important and this game nailed it.

Aaron Davis is in this game and no one is surprised. This version of Aaron...is different. Okay in the comics, he is a foil to Miles in that while Miles is becoming more heroic, Aaron is becoming more villainous. It’s no coincidence that Spider-Man and the Prowler look similar but the gist is that if Miles didn’t get bit by the spider, Miles would have become Prowler 2.0. The game eschews this dynamic because it is hard to pull that off after the mangled Miles’ origin so they opted for the Prowler to foil Miles in a different way: keeping secrets from family and friends and being protective of family because fear of loss. Aaron, after losing his brother and never getting a chance to reconcile with him, is hurt and wants to protect Miles and subsequently Rio. Miles, throughout the game, is becoming increasingly worried about his mom running for city council and painting a target on his back. He shows his frustration and distances himself from his mother in his work as Spider-Man. Aaron does the same to Miles when he finds out that he Spider-Man. There comes a point where the two collide and Aaron goes further into the extreme which I won’t spoil. You get it.

This change, while different, isn’t terrible. It’s actually really well thought out. It accomplishes the same thing in that Aaron is not a good role model but he is a good person to Miles. It allows Miles to reflect on his own behavior towards his mother. So I’m with it.

Oh and before I forget, Danika being in this game sold me that they actually started actually researching Miles. They ignored the weird racial commentary that she became enamores and she became a foil to JJJ. A voice of youthful and helpful positivity vs Randian cynicism and skepticism. A social justice activist vs an arrogant self important commentator. And it was fun listening to her. Hopefully Saladin brings her back. I am currently on Underground base liberation missions where she teams up with Ganke and Miles in putting them down. Just started, but there was already some mild hint that Ganke is crushing on her(they are a couple in the comics). So yeah.

The cons because like Ganke, I love pros and cons list. Two things about this game annoys me. First, the move to Harlem and this forced narrative of Miles being Harlem’s Spider-Man made no sense because just look at the map. Harlem is part of Manhattan. There is nothing stopping Peter from visiting Harlem regularly. Brooklyn, however, would justify having their own Spider-Man. As, if you didn’t know, Brooklyn is emerging into becoming the next big city as the area is thriving. Also, gentrification. Point is there is a reason why Miles connection to Brooklyn is important. It is foil to Peter who is from Queens and wanted to move into Manhattan island because part of it was he saw it as a measure of success to get out of the old neighborhood and make it big. Miles loves Brooklyn and doesn’t want to move out. Trying to replicate his love for his city in Harlem just because it’s predominantly black and brown is lazy and honestly if they included Brooklyn in the game, it would have justified the price of this game. Which brings me to the second point.

This game is too short on content to be costing $50 dollars. Just to point out something, all of the DLC from the first game cost 10 bucks a pop and you had as much content in those three expansions as you do this game. Infamous First Light was the same exact thing in relation to Infamous Second Sons and it cost 30 bucks. Uncharted Lost Legacy cost 30 dollars. I could go on. Point is that it shouldn’t have costed nearly the price of a full game when in comparison to the previous iteration, it wasn’t. Now I’ve seen people say that hating because it’s short isn’t warranted or pull up this quoted fact that video games are too long. Anti-consumerist bullshit aside, the difference between the main storyline of the previous game and this one is not repetition. It’s the lack of variety in enemies and deesculating storylines. In the first game, there were a variety of enemies that had their own AI and attacks. And you adjusted accordingly to whom you were facing. There were classes of enemies within the variety. You had the rudimentary common criminal which had 4 classes and how to deal with them and from that point, each enemy afterwards were variations of those four classes and each provided a different challenge. The repetition wasn’t boring because it provided a new challenge. This game only gives you three types of enemies and while 2 are vastly different from anything in the previous game or it’s expansions, the need to limit the series to focus on narrative becomes unwarranted because you are still getting less for nearly the same price.

That’s all. Have a great day. It was a fun game. Really.

@ubernegro

#miles morales #spider-man ps5 #marvel’s spider man: miles morales

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bulgariansumo · 4 years

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The Messy Relationship Between Sonic and Localization

Ask any Sonic fan and they’ll tell you that the fandom is one of the most fractured things to ever exist. It’s a miracle whenever we can all agree, and that usually comes from us collectively hating something (Sonic Movie’s original design, Ken Penders, etc.)--and even then, there’s a dedicated few who disagree. Many of us have such differing opinions on what the series “should” be, that satisfying all--or even a majority--of Sonic fans is next to impossible. How did it get this way? I think it has a lot to do with localization.

Classic Era

The 1990’s wasn’t the best decade when it came to localizing anything, especially not video games. Often, some creative liberties would be taken when adapting a source from Japanese to English. The Sonic franchise was no exception to this. The first split comes from the game manuals. Me and @rontufox already made a post discussing this, but the Japanese manuals gave a little background info on the series’ lore and worldbuilding. The English versions gave a bare-bones description of the premise of each game, but that’s about it. There were no mentions of an apocalypse caused by people misusing the Chaos Emeralds, of Sonic finding the ring that would foreshadow Knuckles Chaotix, or of Knuckles thinking the Death Egg was a ‘Dragon’s Egg’ described in ancient legends. Sonic went to a bunch of colorful zones, beat up Dr. Robotnik, collected some magic stones, and maybe a new character or two would tag along, but there was nothing else to it. There was no dialogue and few cutscenes in the games at this time, so the English localizers could get away with this.

Since there wasn’t much to go on games-wise, English fans at the time got their perception of Sonic and his world from various comic and cartoon adaptations. The American-produced ones portrayed Sonic as an in-your-face smart aleck who was almost completely full of himself. The UK-produced Sonic the Comic starred Sonic as a self-described “cool guy” who cared little about the people around him, including friends. Whatever worldbuilding these adaptations had either didn’t exist or diverged completely from the games, because the writers, even if they did care, didn’t have much to go on. There also weren’t a lot of Japanese Sonic adaptations at the time, and the only one that got localized was Sonic the Hedgehog: The Movie (aka Sonic OVA). To English-speaking fans, Sonic was an arrogant but funny hedgehog who despite everything, got the job done. Aside from Dr. Robotnik, other characters were an afterthought and could be replaced as needed.

Adventure Era

Sonic Adventure released in 1998 with fully voice-acted cutscenes, and localization differences started catching up. Some things were easy to fix, such as Dr. Eggman (Robotnik’s name in Japanese) being a nickname for Dr. Robotnik. Other things weren’t that simple. For instance, some of those little things mentioned in the Japanese manuals started showing up again, specifically the apocalypse caused by people misusing the Chaos Emeralds. Sonic Adventure was a soft-reboot, where most previous characters and worldbuilding are still there, but some details are left behind so that newcomers have an easier time entering the series. There also might be changes in the series’ tone. For example, Sonic Adventure was somewhat more serious than previous games could be, but still overall lighthearted. This was also the first of many mainline games during this time to have an ensemble cast. Instead of just playing as Sonic, or maybe Tails and Knuckles, you were required to play all three of them plus other characters, with different stories and gameplay styles. This was a tall task, but these games pulled it off well enough to be very popular at the time. Themes of friendship became very prominent in the games around this time, and to further cement it, Sonic X, a Japanese-produced anime came out and got localized in the United States. Sonic was still a little cocky in English dubs of the games and anime, but he was also free-spirited and very supportive of his friends instead of being preoccupied with being the coolest person in the group. For the most part, his English and Japanese portrayals were nearly indistinguishable. Other characters also got more screentime and focus on their personalities, and popular new characters like Shadow and Rouge were introduced to the cast. All was going great.

Then 2006 came around. Shadow the Hedgehog and Sonic the Hedgehog (aka Sonic 06) came out, ushering in a period of very poorly received Sonic games, the latter being seen as a contender for the worst game of all time. Shadow the Hedgehog was an attempt at explaining why the titular character was alive after apparently being killed off Sonic Adventure 2, but the gritty and somewhat melodramatic tone was seen as ill-fitting for the Sonic franchise. The gameplay was also lacking, in part due to other characters tagging along with Shadow and repeatedly telling him hints and mission objectives. The problem of characters talking a lot mid-gameplay was present in Sonic Heroes, but the gameplay itself was passable enough that the game didn’t completely suffer for it. Shadow the Hedgehog tied up the last plot threads the Sonic Adventure series left behind, so the series had to go somewhere different. Sonic 06 was another soft-reboot, so that newcomers wouldn’t have to study up on the games from Sonic Adventure to Shadow the Hedgehog. Because the game was rushed for the holiday season, it was glitchy, didn’t feel good to play, and the writing was… very flawed. The game’s tone was slightly lighter than Shadow the Hedgehog, but still a little too melodramatic for most fans.

With all of these changes in mind, further splits in the English-speaking fandom occurred. Many vocal Classic fans were thrown off by the series being heavier on plot, worldbuilding, and Sonic’s friends. They wanted to go back to a time when none of that existed, and when Sonic was just an arrogant jokester--a time that only existed in 90’s US and UK. Newer, Adventure-era fans grew up with these new changes and loved them, though many of them were also not happy with Shadow the Hedgehog and subsequent games’s handling of these things. Because of Shadow the Hedgehog and Sonic 06’s spectacular failure in handling different characters’ gameplay, one sentiment was repeatedly echoed--that only Sonic should be playable. Since then, with very few exceptions, only Sonic has been playable in mainline Sonic games. This still wasn’t enough to save the games. Games after Sonic 06 often had a core gimmick to them, many of which weren’t received well, and the ones that were got replaced by the next game. The writing had the same feeling to it, though. It shied away from the melodrama of the most hated entries, but still retained the sincerity of entries like Sonic Adventure.

Modern Era

That changed in 2011 with Sonic Colors. Instead of Sonic Team writing the games, they hired Ken Pontac and Warren Graff, two American writers known for working on Happy Tree Friends. Neither had much knowledge of the previous games’ characters, worldbuilding, or stories, but this was intentional. Sonic games sell less in Japan, so Sega probably wanted to put more focus into pleasing audiences in America and Europe. The two went off some basics about the characters and setting, and what little they knew previously. There is some supervision by Takeshi Iizuka, a longtime Sonic Team member who is currently the head of the series after creator Yuji Naka left in the mid-2000’s, but he is interested in the series going in a new direction. Sonic Colors was another soft reboot of the series, but because of the writer’s lack of knowledge about the series a lot more details were lost and changes made than in any of the previous ones. The writing is lighthearted, but most of the sincerity has been traded for attempts at comedy, which tend to be hit and miss. Sonic as a character retains his free spirit and some kindness towards his friends, but some of the self-importance of his English interpretation is making a comeback. Many of the characters from previous games make returns, but they’re written oddly (“Y’got this, Sssonic!” - Shadow, Sonic Generations (2011)) and the writers don’t quite know how to integrate them. Sonic Colors was well-received for its gameplay, and even the writing was praised at the time, but most subsequent games have middling reception. None are considered outright bad (except Sonic Boom, but that was a spinoff that Sega contracted a different company to do) or outright good (except Sonic Mania, which Sega contracted a team of fans to do.)

Conclusion

As it stands now, the Sonic franchise is a strange hybrid of the Japanese and English interpretations of Sonic. A lot of the Adventure Era fans are old enough to start noticing the changes in the writing in the Modern Era, and some aren’t big fans. Some are, though. Some of the Classic fans are satisfied with these changes, others aren’t impressed either preferring the Classic or even Adventure Era. Some people like the Classic Era, but not the English interpretations of the series. There are likely Modern fans who grew up with this version of the Sonic franchise and love it, but there may be ones that have seen previous iterations and prefer those better. There are many differing opinions and few can agree on what would be good for Sonic. Would things have been different if localization had been handled differently in the 90’s? Who can say? All we have to go by are ripples from the errors of the past.

#sonic the hedgehog #this concludes my text-form video essay #in this essay i DID #can write an essay about sonic but not for college

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juni-ravenhall · 3 years

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my opinions on mistfall!

under a cut bc spoilers and/or not everyone wants to read :D

overall experience:

its fun that there IS a sso cartoon now even if its not exactly amazing quality, and im happy to see if there will be more series or movies after this. it was fun to watch and see sso things in cartoon form too and i wish that we had more already (of sso animation in general). imagine if there had been a ssl cartoon? i also kept thinking throughout this, that it wouldn’t be hard for me myself to make an animated series with around the same length episodes and in a similar quality to this (aside from voice acting and music production), which made me feel a little inspired.

favourite scene:

skye taking photos of blaze and hanging out

positive points:

i like the background art a lot, i think the style of it, and the colour schemes, helps give the series a specific vibe that fits for an sso series in my opinion.

i like the concept art (i assume) illustrations which we saw in the recipes and other posts on sso ig, i think it looks a lot better than the characters in the series, but thats normal for concept art!!

the music is really good quality (whether or not its your taste, the quality is good) which is ofc bc its sso - theres already good music and not something they only did for the cartoon but something they care about in all of the starstable media.

i think skye is a nice character (despite the series’ overall low quality writing) and i like her design. i also think rania’s cartoon design (visually) is cute.

skye and rania being a teensy bit gay (minus points for sso if they dont end up really gay in later canon)

i like that blaze wasnt actually like... mean or anything to skye, and i like that shes a mare since typical stories like this usually have stallions. but i just like that there wasnt really any “ooh difficult horse” things between skye and blaze in the current time of the story, blaze actually was sweet to her most the time. blaze seemed pretty charming whenever there wasnt “omg fire” drama.

the animation itself (not meaning the details of the drawings or scene timing, just the actual frame by frame / puppet movements) was fine! not amazing, but absolutely fine.

points i have constructive criticism for, which doesn’t mean that i expected more from the series, but that we’re all allowed to discuss the quality and our opinions of media regardless of the target audience, budget, etc:

the writing was childish and rushed - this is not to be rude, but a matter that affects a lot of “media for girls / kids”, and a topic talked a lot about by Lauren Faust (creator of the FiM reboot of MLP) who wanted to show that a show about rainbow ponies “for little girls” didn’t have to be badly written, and could be engaging and interesting. if you watch the older MLP cartoons and compare to the first season of FiM (where Faust was still on the team) you can see a huge difference in quality of the storytelling, characterisation, etc. Mistfall, so far, did not subvert any expectation in the quality of what typical “cartoons for girls” are like, and is reminiscent of stuff like “The Ranch” (french horse cartoon) which imo is so bad that its hard to watch. (and ofc... that goes for a lot of “cartoons for girls / kids”, but doesn’t have to be like that.) in order to improve on this, the writer has to study more on storytelling and study from better writers.

on the topic of being rushed: no, it’s not an excuse that the episodes are short: - you have to ADAPT your storytelling and writing to the length of the episodes, not do a bad job and blame the episode length. being able to adapt to different types of media is a necessary skill if that’s what you work with. this comes down to proper planning and structuring the story and writing in a way that works for the length of the episodes. i don’t think that was overall done well here (at times it was okay), and bc of that, it feels rushed and has exposition thrown in your face instead of being shown through better storytelling. the classic thing with exposition is “show, don’t tell”. this is what the writers/directors should study, or pay more attention to.

the timing (length of shots, length of scenes, or parts of shots, etc) was rly bad at times and overall unimpressive - this comes down to the skill of directors and editors. to improve this they have to study more on the topic. bad timing and pacing can really ruin a good scene or a good story and make it feel disconnected and hard to immerse in for the audience.

the artstyle of characters and horses is fine at times, but appears very low quality at others (skye’s childhood scene really bothered me bc her kid-self had really badly drawn eyes in my opinion). this, like everything else on this list, is ofc something that appears in almost every single “cartoon for girls” that ever existed. to improve on this, most likely it’s not a problem with the artists but with the budget and the production timeline (allowing the artists more time to produce better quality art and animation), and it can also be a problem with the art direction, if the art directors aren’t very skilled or experienced (i don’t say that they aren’t, im just giving examples of what could cause these problems.)

the character design for all characters that aren’t skye, rania, or blaze was very lacking. none of the not-main-3 characters looked interesting or fun to look at, they looked very dull and like the most boring NPCs you could think of. even though its understandable that the mainest-main characters would have the most interesting designs, that doesn’t mean everyone else has to look that boring. this is an issue with art direction or character design. i think most likely there was just very little time (equals money) put into designing the other characters.

the horse design could be improved for a cartoon that focuses on horses this much. like, horses are a big part of the selling point here, so make sure that their designs and art/animation is good. at times even blaze looked awkward and uninteresting, as did the other horses.

“alonso” looks nothing like sso alonso and i don’t like that they used his character if it’s not going to have anything to do with him. they should have given this character a different name if they wouldn’t make him seem like he had anything to do with the sso character aside from being a male ranger. (also in the game he’s like 22 or something, skye is 15...?)

why did they add a “he’s cute” dumbass fucking stupid hetero comment for literally no reason other than adding a dumbass fucking stupid hetero comment?

considering that they “can’t confirm whether a sequel is happening or not”, it seemed very meh to throw in druid cult magic stuff and not really connect to it and now the series ended? you would have expected to find out more about the cloaked people, the runes, the magic that the ranger guy did, and blaze’s magic in general, and skye herself, why her mom is “a witch”.... thats a lot to throw in while saying that you can’t say if there’s a sequel coming to answer all those questions. (it wouldn’t have been a criticism from me if they said “we’re working on season 2″ or “there will be a comic book that continues the story” or anything that told us that these questions, in this particular iteration of a story in jorvik, will actually be answered. - and i assume they ARE working on the continuation of the story, but i dont agree with that they’re not upfront about it, when they left so many questions unanswered.)

at times rania’s blindness was handled stupidly and i think they should have gotten more consultation from actual people with visual impairment, but i think its still good to HAVE a blind character in the main cast and that it’s not a big dramatic story thing but just an everyday thing. at some points it was fine though; and i personally don’t think the scene with rania being able to see blaze was necessarily a problem - because - a lot of blind ppl can see sharp contrasts in light and dark, and this seemed relatively realistic to me when blaze is on fire. (however, the way it was drawn as if she could see the whole shape of blaze and skye could be criticised for sure, and makes it feel more like “i can see because of magic” and not “i can see bc THIS MARE IS ON FIRE”).

personal opinion which i said before, but i don’t think rania’s voice fits her at all, and it’s not the voice actor’s fault (i’m sure they’re lovely) but the casting and the directors. from the sso character, rania would seem a lot more lively, quick and adventurous, and not as calm and gentle as she appeared here. she seemed a lot too sort of motherly or just adult, instead of an adventurous teen who runs off on her own to do whatever she feels like. compare in-game rania going “MC, thats a jorvik wild!!!” and alonso going “stop talking nonsense” (paraphrased), to Mistfall rania going “jorvik wilds are really rare...” (calm, sort of disinterested, doesnt seem like she cares that much about adventures)

the voice acting overall was meh. i see this as a direction problem, not an individual voice actor problem (and the writing didnt help - it’s hard to provide good quality acting with a poor script unless you can just toss the script aside and improv, if you have good actors). it felt childish and uninteresting at most points and generic low quality for “cartoons for girls”. from a voice acting perspective i think skye had the best result. anyway, the way to improve this is for the director in charge of voice acting to not direct the actors to perform in this childish manner. (again, refer to cartoons with better writing and better voice acting, that have a very similar target audience.)

ok, i think that was everything that i wanted to write about for now, might think of more later lol

#star stable mistfall #opinion #text post #long post

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skidblast · 5 years

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The Villains of Transformers.

This seems like a basic non-question. We got Unicron as the world-ending threat, and various incarnations of Megatron doing the rest of the job to keep the threat going. However, there is another angle to it.

Often we hear the phrase “write what you know”. Which seems simple enough, that you got experience with something that you can write it pretty true. But what does one know about mechanical aliens that have been fighting a war for 4 million years?

But the various writers of the Transformers franchise throughout the years have written what they know. There is an overarching threat in each one of the transformers incarnations that is different from the Megatron the Tyrant or the Planet-eating Unicron. It’s more like background noise, providing the constant that is happening, a crutch when writing.

Unfortunately I won’t be touching on Japanese produced media, I haven’t studied the history of Japan to know the nuanced details of culture background noise or incidental historic events to comment on Headmaster, Victory, RID2001, Unicron Trilogy and any other that I have missed.

I will also skip the Marvel, Dreamwave and FunPub comics/media as I’ve not read them. Cyberverse and the second IDW release are skipped as they are pretty recent additions. Rescue Bots and Rescue Bots Academy is skipped as well due to simplicity.

The main theme of the G1 cartoon is energy shortage. Cybertron is out of Energon, they flee Cybertron to find more energy. The Decepticons set up base on Earth because the humans have begun to harness the energy of their planet, allowing easy access to said energy and to ship it home.

This doesn’t come out of nowhere. In fact, most people have heard of the precursor in passing. The time when cars were lined up at the gas stations.

1979 was a bad shock for the oil market. Iran revolted, causing oil production to shrink a bit and caused panic, which in turned caused the prices of oil to rise dramatically. This was also the year where the Three Mile Island Accident happened, so people got vary of nuclear power. Gas rationing was discussed, and in some states actually implemented. Then recession hit in the wake of this.

The effects of the oil crisis and the following recession were still felt, so a cartoon about an energy crisis was very easy to write.

Beast Wars is an odd one to analyse. It came as the Transformers franchise was dying, and Hasbro was desperate to reinvent Transformers for the new kids. The appeal of cars turning into robots was no longer around, but making them animals was the push Hasbro needed to refresh the Transformers.

So we end up with the beginning basically rehashing the Transformers cartoon, but when the overarching plot hits, when the threads get revealed after a whole season of basically filler, we find the inspiration that the writers had. This time, it is not energy crisis, in 1996 we had put that behind us.

We have Megatron leading a team trying to restore the Decepticons as rightful rulers via time travel. We then discover he had actually gone against the so-called Tripredacus Council, the fractured Predacon Alliance who were biding their time and see the usefulness of what Megatron is trying to accomplish. In order to gain more power without breaking the peace made with the Pax Cybertronia, they use secret agents and secret police.

This is very familiar to a lot of people who haven’t seen Beast Wars or heard of it. This is Russia.

In 1991, the Soviet Union collapsed, and with that the Cold War ended. Peace was had. But as Russia threw off the communism ties from them, the ruling body still needed to exert control over the nation, and to broaden their influence beyond their borders. Russia went from Communism to Mafia-like control, using secret police, subtle threats and various other shady things. People saw what was going on, and with the new fear they were facing, they made it known in the media.

Beast Machines is a bit easier to figure out compared to its predecessor. It’s mostly because the message of Beast Machines resonates strongly today.

Beast Machines came shortly after Beast Wars, as the toyline was trying to go away from the purely animal transformers and going for more mechanical look. But how do you really bridge those together?

At the tail end of the 80ies, environmentalism was on the rise. There was an undercurrent of that happening in Beast Wars, but in Beast Machines it had much more weight to it. With Megatron wanting to stamp out any biological influences from Cybertron, ready to eradicate any traces of it and mass-producing purely mechanical beings to repopulate Cybertron. While Optimus Primal was embracing the biological side of it, becoming sort of a guru through the Oracle.

The rise of industrialism is frightening prospect, seeing the nature retreat into near nothingness, and seeing the callousness of the industry just ignore it completely in favour for profits. But there was no denying that industrialism was there to stay, so while it is the main fear of the series, the message of the series was not to abolish it but to tame it, not let it out of control and make sure that the environment was put on equal grounds to it.

Animated is a strong reboot like Beast Wars was, coming at the same time as the Michael Bay films. Japanese production had taken over after Beast Machines finished, but Hasbro sought to retake the American market with media that they controlled. Importing Anime and dubbing it was all and good, but if they had complete control, they would have better chance to make it appeal to the market they wanted, the Western one.

It’s 2007. Following 9/11 the USA goes to war. And it is still going, with a certain hopelessness attached to it as people are getting more and more jaded by it. But most people never really felt the impact, only heard about it. There was no draft, there was no conscription. People joined the military, and those who came back came back either just a little bit off, or really suffering, and couldn’t get proper help.

Transformers Animated touches on civilians being basically forced into the war, against foes that were thought to be defeated long ago. It touches on the hardship of those civilians as they are part of it, feeling both the elation of being thought as heroes, and feeling the terror of the situation that they are in. A highlight of this is the episode Thrill of the Hunt, which came rather early, and touched on themes that are not common to see in media aimed at children, looking at Ratchet going too far, and suffering from some form of PTSD as well.

While the actual war had never visited the US or the spacebridge repair crew, the impact of it was felt on them, with all the horrors that entails.

Transformers Animated and first Michael Bay Transformers film came out on the same year. Yet the themes of the film series is far from what Animated did. One part of it is that Hollywood movies are more constricted as they have to appeal to a whole lot of audience in order to gain any return from the production cost. So everything is analysed in detail, making sure that nothing would alienate the vast majority of the Western World. We are in fact seeing it more obviously as China is growing stronger as a consumer market for Hollywood movies, and we see how the movies are made to appeal to that market as well.

So doing a commentary on the Afghanistan war like Transformers Animated did was out of the question. But it doesn’t mean that there isn’t a fear in the movie like in anything else.

Technology is on rapid rise. The rule of CPU power doubling every 18 months was still holding. New technology comes before anyone can really adapt to what had been introduced not so long ago.

The fear in the Michael Bay films is the rampancy of technology. We have severely advanced alien race make contact, and in fact made most of the technology based on one of them, found at the turn of the previous century. Technology that wasn’t even fully understood, that people thought they could easily control. But it goes out of control.

This concept is called Technological Singularity, where technology eventually becomes uncontrollable and we get swept up in the wake of it, having to deal with the new reality that we are no longer the masters of the world we are in. Grey Goo is one of the better known representation of this idea. Another is the idea of an overlord AI that either seeks to exterminate humanity, rule it with iron fist, or simply think of humans as we think of ants, insignificant.

IDW Publishing was on the scene two years earlier, in 2005. However given how long the first G1 iteration of it ran it gets mentioned after TFA and the movies due to that, allowing for Aligned continuity to come after it.

While TFA showed how the Afghanistan War impacted US citizens, who had not really experienced being at war while being so interconnected with the world and able to receive so much information, the IDW comics went for the other angle, the other fear that ruled in the USA at that time.

9/11. The fear of terrorism happening, the fear of foreign infiltration. The Decepticons had a plan on how the infiltration happened, every step of it planned, making sure that they could make the residents of the planet do most of the work of disrupting the peace, making it easy for them to swoop in and destroy the rest.

While things didn’t go as planned as the Autobots intervened pretty early, the Decepticons went public on full force, taking over New York City and almost dropped an atomic bomb on it. The connection to 9/11 is pretty hard to miss.

And then Phase 2 hits. James Roberts becomes one of the more interesting writers in the series. And this is where things go slightly off. James Roberts is more of a writer that knows what he’s writing about, instead of being influenced by current events.

And James Roberts has made known he has major interest in politics as he worked with politicians before picking up the pen for IDW Publishing. Write what you know, and James Roberts know politics, and political history.

In Phase 2 there is increased focus on the actual motivations behind the war. While Megatron Origins did go into how Megatron became the leader of the Deceptioncs, it was James Roberts that made it into the communism reflection that it became in the comics. It isn’t really some overarching fear in the background of the comics, it’s known quantity woven into the narrative of the comic.

Transformers Prime came in 2010, after Transformers Animated, seeking to remove the stylised aesthetics of the former toyline and try to be more like the movies.

And it wasn’t the only thing it changed. What was changed as well was the work that was actually put behind the actual lore of the series, making a true production bible that was used not for just the TV series but the accompanying video games as well, War For Cybertron and Fall Of Cybertron. And there was also a clear message along with that, this was a new continuity, new setting. Aligned, seeking to mesh together all the good from the various franchises into one good package.

But with all that background done on it, it’s easy to point out how Megatron went from a revolutionary to a tyrant and that would be about that. But it is not that simple.

What colors Transformers Prime is subtle and easily overlooked. In 2007 we experienced a dire financial crisis. Unemployment shot up, investments plummeted, there was no good safety net for people and a lot of them fell through the cracks. But these things are hard to really put into a show like this without it being explicitly about it. But there is another side effect of the recession that wasn’t that apparent in 2010, is more obvious now, but with the Transformers lore from the 1984 cartoon being similar, it blends into the usual Transformers noise.

Refugees.

Optimus Prime and his small team are simply refugees. Cybertron did run out of fuel, but the plots of harvesting energon and fighting over resources is more rehashing of the old cartoon plots. The focus is more on the Autobot team as they deal with being literal aliens in the US, escaping the tyranny that they fled. How they are treated by the locals, how they deal with the isolation of being in a culture different from theirs. They simply try to survive. Like how most people hit by the recession felt.

Robots in Disguise was released after Transformers Prime, going away from the expensive production and to more cheaper look. But with the so-called Aligned continuty having been a strong reboot of the “TV cartoons” series, Hasbro was in no hurry to abandon it, making Robots in Disguise a sequel to Transformers Prime.

Though with the war over, a new kind of threat had to be made. And Steeljaw steps into the role, not only as the main antagonist of the series, but as the representation of the fear theme of the series.

What isn’t really that obvious in Robots in Disguise is just how powerful Steeljaw is. Steeljaw isn’t just some generic Decepticon villain who escapes just so they can reuse his model instead of having to create even more Decepticons. He has fighting prowess, he is able to outwit the Bumblebee team. And the most dangerous weapons he has are his personality and voice.

Steeljaw is able to talk himself out of trouble. He has major ambitions, he knows what to do in order to recruit others. He wants power and respect, and if left unchecked, he will have it. And he knows that if there is some that he can’t convince, he can fight, and he will fight dirty.

Steeljaw represents a fear that people have experienced for a long time, but it wasn’t until recently that it really put into the spotlight. He is the abuser, the person in power that will make your life miserable. He antagonises Bumblebee and his team by causing them trouble, drive them off their safe haven of Earth and later drives them from their safe space, forcing them to go on the run. He finds power by leading a pack of Decepticons, then later by allying himself to the new council until he realises that he will not achieve his goals with him.

I hope you’ve enjoyed this massive post of mine.

#transformers #maccadam #megatron #robots in disguise #transformers prime #tfp #g1 #tfa #beast machines #rid15 #bay films #STUPID SPECULATION #long post #really long post #I'm sorry #literary analysis #analysis #fan analysis #8th grade english essay

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whumpbby · 5 years

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I believe that the only reason Bruce can maintain his no kill rule is because superheroes don't die the same way civilians do in Gotham. If Cass, Dick and Damian weren't revived after they died, like the thousands (probably millions) of Gothamites that ended up as fodder for supervillains, Bruce would be out there killing rogues.

You see, I appreciate the no-kill rule in general. I am a big fan of a hero who is there to help and not hurt.

But the writing of DC made Bruce’s noble stance into something ridiculous and useless. The universe got so dark and so cruel that Batman refusing to get rid of the villains permanently seems like madness - these are not ‘sick people who need help’ like they used to be, these villains are monsters of the highest degree, pretty much unforgivable (I am on the fence about Harley’s redemption for that reason, too, because some of the shit she did in canon was vile) and at some point ‘everyone deserves a chance’ stops applying - you don’t deserve a third chance after you wilfully ignored the first two.

The Joker nowadays is simply not salvageable, as a villain he’s so over the top that taking him seriously is as impossible as believing in any sort of a reason behind his deeds. “Liking to watch the world burn” sounds poignant and cool, but it makes no sense even when some people try to dress up it in nihilism...

But ANYWAY. The ‘no kill’ rule is made redundant by the writing around it and it’s a shame, because I saw a good thing happening when Jay and Bruce finally made their peace and B admitted that Jay may be able to do what the Bat isn’t able to. And it was such a promising thing! Imagine if DC took it on and Jason was the boogeyman that the family calls in when they happen across someone who can’t be left alive - someone so twisted and unsalvagable and so dangerous that they have to go. That’s when Jason comes in, tracks the villain and dispatches them. It leads to some delicious angst and low drama, but it also opens the gates to Jay being a part oft he family again, and instead of the Bats ostracising him, they love him, but are uneasy in his presence, because they believe the ‘job’ they gave him is hard and harming his soul, they’re ashamed that need to do it. And Jason thinks that they’re critical of his perceived cold-bloodedness and think him less. Drama!:D

But no, that went nowhere=_= Thanks, DC, no really, keep the change=_=

I’ve noticed the trend recently where the comic books stopped treating civilians as the reason for the plot, but shifted to them being cheap cannon fodder. Whole cities were levelled just for some cheap drama and one person being murdered is nothing anymore, not even a footnote, as long as they’re a civilian. Instead of the heroes stopping the villains before the murder happens, now the victims are used just to show how ‘serious’ of a treat the villain of the week is... So, like, in current DC climate it doesn’t matter how many people Joker kills, what’s important is that he spews some bullshit and Batman is sad for a chapter... (There is a great treatise by Renegade Cut on the genre that uses Batman on youtube and I think everyone should watch it)... but now I’m getting a bit deepXD

So, yeah, I agree that in the current climate in the verse that DC created, Batman staunchly keeping to his rule makes him seem like a mad person - but I am overall a fan of the verse where that stance is a noble one and makes a difference for the better:( All my usual critique of Batman is based on the fact that the current iteration of him is just bad and written badly:(

#Anonymous

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m00nslippers · 5 years

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Bizarro and Artemis are back, in RHATO Annual #3

I’m back with a review of the RHATO annual #3 and it is so good to see Biz and Artemis again. I think we’ve all missed them. Hopefully this issue heralds their triumphant return in the next arc (after the one this is previewing), but let’s get into this.

We get a preview of the upcoming arc that we know involves Lex Luthor recruiting Jason to teach a bunch of kids how to be villains...or something. I’m sure we’ll figure out more in the new issues coming up. I highly doubt that’s all there is to it. I think it’s pretty obvious that Jason isn’t on the side of villains or creating more villains even if he isn’t strictly a hero. So I’m guessing there is some subterfuge involved in his plan and possibly Lex is trying to influence him a bit, maybe holding the fact that he helped Bizarro over his head, something like that. I think it’s most likely that he’s investigating Lex while pretending to work for him and teach in his villain school while secretly teaching all the kids values and whatnot. That would be cute, anyway.

I have to point out this moment though, because I’m not sure how I feel about it. Basically this kid can sense/contact people who are dead but it’s mentally or physically painful, but Jason asks him to do it anyway. Yeah, he expects that it won’t work and therefore not hurt because he thinks Artemis and Bizarro aren’t dead, and also the pain might be minor and finding out if someone is dead or alive is pretty important, worth some mild discomfort even to a child, but I don’t really like the attitude he has when saying, “I’m not asking.” I think he must be playing up/pretending he’s villainous because otherwise that seems pretty out of character for him. He’s generally straight forward but kind to children, animals and non-normative people (like Biz). So I’m kind of assuming he’s acting this way because of circumstances we are going to find out more about in the next issue. Basically the take away from the interaction is that Biz and Artemis are not dead.

So it picks up 6 months before the events of Jason talking to the kid. What this means is that between issue #25 of RHATO and upcoming issue #37, 6 months have elapsed, which seems reasonable. I’ve head-canoned Jason’s current age at 22 and I think this time frame supports that idea (there is reason to believe he was 21 in the Eternal comics).

Also, Artemis and Bizarro are clearly alive and in an alternate dimension where the Hall of Justice has been defaced and renamed “the Hall of Punishment” and is a ‘museum’, with the Justice League dead and disrespected. Everyone, even Superman.

As it turns out, the world is like this because of some bomb which made regular humans metas and metas regular humans, so most of the Justice League immediately became helpless without their abilities to almost everyone around them who now had meta abilities. What this means for people like Jason and the bats in this world who didn’t have powers to begin with is a real question, but not one we get answered. Basically, humans who now had powers and felt resentful of heroes who had originally had powers, took it out on the former heroes, hunting them down and putting them into camps where they eventually died. Which...okay, people are jerks so it seems reasonable that once they had powers some people would find any and every excuse to beat up on people who made them feel weak before so this isn’t a completely stupid basis for an alternate dystopia.

After it’s established that Artemis doesn’t have access to Mistress (or presumably the Bow of Ra) because she can’t call her weapon across universes--which seems reasonable--we get introduced to a few one-off villains.

And like...the moment I saw these guys I shook my head because they are just classic Lobdell-type villains. Flat, corny, names are puny as hell, your stereotypical comic book villains. I’m not knocking it, they are fine for minor villains that only exist for a one shot, at least they are kind of memorable for being so ridiculous, I’m just mildly amused at their everything. One guy is some kind of discount horror-villain butcher character that you can’t understand called Butcher Block, another is a freaking Pop-Eye-esque Milk Man called DAIRY KING because of course he is, and there’s a pigish cop and a chick in a Carebear shirt who holds her hand like an air phone and goes by the name ‘Air Quote’. And the fiery butterfly chick who looks like the love-child of Firefly and Bumblebee. There are just...no words. I just can’t even, you guys.

Along the way on their adventures they meet a guy calling himself Jack Knife who is part of the resistance against the normal people with super powers who made the world all dystopian and messed-up and didn’t agree with people killing former heroes in camps. Also, he is very clearly this universe’s Joker. I haven’t seen anyone mention this, but I’m not crazy here, right? Like, this is as obvious as I think it is, isn’t it? The guy’s name is Jack Knife, so his name is Jack, like Jack Napier, the Joker’s identity in many iterations of him. He has this long, sharp face with a crazy chin and wide mouth, is a bit of a wise-cracker and he wears a purple waistcoat and a green tie and a yellow shirt and has a flower in his lapel--like the Joker-- and uses pistols and knives, like...this guy is clearly the freaking Joker over here!

I can only assume Jason has not filled Artemis or Biz in on his issues with the Joker--which would be pretty in-character for Jay--or at the very least they have never seen him and don’t recognize him because this team up would have been over before it started if they had. They might still have went along with him, since this is a different guy, but they would have been suspicious.

Also, Jack doesn’t seem to have any powers...meaning he had powers before ‘hero day’ when metas lost their powers and norms gained powers...meaning the Joker is a meta. So that’s a thing. The reason the Joker is so wily and weird and doesn’t seem to die or age is because he’s a meta, you guys. You heard it here.

So we get the ‘6 months later’ flash forward and Artemis and BIzarro are working as part of the resistance along with the Flutterby girl seems to have defected in the time skip. Arty and Biz have gone native with some awesome, in my opinion, costume changes. Biz has a beard and muscle shirt and like...latex pants or something, which I am super into for some reason, and Artemis has your stereotypical punk haircut with the shaved head. It’s kind of an overdone design but I can’t lie, I think it works for her, she rocks it.

But even more importantly there’s this awesome interaction between Biz and Flutterby where Biz shows just how much he listens and values and still remembers Jason even after all this time. Their bond is just so strong, even now. Biz stops the girl from killing someone, remembering Jason’s values, which just drives home the fallacy that Jason just kills all criminals. No, Jason thinks for some people, the cost of leaving them alive outweighs the moral price of killing them. It’s a thing you have to do sometimes, something you are sometimes morally obligated to do in his opinion, but not a first resort. That’s what he taught Biz and Bizarro is teaching Flutterby. But he also taught Biz that sometimes you gotta get even, so he lets her give the guy some revenge knocks too, heh. Oh Biz, you’re a chip off the old block. Jay would be proud.

As this is happening, Jack Knife and Artemis are being held ‘prisoner’ (turns out it’s all part of their plan) by...General Samuel Lane?! Yeah, Lois’s dad. I don’t know much about him, I haven’t read anything with him in it, but I guess he’s kind of an on-the-fence secret-service type usually, like Amanda Waller, but seeing him as an outright villain is a bit surprising to me. There is probably no relation, but Lane has also cropped up in the recent Leviathan Event where everyone, seems to think Jason is Leviathan (I don’t, but we’ll see I guess.) I just thought that was interesting. There’s not mention of Lois but there IS mention of...

Lex-fucking-Luthor. Who is apparently a big, nasty head-brain monster, like MODOK or something now. Apparently the meta bomb was his brain-child (heh) and he’s surprisingly okay with the outcome that he’s a giant head that gets around via fork-lift and the world is messed-up. In fact, he and Lane are itching to drop one on Artemis and BIz’s world too! Which they can do, because Luthor--or more likely some minion, I mean he doesn’t have hands anymore--went around collecting the splinters of the doorway which Bizarro and Artemis originally went through to get to this universe.

As the resistance springs their trap Bizarro calls everyone Outlaws which warms my heart. The Outlaws isn’t the same without Biz and Artemis (or Star and Roy), Red Hood is an outlaw, sure, but the team is what made it special, made it something other than Jason just trying to right the wrongs he thinks the other heroes are letting slide because they won’t get their hands dirty. They are better together.

And so in this comic we see an example of the Outlaws sparing some criminals and them outright killing one when Artemis straight-up murders Lex Luthor, hell yes. The guy was just a nasty psychic brain on a fork-lift anyway, it was probably a mercy kill. And then Biz and Artemis jump through the doorway and hopefully end up...home?

This issue was pretty straight forward, just a one-off side story to explain where Biz and Artemis have been, nothing revolutionary. The art was pretty good, though there are a few panels at the beginning where Artemis has really weird expressions. I really enjoyed Biz and Artemis’s costume change, I hope they stick with something like it when they do meet back up with Jason eventually. Two things stood out to me. One, that Biz and Artemis, despite probably only being with Jason a shorter amount of time than they actually ended up spending apart, clearly hold Jason and the Outlaws very dear and are keeping The Outlaws and everything it stood for alive. It’s so wonderful to see someone in the goddamn DC Universe loves and appreciates Jason like he deserves. They can’t return fast enough, IMO, but I don’t think they will drop back into the story until the very end or just after this upcoming arc with Lex Luthor.

The other thing that stood out to me...was the freaking alt-Joker on the Outlaws team! What?! Like I’m not mad or happy, I’m just...what!? I don’t know how to feel. I like this version of the Joker but that in no way makes me not want to perform intimate torture on the main world’s Joker and see him die a cruel, painful death. I still want that very much. Can’t wait until the next issue, happily we only have to wait about two weeks I think. I so here for it.

#Red Hood And The Outlaws #Annual 3 #Scott Lobdell #jason todd #red hood #Artemis Of Bana-Mighdall #Artemis Grace #Bizarro #Biz #Jack Knife #The Joker #Jack knife is the Joker why is no one talking about this?!#The Joker is a meta human #dc comics #I miss Artemis and Bizarro so much #Lex Luthor #He's basically MODOK now #Colonel Samuel Lane

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