#ants inspired human design because i love them | Explore Tumblr Posts and Blogs

originalwinnercheesecake · 3 years

Text

First Impressions and predictions based on the coven Leaders

After a full first season their fame adorning the banners and walls, who they are being hailed, yet they themselves being kept in the shadows we now get first looks (and throughout 2a will meet) the emperors top dogs: The coven leaders. I will not lie as a group... these guys dissappoint me. Making the majority of them very human in appearance for me is a big no. Compare this group to the many colorful and fantastical creatures that are shown teaching at hexside and the hexside teachers are far more creative, unique, and fun. Maybe the artists decided to make the coven leaders look more like normal people so the audience would have an easier time understanding their expressions and body language. Maybe the more humanoid whitches are a higher class and have a easier time climbing higher than the more beast and demon like residence.? We will have to wait and see.

Seperate this group into individuals (like how we will hopefully meet them) and most of them become far more interesting, So below lets take a look at each coven leader individually, where the artists may have taken inspriation, and what What kind of characters they could maybe turn out to be.

The Beast keeping coven Leader: One of the only two that are not humanoids. What type of animal is he? At first I was sure he was a hedgehog, but maybe he could also be like a chipmunk or a squirrel. I get the feeling he might be partially inspired by Sonic from Sega. I was really into Sonic back in middle school. I liked the cartoons and read through the archie’s old comic series. But I kinda out grew him since then. I know from helping to take care of kids though that he is still popular with the younger generation. That’s kinda how I thin the Beast Keeping Coven leader will be: less interesting for older viewers, but a real fun charcter for kids.

The Healing coven leader: Now this guy looks like fun villain all around. Is some kind of witch docotor? a Dark Priest? The size the purple Grin, he looks like the phantom boss from those horror films where you get trapped in nightmares. Tell me he has scary theme song music and talks in a very high pitched voice. I’ve heard some people wonder if he could be Selena (oracle girl from hexside)’s dad. I don’t thinks so, the macaroni crescent shape n his head looks more like a fancy cowl than part of his actual head. Also him having a daughter in Luz’s class could be used as a reason for him to change sides, I want this guy to stay as a villian/antagonist. We all know that with this size group some will stay with the emperor and some will defect to Luz’s side (possibility a couple will die, we haven’t seen yet just how dark Dana is willing to go). Personally my view with redemption arcs and if a character “deserves them” is it depends on what it will do for the story/character afterwards? IF redeeming them opens more doors for the characters and directions the story can take, do it. IF it closes doors leave them as they are. I absolutely hate when clever and well written bad guys get “redeemed” in to boring, plot useless, weebs. The only reason I could see having this guy change sides is for him to “cure” Eda and Lilith’s curse, and I would much rather see the two of them gain control over their forms than be “cured” of them.

The Illusion coven leader: Another fun looking antagonist. My third favorite of these nine. If the healer guy is horror movie based. This guy is Disney based all around. Looks like one of those Vegas suave showmen styled character. Love it. I guarantee you he does not actually look that young or slicked back, but is using illusion magic to make himself more pretty. Not sure if he will stay with the emperor or not. Illusion is Gus’s track and I could see Dana having the leaders of Luz’s friends tracks be the ones to stand by them. If so I am fine with that (in the case of the abomination leader I will beg for it). Gaining the respect of someone as high up as a coven leader could be really great for Gus’s character. Just as long as I get plenty of laughs from Gus and this guy both along the way.

The Potion coven leader: My second favorite and in my opinion the most creative idea of the whole bunch. A mosquito that works in potions! Does he suck them up with his nose and carry them in.. whatever it is mosquitos store blood in. Also he looks angry. Like everyone else is either amused or board. This guy is fed up and ready to do something about it. Not sure if it is the Emperor, the other leaders, or the owl gang he is mad at, but it should be a worthwhile show down.

The Abomination coven leader: Yes this is my favorite design. Yes it is because he is such a beautiful man. Would never have expected someone who creates mucks (the pokemon) with legs would be so fine. Its more than that though. He looks the most kind. Their is no malice or guise in his smile and his green eyes are bright and relaxed. I wondered what the purpose of the Abomination track was and why it had “more opportunity” all last season. Well slight spoilers if you haven’t seen episode 2x02 it is the industrialist field. When you learn about Industrialization usually the idea is that it is done to help the human race reach its full potential, and it is up to each individual to decide what to do with that potential. Whether you call that the passion of a creative mind or the carelessness of a fool would also be up to you. But I really don’t want this guy to be all bad. If for no other reason that more spoilers for episode 2 * with the interest/caution the emperor is showing the blights I expect this guy to show up to their house, probably meet Amity, and we really do not need another not so nice adult in her life. She has had enough.

The Oracle coven leader: What is this? He’s got nails/caws at the ends of dread thingys like Kikimore, so is this her father? Does he have anything to do with her being in the Emporor’s coven? But this is my least favorite. Like what was the inspiration behind this guy? With so many legendary oracles in mythology and we get this guy who mostly looks saggy, washed out, tierd, and just Blah. Hope thier is more to him, but here is one who I am not holding my breath for an episode on.

The Plant coven leader: based on her banner I was expecting something like the Swamp Giant from ALTA. Instead they went in the direction of a very traditional witch desgine: An old women with a wrinkled face and really messy hair, who probably lives alone in the woods, with maybe the exception of a cat, and dances around a fire at night. Okay. She is definitely going to become an ally of the owl gang. This is the only female of the group,and it is neither in Dana’s message nor would it be popular with her target audience to make a villain or even an antagonist out of a women who managed to climb the later into a male dominated success level. I am actually looking forward to seeing her, because it will probably be in a Willow based episode, and after 2x02 (which I personally feel should not have been a luminaty episode but rather a Willow and Amity one finishing up their reconciliation arc), Willow deserves an episode with potential centered around her. An episode where she goes against the Plant track Leader would be that. This witches Grin isn’t exactly friendly, but its more mischievous than wicked. She gives off vibes as one of those people who like to test the mains, and if you pass her tests than you earn her respect. I have no doubt Willow could win at her little games, and doing so would be a huge boost the confidence she has spent the show building.

The Construction coven leader: Oh joy here’s the other one I am unimpressed with. Unlike with the Oracle guy I know where they got his design. To everyone saying that we first saw him at the convention, your not backing far enough up. If you have ever seen any cartoon ever where the main character wanders past or onto a construction sight you have seen this man. Every trio of workers sitting on a iron frame eating from a lunchbox. Every pig that makes a catcall at a disgusted women. Every exhausted worker who watches as your slapstick mains chase each other past at quitting time... they all looked EXACTLY like this guy. This is really the character leading the track Dana herself has said she would pick to join? They could have done a Golem made of brick an stone that resembles a palace. They could have done some kind of humanoid ant with super strength. They could have done a wizard with shapes and mathematics on his robe who carried a scroll everywhere that he compulsively scribbled blueprints onto. But instead we get Mr. Generic here.

The Bard coven Leader: This is R, Eda’s old friend from her hexside days. Did I save R for last because of this connection? Partially. I am also unsure what R’s pronouns are. To me R looks physically male. I have seen other posters use “she” when posting about R. One person posted that Dana had confirmed R uses “they” and if so awesome, I would really like to see that tweet. What ever R’s pronouns though their appearance in the show will be tied with Eda, er past, and what she had to give up in order to live free. I look forward to this new insight onto her character

46 notes · View notes

awesamhimbo-abandoned · 3 years

Text

Pre-canon dsmp!Dream Team Headcanons

Late night (when I write) infodumping about my somewhat complicated headcanon about Dream SMP and precanon lore! No one asked for it but then again I'm to small to get asks :D!

Okay start off with this: Manhunt is canon, sorta. It's not fully canon in the way it works but rather instead it's a few kids (Dream Team) and their parents/guardians (BBH and Ant) playing with them. Think like parents pretending to be big monsters when playing with their kids and such, that's what it is.

Sapnap first meets funky shapeshifter Dream and odd mooshroom satyr George when he's out, both on different occasions. George is just a neighbor kid in the fact he lived in the same place but in different worlds since Sapnap and BBH mainly lived in the Nether while George lived on a Mushroom island that was in the same area just in the Overworld. Dream is something else though.

When Sapnap and George are out exploring the nearby woods one day they come across what the initially think is just a large fluffy, but odd looking cat. His fur (feathers) is matted and he looks like a light tan with a few green patches rather than white like he actually is. The two drag him home and beg BBH to keep it, Bad easily accepts because he's a caring father who loves animals, and they keep what eventually ends up being Dream a pet for a week before he starts shapeshifting. Sapnap is actually the one to name Dream since he originally didn't have one.

So like I said, Dream eventually shapeshifts into a more human form to fit his new family, specifically he became more bipedal and gained the ability to talk, though it's very broken english since Dream was born and raised feral not as a creature in society. None of these three boys ever really see eachother as siblings though Bad calls them all his sons at different points of their lives, he raised all of them after all.

Another semi related headcanon, at the beginning of the server the characters were in their young teens, think about the 15 or younger range. All characters age normally with a minor exemption (ateast for this group) of like BBH who is a demon and actually doesn't really age.

Gonna leave off with a description of how I headcanon c!Dream to look because I feel like it! It's actually inspired off of @/winifreyd here who has a white enderman!Dream design (which can be found here) that I just adore so much. He has three main forms: feral, bipedal, and blob. He goes into the blob form only when he is low on energy. Feral form is what Sapnap and George first found him in, which is a lot like a leopard with with odd indoraptor-eques anatomy.

I'm either gonna talk about my headcanon for Dream's mask or my idea of how the timeline and the age groups of the characters are later so follow if you want to see more of me rambling about my current hyperfixation, lolo.

#dream smp #sapnap #dreamwastaken #georgenotfound #badboyhalo #dadboyhalo #dsmp headcanon #i wrote this yesterday and did not proofread it so enjoy my likely mistyped mess!

56 notes · View notes

glassessence · 3 years

Text

PGR - OC

I got so inspired by everyone’s creativity that I created my own OC ^^” Even though she’s a member of the Purifying Force, I hope she’ll still be received warmly. Special thanks to @punishing-gray-raven-ocs for their detailed posts about character creation that really made me think about Lydias!

Warning: I may have gone a bit overboard with the detail. It’s a long read! Also, I threw in a not-so-subtle reference to the most traumatic Memory Rescue mission lmao. So proceed with caution, I guess HAHA

Name Lydias: Umbral

Type Offensive Support-type Construct

Service time 1 year

Psychological age 24

Activation date 15 March

Height 167 cm

Weight 59 kg

Vital fluid type O

Faction Purifying Force

Rank A

Weapon Chakrams (preferred) / Gun

Damage type 70% Dark, 30% Physical

Lydias is a support-type Construct modelled after Watanabe’s Astral frame. She has extreme stealth capabilities and excels at tracking, making her ideal for the execution of rogue and infected Constructs.

Her missions mostly involve infiltration and spying, although she’s also been deployed on assassination missions. Those orders come straight from Nikola and their records are kept top-secret, inaccessible even to Bianca.

Her frame is designed for long-range sniping and comes equipped with visual accuracy enhancements and superb calculative powers. However, Lydias prefers to engage her targets in close combat. Killing Constructs from afar feels cruel and cold, like they really are meaningless machines instead of former comrades.

She truly believes in the good of the Purifying Force, but hates the things she has to do. She doesn’t feel like she belongs, but also can’t see a future for herself anywhere else.

Her fighting style is very graceful, featuring a lot of spins and flips that are reminiscent of a dance. Her signature move is called “Blade Dance.”

B A C K G R O U N D

Lydias was born to a wealthy family in Babylonia. Her mother joined the war effort as a Commandant shortly after she was born and is known as the leader of the elite task force, Cybele. Since then, Lydias has always wanted to follow in her mother’s famous footsteps.

Originally a Commandant of the Black Wolves, a certain incident caused her to give up the position and apply for reconstruction. Despite having low compatibility for Tantalum-193, her application was approved after negotiations with Nikola. Following her surgery, she was transferred to the Purifying Force.

P E R S O N A L I T Y

Shows affection through actions rather than words. Bakes cakes for the humans of Babylonia in her free time

Philosophical, often ponders on the nature of humans and of the war

Likes to make dirty jokes and tease others

Obedient to a fault because she doesn’t trust her own judgement

Comes across as cold, but is just awkward with introductions

Doesn't think very highly of herself. Ignores it when other Constructs call her "traitorous hunting dog" but secretly thinks they're right

Loves the sea and the fathomless depths yet to be explored. Likes to go swimming at every opportunity

Prefers to work alone, but overprotective of her comrades when in a team. Frequently throws herself in harm’s way to shield her teammates. Knows it’s not good, but is too haunted by her past

Trusts easily, but is very guarded with her heart

Knows how to dance a lot of old-school styles like ballroom and ballet, but is too shy to ask anyone to practice with her

S E C R E T S

Has memorised a lot of poetry from before the Punishing Virus outbreak

Gets intensely lonely and jealous when seeing close squad camaraderie like Gray Raven’s

Avoids Kamui because he reminds her of someone she’s lost

Has spied on Watanabe extensively under Babylonian orders and is deeply fascinated by him

Doesn’t trust Nikola, but is unable to disobey his commands

Secretly harbours doubts about Babylonia’s mission to reclaim Earth

Has obtained special permission to download the data of the Black Wolves and often reads the records to keep them alive in her heart

V O I C E L I N E S

“Team leader? No, I refuse. You’re making a grave mistake.”

“I’m not suited for protecting people.”

“My opinion on the Forsaken? They’re hardworking, loyal, and--Nevermind. We seem to share a similar goal.”

“The Black Wolves? Where did you hear of that name?! Don’t mention it again!”

“I baked a cake today. Would you like some?”

“Yes, I can dance. But I’d prefer it if you didn’t tell the others…”

“I can teach you to dance. Privately, if you’d like. Haha, just kidding.”

“Becoming a Construct was a decision I made rashly. I don’t necessarily regret it, but…”

“Are we really doing the right thing? This endless war… All these years… What have we really achieved?”

INTERLUDE

D U S K F A L L

A voice cracked over the intercom. “...dant…Com...ant...Commandant, do you hear me?!”

Lydias blinked. The urgency in his voice caught her off guard. Ferdinand kept his cool even in the most dire of situations. Something was very wrong. “Tell me, Ferdie.” Static. “Ferds? Come through!” Nothing. Communications had been poor ever since they’d entered this area, but they’d managed until now. For it to suddenly fail like that… it couldn’t be a coincidence.

“Shit,” she said, turning to the other two Constructs with her. “On guard, guys. Something’s coming and comms are down.”

Ilya grimaced. “Sure it’s not one of Ferdinand’s pranks again?”

“I wouldn’t put it past him,” Flora offered, even as she tightened her grip on her lance. “Pesky little bastard would find it hilarious.” Lydias said nothing. She was too tense. There was a taste in the air, a metallic tang that churned in her belly. Sweat dripped into her eye. Suddenly, a hand slapped her on the back. “Relax, Commandant,” Ilya chuckled. “We’ll protect you like always. No need to be so scared all the time.”

Something in her loosened, just a bit. “Shouldn’t I be the one protecting you?” she retorted, trying to project confidence. “You guys with your fragile little M.I.N.Ds?” Flora laughed, a deep-belly rumble that Lydias loved. The knot in her stomach unravelled some more. “You do that, Commandant,” Flora said. “We’ll just twirl our pointy sticks at the bad guys.”

Lydias was just about to say something snarky when she caught movement in the corner of her eye. She swirled, gun at the ready. There was still no word from Ferdinand. “I’m sensing a large Corrupted force in our perimeter,” Ilya reported. His voice had lost its casual lilt. “They’ve got us surrounded.”

Lydias cursed. “How’s that Memory retrieval coming along?”

“Slowly,” Ilya replied unhappily. Flora clicked her tongue. The Corrupted were visible now. They weren’t like anything Lydias had seen before. They carried advanced weapons - chainsaws and spears and bows - and seemed to be organised into phalanxes. Dread coiled in her belly. “We’ve been ambushed,” she breathed in horror. “Ferdinand tried to warn us. They must have blocked off comms.”

“Well, shit,” Flora grunted. The Corrupted army was within gunshot range now. “When the fuck did they get so smart?”

“Someone must be leading them,” Ilya said. “How did the information leak?”

“Doesn’t matter,” Lydias said. “We need to retreat. Now.” A bullet flew by her head, burning the shell of her ear as it passed. Her heart hammered. “Back off,” Flora growled. She twirled her spear, eyes flashing as she impaled the Corrupted soldier. Beside her, Ilya stepped forward, fast as a flash, and stabbed one through the neck. Lydias fired off three shots, watching in grim satisfaction as two buried themselves in the heads of two infected Constructs.

The scene descended into chaos just as Ferdinand’s broken voice sounded in her ear. “...n...way! Comm...ant!”

-----------

Flora stumbled back. She was breathing heavily. Vital fluid leaked steadily from several places, staining her coat a rich purple. Ilya was behind her, grimacing. His left arm was gone, torn away at the shoulder. Sparks flew from the exposed wires within. Beside them, Lydias swayed unsteadily. She clutched at her stomach. Red blood seeped through her fingers. All their attempts to break through had failed. Things were looking more hopeless by the minute.

“Commandant,” Ilya said, voice strained. “Turn off my pain receptors.” Flora nodded. “Same here.” Lydias coughed wetly. Her vision was growing dim. “It’s dangerous,” she admitted, wishing she could shut off her own terrible pain. “But there’s no other choice.” She authorised the command. Her team’s face relaxed immediately. She met their determined gazes and nodded. “We’re all gonna go home. Together.”

Ilya smiled. Flora grinned. But there was a sadness in their faces Lydias didn’t want to acknowledge. Her connection with Ferdinand was still blocked. He could be dead for all she knew. She turned away from the thought. Just survive, Lydias. And take the Wolves home.

Together, the Black Wolves rose. Ilya with his dagger and Flora with her spear. Unseen by Lydias, they nodded to each other. An agreement, a pact. A promise. Renewed, they threw themselves at the Corrupted like cornered animals. Slowly, inch by painful inch, an exit was being forced open. Corrupted weapons dug into their bodies, but they pushed on.

Lydias fought beside them, swinging her chakrams haphazardly. Her gun had run out of ammo long ago. She stumbled, half-blind, and almost skewered herself on the end of a Corrupted sword. She could hardly think straight; blood loss was making her weak. Suddenly, a voice crackled in her mind. “Commandant!” Ferdinand’s voice tumbled through her hazy thoughts. “The signal jammer is gone. What’s your status?!”

Her heart soared, bringing with it a brief burst of clarity. “Ferdie! It’s an ambush. We need support!”

“I’ve already informed Babylonia,” he said urgently. “Reinforcement is on the way. I’m coming to you, Commandant. Just hold on!” His signal blinked to life, moving rapidly towards their location. Lydias smiled grimly. Ferdinand was on his way. Support was coming. Surely, they would be okay. They would make it out of this. She just had to hold on for a little longer.

Flora’s signal pulsed unsteadily and Ilya’s grew fainter with every breath. Lydias clung with desperation to the unstable M.I.N.Ds of her Wolves. I will protect you.

-----------

“Coming through!” A ray of energy tore through the Corrupted wave. Lydias spied Ferdinand’s face through the sea of blades. She almost wept with relief. “Retreat,” she said hoarsely, struggling to stay conscious. “Black Wolves, retreat!”

On cue, Ilya and Flora rushed through the tunnel, half-carrying Lydias with them. Between one ferocious breath and the next, they’d broken through the Corrupted circle. She tumbled bonelessly into Ferdinand’s open arms. He took a brief moment to survey her and paled. “The meeting point isn’t far,” he said. “Support will be there.” He picked up Lydias and turned to run, but Ilya and Flora didn’t follow.

“Sorry, but this is the end of the road for me,” Flora said wryly. “Didn’t think it’d end like this.” She spat out a wad of purple fluid. “At least these fuckers will go down with me.”

“And you get the privilege of dying by my side,” Ilya said primly, readjusting his grip on his dagger. Flora laughed, an edge of sadness in her voice. “Yeah, old man, I guess I do.”

Lydias stirred in Ferdinand’s arms. “No,” she said, forcing herself to meet their gazes. “I won’t allow it.”

“Unfortunately, Commandant,” Ilya said. “This time it’s not up to you.” He raised his remaining hand in a salute. “It’s been a pleasure working with you.”

“Go on,” Flora growled. “We’ll make sure nobody pursues you.”

Ferdinand pursed his lips, but nodded tightly. Lydias fought in his grip. She hardly even felt the pain. “No!” she screamed, or tried to. It was hard to tell where her voice was. “Don’t! I forbid it! That’s an order!” He started running. She watched helplessly as the distance grew. “Stop! Go back, we have to help them! Stop!”

In the fading light, Ilya fell and was immediately consumed by a horde of Corrupted hands. His signal weakened then blinked out. A scream tore itself from her throat. She thrashed in Ferdinand’s grip and felt his hold on her loosen. White-hot pain shot through her body as she tumbled to the ground. Mad with grief, she crawled forward desperately, mind blank except for the desire to be with her Wolves.

Strong arms lifted her up. Ferdinand’s lively voice was dull. “Please don’t do this, Lydias.”

“Let go, Ferdie,” she said angrily. “We have to--” Flora’s signal flickered out. Lydias felt her spirit break. “No,” she cried. “Please, no.” Tears streamed down her cheeks. Words abandoned her. The world seemed to shrink, compacting to a single thought: she had failed.

-----------

She woke to white light. Something beeped steadily beside her. Tubes ran from her body to several machines like the tentacles of some deep sea creature. Her entire body hurt. Immediately, she reached for the Black Wolves, but their signals were absent, leaving her mind uncomfortably empty. Panic settled like ice in her veins. It couldn’t be. It was impossible.

Surely, they had recalled their consciousnesses. Surely, she’d simply woken up early. And where was Ferdie? Gasping, Lydias stood, dragging her broken body to the wall of windows. She brought a fist to the cool glass. Nikola watched her from the other side. “Where are they,” she croaked. “What happened?”

He shook his head sympathetically. “They didn’t recall their consciousness. According to our records, Ilya and Flora died protecting you from pursuit. Ferdinand was infected.” His eyes were grave. “He guarded you until reinforcements arrived.”

She didn’t know if she could bear the answer, but she asked anyway. “And then?”

Nikola studied her for a long moment before giving in. “And then the Punishing Virus took over his M.I.N.D. He escaped because we prioritised your survival.” A desperate hope sparked to life within her. “So he’s still alive? Then there’s still a chance! Please, let me find him!”

“You know it doesn’t work like that.”

“Please,” she begged. “Please.”

He turned away from her. “The Purifying Force has already been sent after him. I’m sorry, Lydias.”

-----------

Three weeks later

“Are you sure?” Nikola asked, studying her with intensity. “Your chances of success are only 47%.”

Lydias stared at him blankly. “I’m sure.”

“I’m afraid I can’t allow it. Commandants are valuable to Babylonia. Perhaps even more than Constructs. Few possess the will and compatibility to stabilize M.I.N.Ds. Someone as experienced as you is not expendable.”

“Then I quit being a Commandant. I refuse to lead another squad.” She looked away. “I couldn’t protect any of them. Not a single one.” Her voice broke. “I’m not… I don’t think I can--I just can’t.”

Nikola considered her with some pity. “What do you want then, Lydias?”

“You know what I want. I’m not afraid of dying.”

“I know you’re not afraid, but it seems to me like you seek it.”

She said nothing. Nikola sighed. “I’d rather not lose you completely. You have experience and ability. The Black Wolves were specifically chosen for that mission for your competence. Aife will increase our combat power significantly against the Corrupted.” He pinched the bridge of his nose. “It’s unfortunate, but these things happen at war.”

“Say whatever you want,” Lydias said stubbornly. “But this is my final decision.”

“Fine,” Nikola said. “Your attempt at redemption is admirable. I’ll grant your request, but if you survive, you’ll work directly under me. Is that acceptable?”

“Perfectly.”

INTERLUDE HIDDEN CHAPTER

F A D I N G L I G H T

Flora: Fairfrost - Voice Log

*sounds of fighting* I hope this reaches you, Commandant. I don’t think I’m gonna last much longer and… *grunting* I just wanna say goodbye. The old man’s already gone. I felt his signal die out a while ago. He went down taking a blade for me, can you believe it? Even though I’m the Attacker Construct. *panting* You know what his last words to me were? “It hurts.” As if our pain receptors weren’t turned off. I know what he means though. *blades clashing* After all, we all wanna go back home with you. But life’s a bit unfair, eh? For once, I don’t mind. Protecting your back… it almost makes me feel like a hero. That ain’t something you experience every day, y’know? *metal tearing* I guess what I’m trying to say is thank you. For being someone worthy of love. *crash, wet coughing* It’s been my honour and privilege to have been one of your Wolves, Commandant. You’ll remember me, won’t you?

-----------

Ferdinand: Aegis - Voice Log

Lydias… This will probably be my last communication with you. I never would have thought this would be how it ends, but… Well, I’m just glad that I get to spend my final moments with you. I can feel my M.I.N.D. slipping, but Babylonia will be here any second now. They’ll take care of you, the way I wish I could. *sigh* Ah, there are so many things I want to say. I have nothing to lose anymore, so I hope you’re ready to listen. *deep breath* I love you. The way you laugh at my jokes and tease me. The way you can talk about anything. Your smile, your lips. I love the way you kiss me. And of course, I love our late night activities… Such as you trying to teach me to dance. *short laughter* Were you expecting me to say something else, Commandant? You--*grunt, glitching* Looks like my time is running out. I should go, but promise me one thing, Lydias. Promise me you’ll keep your heart open, so that someone else can love you as you deserve. I--You--*glitches*

DATA CORRUPTED.

#pgr #punishing gray raven #pgr oc

16 notes · View notes

neondrawsthethings · 3 years

Text

Uhm... Hey everyone lol. And welcome to my Danny Phantom & Flynn Fenton story.

I am alive, I’ve just been so busy with personal stuff and college. I mostly wanted to post this because I am an avid fan of Danny Phantom and I absolutely wanted to talk about the video Butch put out a few days ago with Danny having a “mysterious older brother.”

This has actually inspired me to write for the first time in a millennia and while I’m a bit late to the party and very nervous, I really wanted to make my own version of the story on top of expressing my opinions. So here we go!

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

I don’t like Butch like most people in the Phandom but I just want to preface this by saying that I think that his idea for a mysterious older sibling for Danny isn't a bad one, but the execution of it was very poor. The issues I mostly have of it is that it messes up some consistencies with the show, it has plot holes and instead of making Jack and Maddie slightly incompetent with people's safety, it makes them out to be negligible criminals.

A Summary Of The Original Story:

The original story went that they had 3 kids, Flynn Fenton (who's age was not disclosed but he might have been about 10), Jazz Fenton who was 4 at the time and Danny who was 2. Jack and Maddie had created a uncompleted Ghost Portal that Flynn had turned on, wandered too close to when it somehow started working and was subsequently grabbed by a mysterious ghost from the other end. The portal suddenly stopped working afterwards. Jack and Maddie found out about this after reviewing security footage in the lab, which they coincidentally didn't have when Danny had turned into a ghost.

After the whole incident, they hid the fact that Jazz and Danny had an older brother for years and take their time getting the portal to work again so they could save their son. Years pass and Jazz suddenly has a dream about Flynn and eventually confronts their parents over what happened and they tell their kids everything.

As for Flynn, Butch goes off in a tangent about a ghost who was responsible for the uprising and rebellion against Pariah Dark. I forget her name, but it was edgy and she honestly looks like a cartoon concept design for Thor's sister in Ragnarok, but if she had a Spiderman appeal to her.

Anyway, once Pariah was sealed away in the Sarcophagus of Forever Sleep, she wanted to rule the ghost zone fairly and with justice. Or something. However chaos ensued now that the ghosts were free to do as they please without Pariah's wrath hanging over their heads. Over time, trying to keep balance in the Ghost Zone took a toll on “Thor’s sister” and she one day stumbled across and open portal and saw Flynn on the other side. She essentially kidnapped him and raised him to be her soldier for justice. Like the Winter Soldier.

The logic for this was that humans have ghost powers in the Ghost Zone. I mean, yeah they can fly and phase through things, but it was never actually mentioned whether or not humans had super strength in it. But go off Butch. Then he goes on to explain that in some reference to the Ant Man movie, over time Flynn just sort of gained powers as he became "one with the Ghost Zone" and became a powerful protector called "Exodus." Then Fartman went on to mention it was a reference for a machine in the Halloween episode.

So yeah, eventually Danny finds him and they've kind of got that dynamic of "I think you're the bad guy in this situation" when they aren't and duke it out until Danny eventually convinces this dude they're related. Oh yeah and Flynn had no memories of his human life.

Gonna be honest, I might have misremembered a few things but it’s honestly close enough.

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

The issues I have with this concept are as follows:

⦁ Jack and Maddie have essentially been the direct cause for 3 people being harmed (and sorta killed) in some way by their Ghost Portal experiments. This doesn't even border on negligible at this point. It basically is, especially considering they should have learned not to let Danny near their experiments after losing their first son.

⦁ They come off as criminals considering they hid all traces and knowledge of Flynn from Danny, Jazz and most likely all family members and didn't even report his disappearance. They even had cameras in their lab and that honestly puts across the idea that they disabled them in case one of their other kids gets hurt.

⦁ There's already a ghost who considers himself to be the law of the Ghost Zone and it would appear that Butch forgot he created Walker for that exact purpose.

⦁ The female character who was responsible for putting away Pariah Dark honestly isn't well fleshed out. She can imprison the most powerful ghost in existence but is essentially useless at stopping lesser ghosts from causing chaos? Even if she did have help, how exactly was she capable of such a feat to begin with?

⦁ This messes with the cannon a bit considering there are some plot holes that can't really mix well with the established story.

I saw some of these concerns were also mentioned by the Phandom. Giving Butch the benefit of the doubt here, I don't hate the concept but I think it needs to be worked on more. I've read about what some people's opinions were and at least the ones that gave real critiques had some good ideas. Like maybe making the sibling either Jack's or Maddie's and it would have helped with their obsession of ghosts.

I have my own plot hole filled ideas with how this could maybe be told better. I'm not a storywriter and this might come off a little edgy, but man I love coming up with ideas. So here's mine:

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

My Story:

After the incident with Vlad, Maddie and Jack decide that their ghost hunting days are over and resolve to live a normal family life. They have their first son Flynn, who had solidified their decision to quit ghost hunting and settle. After a few years, Jazz and Danny were eventually born and it seemed they had the perfect life.

One day while vacationing in a wooded area (location can change), Flynn had wandered not too far from the camp. Then a flash of light suddenly burst in front of him and he could see a whole other world. Jack and Maddie were alerted to the sound and ran towards where it came from. They gasped at what they saw and knew exactly what Flynn was staring into; a ghost portal.

Before they could yell for him to stay away, a hand suddenly reached out and pulled Flynn in, the portal immediately closing as soon as he entered. Maddie and Jack were devastated. No one believed them when they explained what happened to their son, and this incident became the catalyst for them to start their ghost hunting careers again.

They worked tirelessly for years to get the portal to work again. Jazz had eventually chalked up their obsession to being a coping mechanism because they couldn't handle the guilt of losing Flynn and were in denial that he was gone. Danny was more of a social outcast than ever because people assumed his parents had something to do with Flynn's disappearance.

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

Now with regards to why Flynn was pulled into the Ghost Zone, I would actually like to think Clockwork played a hand in it. I watched the Blood of Zeus recently and I kind of wanted to play around with an idea that inspired this next part.

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

Clockwork knows that Dark Dan was never going to stay imprisoned forever. The fact that he still exists, even outside of time, was an omen he needed to heed. So maybe he meddled with a few future possibilities. Maybe he tried to get Maddie and Jack to realise Ghost Hunting was something they shouldn't mess with after hurting Vlad, which led to their decision to settle for a family. Maybe... He wanted Flynn to exist for a purpose.

He was the one who pulled Flynn into the Ghost Zone. Clockwork told Flynn that he would be the key to saving the future from Dark Dan, but withheld information on who he really was until he was old enough. He taught him everything he needed to know on how to defeat Dark Dan and trained him over the years in combat.

Going off the idea that Danny is kind of really average in comparison to the rest of his family, Flynn is a technological prodigy. He created weapons that Vlad could only dream of creating and can utilise technology that puts Tucker to shame. Once he was old enough, Clockwork finally revealed who Dark Dan was and how he came to be.

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

As for the fighting portion of everything, I'm honestly not too sure how I could go about writing it. Obviously they team up to destroy Dan for good and Flynn gets reunited with everyone. He might actually prefer to stay in the Ghost Zone and be Clockwork's assistant. Idk.

This is as far as I can go with regards to the story and it was super fun to write. Hope you guys enjoyed reading it too!

#danny phantom #flynn fenton #dp #flynn #I've never posted a real story online before #have mercy on me #lol #and I gotta say that the original story really felt attention grabby on Butch's part

54 notes · View notes

ganymedesclock · 4 years

Note

outta curiosity, why do you think the bugs are human-y sized? i've seen that portrayal fairly often in fandom, but it never occurred to me during my own playthrough b/c of things like the weapons all being things like "Nails" and "Needles" (plus Cloth's huge fang club) which feel... like they're supposed to /seem/ small, if that makes sense.

Kind of a complicated web of reasons, some in-universe, some out.

The first thing I’m going to say is that I agree with you in that there is something that “feels small” about Hollow Knight’s world. When a friend of mine, @betterbemeta played the game, they spoke a bit about a “microscopic aesthetic” that they chalked to things like the amount of detail in the backgrounds. At the size we’re used to seeing the world, dirt is just dirt. From an insect’s eye view, however, individual grains are visible to a much greater degree.

This very granular nature fills the world. Nothing has the anonymity of just being dirt- it’s all shells or fossils or bits of stone and sand and glass. Our relationship with the world is intimate. We are shown spaces and the vastness of them looms, daunts. So I don’t for a second resent the impression that the scale of the world “feels small”.

What does bug me, if you’ll pardon the pun, is trying to add humans into this world as some kind of vast upper limit. Because while they wield pins and needles, nails and shears... these are not scavenged objects. This is not Pikmin. The nail is called such, but it is never a nail as we would recognize, designed to be hammered into an object. The bugs of Hallownest mine materials, and forge them into shapes that are engineered and worked artistically. The Nailsmith has spent much of his life obsessively honing his craft.

It feels arrogant, when there is no human presence in the game, to automatically slot us in an imagined supergiant slot that would trivialize the game and everything narratively important about it. It feels even more arrogant to suggest an independent culture that never shows any evidence of being dependent on humans is whimsically plucking our door nails for funny little bug sword duels, rather than that they have a culture of forging and carving their own weapons, tailored to their needs, without “divine inspiration” from anything bigger than it except its gods, which are themselves entities not in the likeness or shape of humans.

For me, I feel like it operates much better to presume Hollow Knight’s world is comparable to Nausicaa’s- it is a land of giants, rather than a land of the diminutive. A world that, if we or creatures like us were walking them, we would walk alongside Ghost, these same roads and highways, and would have this same experience of being dwarfed by the vastness of the space. I feel like if you really want to imagine humans in this world, either explicitly or for a sense of scale- we’d be on the level of the setting’s bugfolk.

Another thing worth noting is that this world is also very alien. Far moreso than, say, Pikmin, a game that does feature tiny aliens on a post-apocalyptic earth, where we can recognize much of the world and its shape even if the creatures now inhabiting it are strange. In Hollow Knight, the world is strange in its beauty and savagery. It’s really not like ours. The larger things get, the weirder they get. There’s almost no indication of mammalian life, or even, besides the bug-people having some recognizable species among them like moths, butterflies, cicadas, bees- creatures that we recognize. God Tamer is either an ant or a cockroach most likely, but her steed was originally conceptualized as a lobster- and it is an eight-eyed, quadrupedal creature with a filter-feeder mouth, large horns, an expanding translucent dewlap and neither claws nor long tail to speak of, so Team Cherry has actively avoided putting “normal creatures” in there.

This setting has a particular logic about creatures. Everything is translated through that lens, so things we would recognize come out distinctly different, and the general thrust is ‘more like a bug’. So to me, that precludes the intrigue of humans, because we have what humans would look like, with concession made to these strange rules.

They’re the characters we already see and interact with.

I dislike the idea of towering humans, because to me, the sapient bugs of Hallownest so clearly are the humans. I feel like this is a world on a divergent planet. There’s no apes for humans to come from, or monkeys to grow into apes, or even mammals for monkeys to come from- everything is bugs, so the sapient creatures come from bugs. Quirrel, in the prequel comic, even briefly holds a much smaller crawling insect and muses how it and he have similar shells, and, yet, are fundamentally dissimilar creatures. Another narrative could very easily transcribe a similar moment between a human researcher and an orangutan he spots in the bushes.

So this compels me to, in crossover contexts, put the bugs as close to humans. I feel like this is a beautifully constructed and deeply alien world, and there’s so little to gain and so much to carelessly bulldoze by adding in a sense of scale that allows us to just ignore so much of the strangeness and force our own ordinary world over it. I don’t have this problem putting in other giant or strange forces in the setting- I’d be super up to colossal forests of giant trees as a level or scene in a fanwork, for example.

But I guess that’s what turns me off of a lot of things like the bug tank AUs- the humans’ presence and society feels like a way to not just put what’s familiar to us in there, but in such a way that invalidates the refreshing novelty of the world around it. There’s no stated upper limit to Radiance’s powers- there’s nothing she can’t infect merely because it’s too large. So putting her in a glass tank wouldn’t negate her. If it was that easy to stop her, PK wouldn’t be driven to desperation and have committed a staggering amount of esoteric sin on his own children trying to find a way. It immediately undermines character plots and motivations.

Suggesting that the bugs are living borrower-style among humans and making use of their technology, likewise, cheapens the plot of the Nailsmith and his obsession, one that is shared by many, or, in the Silksong demo, Forge-Daughter’s “ancient line and honored role”.

Now, I have seen borrower-style stories and loved them! I was massively obsessed with the movie 9 when it came out, which featured tiny cloth dolls (the largest of them could be held easily in one hand by a human) surviving in an apocalyptic wasteland, and they utilized pieces of human technology cobbled together into ingenious new forms. But the thing about Hollow Knight, is it is not that world. Some weapons are large, almost oversized for their wielders- but they were still built with those wielders in mind, by other bugs, using designs developed by bugs.

Cloth’s club doesn’t really refute this by being a tooth broken from a larger creature, either- the temple of the black egg is made either from, or in the likeness of, the hollowed shell of a truly gargantuan creature.

This world has some very big things. I feel like thinking of humans as ‘the giants’ in this setting vastly underestimates the world. That somewhere in Cloth’s journey- and somewhere accessible to the kingdoms’ guards that became Husk Guards- there were vast cadavers with teeth that could be harvested is explained handily on its own by the idea that this is a world partially populated by giants- giants that play by the same lovely arthropod sensibilities of the more regular-sized denizens.

Another exciting thing worth noting is that there are ribs and spines all over this world! If these guys were truly on the scale of ordinary bugs, they wouldn’t need them- their exoskeletons would do all the supporting for them. But these guys are big enough to need at least vestigial endoskeletons. The implications of the remains that we see don’t exactly show us arm or leg bones, but rather intact limb exoskeletons. So these guys would have more complicated organs and more bones, that a bigger creature would need, but something the size of a realistic our-world ant would not.

#Hollow Knight #Silksong #readmore #thethrillof

231 notes · View notes

warsofasoiaf · 3 years

Note

I'd love to hear your thoughts about Cyberpunk 2077 when you are ready/have finished the game. Maybe besides the game itself you have an opinion about the crunch, bugs and general feeling of disappointment in a good portion of the fans

Sure thing. It’s going to be a long write-up and there are going to be spoilers, so you better believe that this is going to have a cut. Reader beware. For context, I have beat the game, and I played it on PC and only on PC.

I’ve been a fan of the cyberpunk genre for a long time. Transhuman and techno-utopian sci-fi always struck me the wrong way; that it was too optimistic and ignored a less savory element of human nature that simply would not go away with the advent of new technologies. While I only briefly dipped my toes in the water of the Cyberpunk tabletop game (I was always a bigger fan of Shadowrun), I did enjoy the genre and was eager to see a AAA cyberpunk game. I also really liked CD Projekt Red with what they did with RPG’s like the Witcher 3. Particularly when it came to the smaller sidequests, they really found a way to bring a lot of noir elements and hard-hitting character moments to the game, and I believed that it could translate very well into a cyberpunk game. After all, noir was a similar response to detective fiction to what the cyberpunk genre was to earlier elements of sci-fi. So I was quite optimistic when it came out. What we got was...well, it didn’t quite meet up with expectations.

There are some good things about the game. Assuming you have a beefy rig, PC cyberpunk looks pretty good. Not only does it look good, but it looks like the dismal 1980′s inspired future that had defined the genre, with its neon lights, omnipresent advertising to the point of satire (amphetamines are available from vending machines in a variety of flavors and commercials are completely ridiculous). The fixers are great examples of different cyberpunk archetypes like Regina Jones being a media or the Padre being an underclass civic leader looking to protect his community with a bit of a violent streak. Plenty of the characters had great personality, the nomads and Panam were enjoyable, Judy had a great questline that detailed optimism and bitter disappointment (and the character looks cool and is a bit of a cinnamon roll), River’s quest was a perfectly serviceable cop questline with enough horror elements, they were all fine. Keanu wasn’t a great voice actor, but he did serviceably and was apparently just wonderful with the staff, so I’m willing to cut him a pass. The level design can encourage a variety of different play styles, with attribute points opening up certain pathways. Given that it’s an open-world sandbox game, the goal should be to immerse yourself in the world, and touch on elements of cyberpunk as you go through the various quests, and you do see some of that. You see the gross exploitations of dolls in the sex trade when you go to Clouds, the bizarre elements of self-expression that new technologies can offer such as the twins in Kabuki, Pacifica is an abandoned recreation ground for the rich with the nice image of rotting Ferris wheels and abandoned malls, and you can see the divide between the have’s and have-not’s on full display both in the opening (compare and contrast the Street Kid with the Corpo beginnings) or take a look at the Peralez’s penthouse apartment versus Judy’s cramped digs. Honestly, one of my favorite things in the game were just the consumables to highlight the different food and drink available to the people of Night City. The heavy population means that foods like fried ants or locust pepperoni are common, amphetamines are available in a variety of flavors, and there are no less than 20 burrito vending machines on every street (the future is not all bad it seems). I like little worldbuilding moments like this in video games because it does give a sense of completion and immersion within the world. I honestly felt bad for Johnny Silverhand, because by the end of the game I had to be a bloated man-ball of Holobites Peach Pie and Cirrus Cola.

The game even took a few things that had aged poorly in the cyberpunk genre and improved them. The Mox is a gang specifically meant to stop the Disposable Sex Worker trope, it’s small and part of the reason it survives is that it’s small, but it offers a chance of improvement over the exploitation that the Tyger Claws offer. The cyberpyscho quest is probably the best one of this. Earlier Cyberpunk had cyberpsychosis as a serious concern directly correlated with how many implants you got. The Solo archetype even spoke about how you risk losing your humanity with your implants as you became stronger, better, faster. Even later iterations had depersonalization/derealization disorders as people who could see in the dark lost connection to those who couldn’t. A quick thought in our present though, changes this. My eyesight and hearing is just fine, but I don’t lose connection or common empathy with individuals who are blind or deaf. I have two arms and two legs and I have not lost empathy for amputees. Why then, would I lose empathy and connection with someone with average human eyesight after I get my eyes replaced and now I have the ability to see in the dark or have telescopic sight? The cyberpsycho quest actually took this concept to task; cyberpsychos around the city are seen as horrifying threats that need the high-threat response of MaxTac to deal with, but Regina is looking to see if she can cure cyberpsychosis. Mechanically, the cyberpsychos are boss-fights with elements of puzzle gameplay (how to handle the different skillsets that they have) and a bonus reward for non-lethal damage which rewards certain playstyle archetypes or prepwork for those who ensure that they have a non-lethal option. The information you find around each cyberpyscho showcase different problems in the target’s life, no real common thread or inciting incident that you can trace the onset of cyberpsychosis toward and identify a culprit. After you complete the quest, you learn the twist: there is no such thing as cyberpsychosis. Each of the targets were actually just experiencing different stressors within their lives, such as PTSD, losing their job, drug abuse, etc. and the breakdown is made much worse because these individuals have the ability to toss dumpsters like they were baseballs or pick the wings off a fly with a cybernetically enhanced brain with a .50 cal. Some of these individuals had terrible implant surgery done by bargain-basement ripperdocs and temporarily lost the ability to discern reality from fantasy, something that could easily be seen as a science fiction adaptation of temporary insanity brought on by a poor reaction to medicine. It’s backed up by the game too. V can fill every slot in their cyberware deck but never once experiences cyberpsychosis. Oda has ultra-legs and flaming-hot mantis blades and is in perfect control at every point in the game, even when he’s trying to jab those mantis blade through your sternum. Cyberpyschosis isn’t real, the irresponsible media just ran with it because fear sells. For all the flaws of the game, I respect the game for taking cyberpsychosis in that direction.

But for all those good things, the game couldn’t help but feel shallower than the Witcher 3. The side-gigs were formulaic to the point where they even led with a category. There were few twists and very little that was surprising. Exposition for these quests was limited to a short text dump and a minute voice-over. Night City was big but it was relatively sparse. NCPD never seemed to intervene in any crimes (giving the character the chance to do so) but every so often they were around a taped-off crime scene, giving a sense of inconsistency that hampered the world. While it was a bustling city, it felt empty, most of the people I saw on the street were meaningless, just NPC’s walking around to give a sense of activity. There was little in the way of things to see and experience that was unique or different about these NPC’s. They weren’t crowds I could hide in like Hitman, they didn’t have ambient dialogue that showcased something like the Witcher 3. Much like other open-world games, this sense of shallowness pervaded much of the empty space of the world; it was incredibly *big* but there was little in it. Much of the time I was driving or running through empty space that was completely worthless to me. Normal for city living, but all of that is wasted time going from point A to point B, and unlike the Witcher 3, there were no small in-game beats to help flesh it out or build it. I never had Millie from “Where the Wolf and Cat Play” give me a little picture, I never had people from a liberated village say “hey, look, it’s that guy Geralt, thanks for killing those harpies.” These were things that made the Witcher 3′s world really come alive. I didn’t have that, and I was left

Of course, we also have to handle the elephant in the room, and that was CDPR’s conduct both during production and after release. Crunch has become an increasingly common part of video game development and it’s not healthy to developers. CDPR had been called out on it once before, but it seemed there was little change in how that happens. I’m not quite sure if there’s anything we can do, and I’m sympathetic to the need to hit target deadlines to actually deliver a finished product, but there’s got to be a better way, whether that’s a change to the incentive structure, or something, because it’s hurting folks. I like games like Witcher 3 and Red Dead Redemption 2, but I understand that there was a real human cost to these masterpieces, and I wonder if there’s something we can do about that.

Similarly, what happened after launch was beyond terrible. The last-gen console version were simply not ready for release and shouldn’t have been released to the public. CDPR openly covered up this, by only previewing the PC version, they hid the fact that the game wasn’t ready, and they avoided delaying the last-gen console version because they were looking to capitalize on holiday sales. I’m sympathetic for the need to generate sales, but the flip of this is that you have to deliver the product you advertise, and for last-gen consoles, they didn’t do so. Bugs are one thing, these games are massive undertakings of interacting systems and bugs are inevitable; some of my favorite games were buggy at release, notably Fallout: New Vegas, Witcher 3, and so on. But this went past bugs and into malpractice and deception, and that’s something that’s less forgivable. I personally had few bugs that were out-and-out game breaking but things not loading, quests bugging out, floating bags and other physics wonkiness, all of that hurt the immersion. I’d be more willing to forgive the game without the deception; I can laugh at bugs but not at ignoring quality control to get holiday sales instead of delivering a quality product. Consumers are angry at CDPR and have every reason to be, and I’m one of them. I can express my disappointment and I will do so, we need developers to stop these practices and the only way we can do that is through our wallets and words. I’m not going to tell anyone not to buy CDPR games, that’s entirely your decision because I’m a radical individualist. But I am going to say that they’ve burned a lot of their good karma with me; credibility is a hard beast to gain back. Much like other big name developers, CDPR has hurt their standing in my eyes. Whether that means I need to resort to going to indie games for a little bit or something else, I don’t know, but it’s rough. I liked CDPR and wanted to believe it’d be different, but it seems to not be the case.

Overall, I think it’s another AAA open-world game only made better by my love of the genre, and that stings. I enjoyed some aspects of it, and I hope that through Free DLC, patching, and other good deeds, the game can redeem itself and stimulate new love of the genre. But CDPR needs to do a lot more than that to win back my affection. If anyone has anything specifically that they want to know about the game, such as talk about the main story, individual characters, or so on, just ask.

Thanks for the question, Khef.

SomethingLikeALawyer, Hand of the King

#video game reviews #cyberpunk 2077

18 notes · View notes

brella · 3 years

Photo

i was tagged a couple days ago by @sheherazade to share nine images that encompass the vibes i am hoping for in 2021. i don’t want to shoot too high, but this was a wonderful exercise, because of course it was, because it was from ilika.

the inn at cos cobb by lowell birge harrison (with lyrics from “baby we’ll be fine” by the national). my favorite line from this song and one i keep close to my heart always. it was hard in 2020 to be brave and sometimes it was hard to be kind, too. but i want to keep trying. i hope this energy can carry me through another year.

art from lecture d’amour series by lorraine sorlet. man i just want to Be this girl. reading about AMOUR in her cute little socks. i want to keep reading and loving love stories in 2021.

crop of a wall in naples by thomas jones. this is my favorite painting ever and when i first saw it in person (at the beginning of 2020, a fucking lifetime ago) i was so struck by how much beauty and vitality are contained in such simplicity, but this is exactly my shit. i don’t really know how to explain it but this painting is the beauty of the human experience to me. it’s the quiet majesty of Life. i hope to keep my belief in and appreciation for simplicity in 2021.

completed embroidery project by cozyblue. i took up embroidery this year and have kind of fallen in love with it. i want to stick to it and make some things for friends and family. it’s nice to use creative energy on something that’s not for me (or a fic exchange) for once, LOL

botanical tattoo. this one is also more concrete, but in an ideal world i’d like to get my first tattoo in 2021 and have been doing a lot of research on botanical designs. i have at least two tattoos that i’d like, so we’ll have to see if it’s safe enough to get them by this time next year.

nana komatsu photographed by arata suzuki. this whole photoshoot is gorgeous, and i would give anything to be There again, you know, eating yakiniku, having the time of my life. it really encompasses the joy of eating good food to me, and i hope that i get to eat lots more good food in the coming year.

romy schneider and alain delon. god this is so corny but may my boyfriend and i continue to find the lightness in things, and laugh, and love each other. 2020 was hard but at least we were there together, and at least i could wake up next to him even on the worst mornings.

crop of a painting by irene sheri. this year i found myself slowing down and doing something i haven’t done since i was a kid, which is, like... sitting and staring at something for a long period of time and just letting my mind empty out? a branch through the window, an ant on the wall, a cloud moving out toward the coast, my cat’s little body shifting and breathing. like what choice did i have, being stuck in my apartment 24/7 with my inspiration having run bone-dry, but it’s such a peaceful feeling. i want to hang onto that instinct, to just settle and look.

every day i get emails image. look i just want a good job again. i want to return to the glory of being inundated with nonsensical emails relating to highly specific problems that every department in the company expects me to solve. i haven’t worked in a year; i’m starting to actually get wistful about what used to be. please, send me an email. let me tell you how to upload a google document to the google drive. i’ll do anything.

if you haven’t done it yet and would like to: @door, @campzones, @letterful, @clockfighting, and @liondancer, what are your hopes for this strange year?

#!2020 #tag game

16 notes · View notes

annalyticall · 4 years

Text

Anime Newbie in her Twenties Ranks her First 10 Anime

With the recommendations of my sister @ging-ler and friends, I started watching anime just over a year ago and within that time I’ve watched a total of 10 - some clocking in at almost 200 episodes and some with only 12. I told myself a while ago that once I had finished 10 anime shows I would rank them like some Anime Newbie WatchMojo list, so, here we are. Really this is just an excuse to force more of my unwarranted opinions onto unwilling followers.

I should also preface this by saying I don’t think any of the anime I watched this year was bad, and I enjoyed a lot about every show even if I ranked some low. However, the top three anime on my list are the ones I would recommend to anyone following me even if they don’t watch anime.

10. Death Note

Despite absolutely loathing the “protagonist” since episode one, I really enjoyed the first half of Death Note! The story was intriguing with all of its wild twist and turns and I found myself immediately invested in what was going to happen next. Unfortunately, after the death of who I thought was by far the best character, the show seems to go off the rails as it introduces new characters and contrived plot devices in the second half that were frankly hard for me to care about at that point. The ending was satisfying but I forced myself to sit through a lot of painful meandering to get there.

9. Cowboy Bebop

Cowboy Bebop was the first anime I watched as suggested to me by @mcsherrybr. The smooth and jazzy art, atmosphere, animation, action, and music were all a lot of fun, as were the lovable ragtag group of misfits that made up the main cast. I enjoyed myself a lot while watching this western/sci-fi melding pot of a show, and I only ranked it so low because the last few episodes were a huge disappointment to my found-family-trope-loving heart.

8. Violet Evergarden

Violet Evergarden, following the story of a child soldier learning to love, is absolutely beautiful to look at and listen to. The music in this anime is, for me, THE best music from any show on this list. This is also the only anime that made me sob several times while watching it. The collection of short episodic stories that explore the deep facets of human love and connection are incredibly resonant and will stay with me for a long time. However, the strength of the small story arcs made the rushed overarching war story and finale weaker in comparison. Similarly, the memorable characters introduced in the one-off side plots were more interesting to me than the cast of rather bland reoccurring supporting characters. While I will remember a lot of great individual moments, I can’t seem to remember a single character’s name besides Violet’s, but that might also be due to being one of the shorter entries at only 12 episodes.

7. Hunter x Hunter (2011)

Going from one of the shortest anime on this list to the longest, Hunter x Hunter was an great and engrossing story during the entirety of its 160+ episodes. It’s colorful and playful, but can also be very dark and at times even heart-wrenching. Because it contains so many distinct arcs, there is a wide variety characters and stories to get attached to, and some, like the Chimera Ant Arc, I even cried over. But this also left me with issues regarding the pacing. The show has great action and introspective moments but will often drag with long drawn-out pauses between fights to explain simple concepts (though I understand that’s a common trope in old shonen anime in general). The world-building is rich but also caught me off guard with some strange ideas, and admittedly not all of them I liked. Some eccentric characters and concepts rubbed me the wrong way and ended up hindering my enjoyment of the show. Overall though, it was a lot of fun and I left with a few more endearing favorite characters, like Leorio and Killua.

6. Erased

Also a 12 episode anime, Erased was amazingly impactful for how short it was. Even as I followed the unfolding murder mystery, I was also touched by the meaningful themes and kind-hearted characters I met along the way. The already-strong story is accentuated with great symbolism, art, and music. The only problem I had was with the mystery itself; I was able to tell who the true killer was within the first 4 episodes, which didn’t lend itself well to suspense and I spent the remaining episodes frustrated that the main characters couldn’t see some obvious clues.This is a minor problem, though, since the finale has less to do with mystery and more about the morals and resolution of themes that I felt was satisfying.

5. Demon Slayer

Demon Slayer is gorgeous. The stunning art style, fluid animation, and breath-taking music are all valid reasons to watch it, but the main character Tanjiro and his unwavering devotion to find a cure for his sister-turned-demon Nezuko are the reasons to stay. Tanjiro is unbelievably gentle as he shows even the evil demons he has to slay a hard-fought kindness, and it’s those tender moments between all of the amazing action sequences that really elevate this show for me. The issues I have lie with the rest of the cast. While I love some supporting characters, like the pig-headed Inosuke and the stoic Giyuu, others have very niche personalities that can get annoying if they’re on screen for too long, which they definitely tend to be. Still, the bond between Tanjiro and Nezuko is so strong that it gets me through even those dragging scenes.

And it’s written by a woman!

4. My Hero Academia

Hey so this might come as a shock for anyone who’s followed me for a while: My Hero Academia is not my favorite anime! I do love it a lot - it’s the only anime on this list that has inspired me to read the manga, write fic, and buy merch. There are so many lovable characters and exciting arcs in this show that there is bound to be something for everyone to enjoy, both inside and outside of canon. It’s a wonderfully paced and animated deconstruction of the superhero genre and besides its deeper themes and commentary, there’s also just a lot of endearing teenage goofin’ to be had, and the show balances the tone of these two almost-equally engaging aspects of the story fairly well.

The downside, for me, is the show’s sexualization of female characters, especially the teenagers. With the likes of pervy fellow classmate Mineta, it’s a flaw that’s hard to avoid and takes up an unfortunate amount of screen time. There are in-universe characters that protest against this behavior, and the female characters are still well-written for the most part, but that doesn’t make up for the canon material including it at all. It’s not a huge part of the show but it’s present enough that it really knocks the ranking down for me.

3. Fullmetal Alchemist: Brotherhood

Out of my top 5, Fullmetal Alchemist: Brotherhood is the only one that is complete. Because of that, I can tentatively say that so far, it is the best completed story on this list. From beginning to end, the pacing was perfect - the action never dragged, the characters were never unnecessary, and the plot twists were never unearned. I found myself more invested than I thought I would ever be for the large cast of characters, and everything, including its ending, was satisfying to watch. The animation is fluid and lent itself well to the most impactful scenes, especially involving the flame alchemist Roy Mustang. It’s also written by a woman! Really, the only nitpicks I have were with tonal problems - serious moments would sometimes be ruined by too much slapstick or visual gags.

As I mentioned before, my Top 3 are shows I would recommend to anyone who’s unfamiliar with anime simply because they’re good solid stories with almost no distracting anime tropes. This is a good place to start.

2. The Promised Neverland

The Promised Neverland is deceiving; on the surface it looks like a sweet show about a bunch of adorable kids playing together in the spacious green backyard of their quaint orphanage. Once you finish the first episode, however, you will quickly discover that there is definitely something more sinister lurking under the surface. This show is an expertly executed dark horror/thriller that always had me on the edge of my seat. The cute aesthetic never distracts from the suspense, in fact, it adds to the discomfort when the horrific visuals and expressions are contrasted against the character designs. I loved all of the characters, including the antagonist, who manages to be just as sympathetic as she is menacing. The sound design and music are also beautiful and adds so much to the rich atmosphere. I am definitely excited to see where this series will go!

1. Mob Psycho 100

ONE, the creator of Mob Psycho 100, said the single word he used for the concept for the series was “kindness”. Kindness shines through so much of this story following the life of Mob, a super-psychic kid that just wants to fit in, and I adore every second of it. While many shonen anime stories force the child protagonist to get stronger, become more powerful, and fight in battles against hostile adults, Mob Psycho 100 says “that’s stupid. Kids shouldn’t have to be traumatized by immature power-hungry adults. The only strength that anyone should pursue is strength of character, motivated by self-love and love for others.” And it says it with the most beautiful animation I have EVER seen in a show. The simplistic character designs mean the animators can have as much creative freedom as they like with expressions and movement, and they absolutely use that freedom. Humor is a large part of this mostly-comedy anime, but it makes the serious and introspective scenes so much more important when they do happen. The shifts between these two tones never feel awkward or imbalanced.

Mob Psycho 100 has inspired me to become more experimental and joy-seeking with my art, as well as just become a better person in my own life, which I can’t say for many other anime or many other pieces of media period. Even though a Season 3 hasn’t been officially announced yet, I can still safely say Mob Psycho 100 will forever hold a special place in my heart.

#Well I did it i ranked all the anime i've seen #now to watch naruto lol

22 notes · View notes

glorious-blackout · 4 years

Text

Self-Indulgent Tranquility Base Hotel and Casino/Simulation Theory Crossover Epilogue

@rock-n-roll-fantasy Aaaaaand it’s over! This is technically more of an optional ending as I suspect you’ll prefer the conclusion to Part Seven, but a certain character would never have forgiven me if I didn’t let him get the last word... 😉

Thank you so much for all of your lovely feedback and sorry for making you wait so long for these last two chapters! And now it’s time for me to finally start listening to Arctic Monkeys/Muse albums that *weren’t* released in 2018 😅🥰

Also I would like to thank Matt for unknowingly writing the perfect end-credits music for me: https://www.youtube.com/watch?v=B8tpkpoSW5I

Part One, Part Two, Part Three, Part Four, Part Five, Part Six, Part Seven

*********************************************

A million miles away, on the desolate remains of the planet once known as Earth, a lone observer watches silently as a pair of retreating figures on a cramped TV screen ride off into the unknown.

Surrounding him on all sides are thousands of similar screens, stacked atop each other like building blocks, though for the moment he only has eyes for one. Only a week ago, every single screen was proudly lit up, showcasing the intimate details of his subjects’ mundane lives and thus allowing him to observe with unrelenting scrutiny. Now, however, a worrying proportion of those screens are fizzing with broken static; the worlds they once displayed forever lost from his grasp.

The sight should enrage him, and perhaps one day it will. Every barren screen represents the loss of constant hours of effort and imagination, and as the aftershocks of Matthew’s assault continue to ricochet, he imagines he will lose countless more over the coming weeks. Nevertheless, for the moment he cannot bring himself to mourn the loss of realities which brought him little pleasure in the first place.

Murph, or The Creator, or whichever title he chooses to wear on any particular day, does not consider himself a cruel being. Contrary to the vile accusations his peers have levelled against him, his games are not designed with the intention of torturing the subjects within them. In fact, one could consider his efforts to preserve the collective consciousness of a dying species to be a noble one. Humanity would be nothing more than a distant memory had he not intervened at the opportune moment. And yet, despite his good intentions, acting as a benevolent observer often fails to bring the satisfaction he desires. Sometimes boredom settles deep within his bones and he cannot help but interfere with the idyllic lives his subjects have created for themselves.

And he cannot deny that the thought of these two particular playthings discovering hope which will ultimately be torn away does put a smile on his face.

Most of that satisfaction lies in the prospect of punishing Matthew, though he has no doubt that toying with Alexander’s heart further will provide its own brand of levity. Where bitter vengeance is concerned, however, the former is the one he truly has unfinished business with. That particular human has been a thorn in his side from the very beginning; his knack for slipping into paranoia at any given opportunity had made constructing a believable reality for him an almost insurmountable challenge. The temptation to simply banish the man’s mind into the void had flared up once or twice, but in the end Murph had been somewhat successful. Matthew had bought the truth of his reality with relative ease for the first few years, to the point where any cracks that appeared were easily ironed out with a simple rewrite of code.

Until one day, Murph’s interferences were no longer sufficient to sustain the lie. Matthew’s conviction shattered and his mind with it; without warning, he set about tearing the carefully constructed world around him to shreds and treated his lifelong friends with open hostility. Murph could easily have given him up for lost at that point. Matthew had always been an infuriatingly willful creature – incapable of appreciating Murph’s efforts even after stumbling upon the truth of his feeble existence – and killing him would have been as simple as swatting a fly.

And yet, Murph had allowed him to live. Not out of any form of mercy, heavens no, but because the promise of a challenge was far too compelling. Matthew’s resistance made him special, whether he realised it or not. Most of his subjects were docile creatures; passive participants in a charade they refused to acknowledge. The ones who had come into his care willingly were the worst offenders, having subconsciously convinced themselves that they were caught in a blissful afterlife preferable to the miserable future they would have endured on Earth. Perhaps they’re right, but humans living in quiet contentment have always made for boring viewing. In the form of Matthew, Murph had finally stumbled upon an active participant he could slowly unravel at the seams, and after years of steadily building ennui, the thrill of the chase had been downright intoxicating.

In contrast to Matthew’s blatant rage, Alexander’s resistance had been... unexpected. The strength of it even more so. Murph cannot help but wonder if the sheer force of his suspicion – his feeling of utter wrongness in a place he’d once willingly called home – would have reduced his world to dust even in the absence of Matthew’s influence. Perhaps this shouldn’t have surprised him. For as long as he can remember, he has always had more trouble maintaining the lie when the subjects have been unwillingly brought under his control. The same is true for all species he has salvaged; it is the same factor which no doubt played a role in Matthew’s refusal to accept his own reality. Murph can manipulate their memories all he likes, but the inherent desire to escape their miserable fate is forever latched onto their souls.

The new identity had been an inspired touch in the beginning, keeping Alexander’s naturally insightful tendencies at bay for a while. Mark had been a more amicable creation while still retaining plenty of Alexander’s attributes, and the latter’s imagination had always made his reality one worth visiting. However, the line between the two identities had grown considerably blurred over time. Memories had melded together in ways that no longer made logical sense, and Alexander’s yearnings for home had translated to a bitter exhaustion and loneliness which Mark simply couldn’t overcome.

The fact that everything Murph had built had ultimately been derailed by a bottle of scotch and a friendly conversation was as clear a sign as any that Mark’s world had been hanging by a thread far longer than he had appreciated.

It probably took more effort than it was worth to salvage Alexander’s mind from his dying world and place it in an entirely new one - costing countless other simulations in the process - but he cannot bring himself to regret that decision. It hadn’t seemed fitting to let such promise fizzle out with a mere whimper. Entertainment is a rare commodity in these trying times, and he’s learned to take what he can get.

Matthew has certainly contributed his fair share. Having decided that killing him outright would be a waste, Murph had invested a lot of time in their frantic game of cat and mouse. While his plaything remained confined within the limits of his own reality – a frightfully boring seaside town on England’s coast – Murph had upped the ante by unleashing a horde of mutated creatures, using them as vectors to introduce a virus which reduced the population to rabid monsters driven solely by bloodlust. If Matthew had been particularly shaken by this new development, he’d masked it well. If anything, he seemed to glean a sense of bitter enjoyment out of receiving confirmation that his reality was little more than a façade, and had risen to the unspoken challenge admirably.

Before long it had occurred to Matthew that an absence of limitation placed upon the imagination could also apply to him. He learned not only how to play the game, but how to adapt the rules in his own favour. Murph had quickly come to rue the day he placed Matthew in a technologically inventive time-period, for his opponent had taken advantage at every opportunity; fashioning makeshift weapons and vehicles out of little more than scrap metal and a vast imagination. No particular engineering prowess was necessary. Before long he was summoning technology out of thin air with an ease that almost rivalled Murph’s own.

Even then, Murph had been unconcerned. Despite Matthew managing to slaughter any mutated creature he crossed paths with, the threat he posed to Murph himself seemed so miniscule as to be easily dismissed. At least at that point Matthew had mostly been sticking to the rules. Once the penny dropped that his reality was merely one of thousands in an intricate web, however, he’d accomplished the unimaginable and injected something which might have been fear into Murph’s long-decayed heart. Disbelieving eyes had been glued to the screen as Matthew fashioned a portal from scrap; one which should, by rights, have been unable to accomplish anything of merit. And yet, once its construction was complete, Matthew had stepped into the blinking red void without a trace of fear, smashing his way through the walls of one reality and emerging into another, whole and seemingly unscathed.

Quashing his efforts had become a much greater priority at that point. Treating Matt like a dog-eared chew-toy in his own reality was all well and good, but the man had gained far more intelligence and influence than Murph could tolerate. The prospect that he could potentially infect other realities with his schemes threatened to send Murph’s entire empire crumbling to ash if he wasn’t careful. In the more futuristic settings, he had been able to station guards designed in his own image, with the sole intention of blasting Matthew into atoms if he dared worm his way into their reality, but rather predictably Matt had dodged their attacks with a wry smirk, bending the rules to his will with an expertise that was almost frightening. Despite the seriousness of the man’s objective to track down his loved ones and rescue them from an existence he naively deemed to be diabolical, Murph got the distinct impression that Matthew was enjoying himself far too much. He was still treating his escapades like a game, long after Murph’s own objectives had darkened.

Well, if he insisted on playing dirty, then Murph could resort to that as well.

He’s still proud of his next trick. The brutal reaction it had elicited had been nothing short of delicious. With vivid gratification, he recalls the momentary spark of hope in Matthew’s eyes as his gaze settled upon the avatars of his friends, during a visit to a simulated reality which almost resembled Earth. He remembers the moment his opponent had allowed longing to override logic; remembers the point where all thoughts of the chase were abandoned and, with a cautious smile, Matthew had fooled himself into believing that he’d discovered the true forms of the men he’d loved since he was a teenager.

What must it have felt like to see them again, Murph cannot help but wonder? The Christopher and Dominic of Matthew’s own reality had been dispatched early in their charade, infected and mutated by the same creatures Matthew evaded with relative ease. No doubt the only reason Matthew survived their losses was because he’d already accepted that they were nothing more than sorry substitutes for the real thing. A part of him must have wondered, however, if that was truly the end. If the last association he would ever have of his two best friends would be the sight of them clawing their way towards him in a mindless rage.

The cold mix of terror and heartbreak that crashed upon Matthew once the blatant hatred in the eyes of his friends became crystal clear is an image Murph still treasures. For one bittersweet moment he’d honestly suspected that Matthew would surrender and let fate carry him away, rendering Murph the victor and granting fleeting satisfaction in the aftermath.

Alas, survival instincts had kicked in at the last possible second, and Matthew had fled the scene at a sprint before his familiar assailants could shoot.

The temptation to do the same to Alexander had arisen once or twice, on the occasions where boredom reared its ugly head. It would have been a simple enough task. The avatars for three of his best friends were already buried in the simulation; a simple rewrite of their code would have turned their inherent fondness for Alex into hatred in a heartbeat. He could even have added one additional ghost into the mix, just to twist the knife until the pain would never stop. Alex had never done anything to warrant that level of torture, however. Playing with Matthew’s heart had been entertaining - not to mention earned - whereas playing with Alex’s would have been like kicking a puppy just to see how it would react. Momentarily thrilling, perhaps, but ultimately predictable.

Besides, Matthew had made him pay for his cruelty, albeit not quite as successfully as Murph has led him to believe. His constant hopping from one reality to another had rendered Murph’s creations vulnerable. His brutal smashing through virtual walls left aftershocks in the wake of his adventures, although that in itself was easily fixable. Murph had quickly grown tired of his continued insolence over time. Not so much his continued survival, though he did make a point to send the morphed versions of his friends after him at every given opportunity. However, Matt had an unfortunate habit of forgetting that, in the wake of Murph’s towering influence, he was little more than a cockroach waiting to be squashed underfoot. The lack of respect had forced Murph to step in, to confront this tiny creature and remind him that he was simply an insignificant plaything in the grand scheme of things.

Matthew’s lack of fear when faced with him for the first time had almost been impressive, though Murph had been able to sense his feeble heart racing with adrenaline. The human had stood impassively on a steep cliff-edge while Murph towered over him, revealing his true form for the first time. From a distance Matt must surely have looked like a blot on the horizon and nothing more.

Such a meeting had no doubt been Matt’s intention. Murph allowing himself to become invested in the game rather than erasing Matthew from existence in the first place had been a mistake borne of arrogance, and he now knows it would serve him well not to make the same mistake again. The mind-numbing aftershocks stemming from the moment Matthew powered up a metallic glove and aimed a colossal, fiery beam of energy at his tormenter serve as a bitter reminder that he must learn to be more careful.

Physically the assault had done nothing at all. Even if Matthew’s corporeal body were standing right in front of him at this very moment, any attempt to attack would have the same effect as a mouse trying to destroy a mountain.

The mental assault, however, had been far more powerful than Murph could ever have anticipated.

Perhaps Matthew himself believed the weapon he’d designed was a physical one; he seems willing to accept the possibility that it killed its target after all. What the beam had truly unleashed, however, was a sheer, unrelenting wave of emotion. All of Matthew’s simmering rage and heartbreak had drowned Murph under its weight as his consciousness was overcome by burning sparks of light. All of Matthew’s love for his friends and family - which had become so intertwined with grief during his entrapment - reduced Murph’s mind to a blank haze, and beneath it all the sheer power of hope and determination had shattered the reality they’d both been standing in.

A similar feeling of powerlessness had overcome Murph not long before, when Alexander somehow anticipated Murph’s attempts to erase Matthew from his mind and erected a mental block so formidable that his very reality had trembled. This was different, however. Alex’s attempt had been powerful but clumsy, like batting his arms against an unseen enemy in the dark. In contrast, Matthew’s assault had been the direct attack of a man desperate to burn Murph to the ground without a care in the world for whether he himself survived the aftermath.

Murph had awoken in his nest, surrounded by screens and caught in a daze. In a moment of madness, he’d spared Matthew’s dying mind from the crumbling reality he was trapped within, fashioning a new one in the blink of an eye. One with considerably less tricks and theatrics. One that resembled the home Matt yearned for so desperately, recreating it so convincingly that his insightful mind appears to have taken the bait.

Murph cannot help but wonder if it would have been easier to let Matthew die. Alex too. The latter’s knack for questioning his authority will no doubt prove troublesome, now that he knows to be distrustful of the reality presented to him. For now though, Matthew remains his greatest concern. His mind still aches in the wake of the man’s assault. With each passing second, he can feel more and more worlds fade into nothingness, leaving only static in their wake and claiming the souls of thousands in the process. Losing them all is not a possibility he wants to comprehend. He has not spent enough time on Earth to justify heralding humanity’s extinction so early, and alternative dying planets are harder to come by than one might expect.

He wonders how Matthew would feel if he knew he’d disrupted and destroyed the minds of so many people. People who were once as human as him and Alex, who are now gone without the faintest trace that they ever existed in the first place. People who had no say in their fate, nor any stakes in the game they’ve both been playing for far longer than necessary. Would he be so overwhelmed by guilt that he would no longer be able to function? Would the realisation be the final straw in snapping the man’s mind like a twig once and for all?

Or will he consider those people to be liberated from their prison like the naïve fool that he is?

No doubt Murph will find out the answer to that eventually. This particular ammunition is too valuable to waste.

That can wait until later though. Matthew and Alex still need to be eased gently into believing that their current reality is real; there will be time for twisted revelations and sacrifices later. Besides, regardless of the eventual outcome, Murph can take comfort in knowing that his ultimate victory is inevitable.

He wonders how long it will take for the penny to drop. For those final, fearful memories to return. For the realisation to sink in that, for all their struggles to return to their beloved realm of flesh and bone, they’ve chosen to embark on an endeavor which is entirely futile.

They have no physical bodies to return to. No means of roaming the Earth as living creatures. Any vessels they may have previously inhabited sputtered and died when their minds were pulled from their heads; their bodies buried long ago, having been wept over by the same people they insist on mourning now.

As for their minds? Well, they’ll remain in Murph’s capable hands until the moment he tires of them and blinks them out of existence. No doubt it will be a long while before he’s driven to such extremity, of course. These two are fortunate that they’re as entertaining as they are annoying, and tormenting them further will certainly be one way to pass the time.

As it stands, time is all he has.

So for now, he’ll gladly let them indulge in their fantasy. He’ll construct a small band of survivors five miles from the beach, offering food and shelter and an explanation for their ruined earthen surroundings which somewhat mirrors the truth. He’ll offer campfires and music; will allow pleasant recollections of their previous lives to return to them in the form of dreams. He may even offer whispers of other survivors closer to the city, with descriptions matching the loved ones whose arms they wish so desperately to return to.

There’s no rush. No need to pull the rug from under their feet too early and spoil the fun.

It’s only a game after all.

#honestly i probably should have watched the ST movie before writing this thing #this chapter really was me trying to piece together some semblance of a story from the music videos/gifs #hopefully it's not completely incoherent 😅#Tranquility Base Hotel and Casino #Simulation Theory #Arctic Monkeys #Muse #my fic #writing

7 notes · View notes

fred-frederator-studios · 4 years

Photo

Dale Pon, R.I.P.

Pretty much the most famous media advertising campaign in history is “I Want My MTV!” –the May 2020 Google search returns 184,000 results, more than 30 years after the last flight ran– and it was the result of the brain of Dale Pon.*

* As I explain in detail in the pieces below, writer extraordinaire Nancy Podbielniak was the word spark for the campaign; it was George Lois who suggested ripping off “I Want My Maypo!” Dale Pon was the person who took these notions and turned them into brilliance.

Dale persuaded me and the powers that be at MTV that he could make it work, Dale who convinced MTV programmers to recording artists to participate for no fees. It was Dale who took the paltry budget allotted and strategized how to maximize the network’s cable distribution. And finally, it was Dale Pon’s dogged persistence and genius that caused cable operators across America to beg us to please stop running the campaign before all the telephone operators quit in frustration from all the people “demanding their MTV!!!”

My great friend –and better mentor– Dale Pon, passed away from difficulties due to Parkinson’s and Covid19. There’s no way to convey all of the ways people expressed their sadness to me today, but one of them probably encapsulated things best by saying “Complicated but brilliant, creatively inspired, strategic like chess master , we were lucky to have been touched by his talents...” All too true.

Dale could be –to say the least– a challenging personality. Determined to win, he could be a bulldozer crushing an ant. Warm at his core, he could be beyond generous will all he had at his disposal. Unlike many others with talent and raw intelligence, he was quick to share his remarkable thinking, lavish in his ability to elevate the talents of the shy and uncertain, and as bountiful with praises as he could be lacerating with his critical observations. He loved as deeply as he was able, and a constant explorer for the meanings of life.

When it came to the work, there was no one better at understanding media, and getting fans interested in its rewards. I don’t know if it was his methodologies and personality, or the fact that media promotion wasn’t all that well respected in the ad biz, but Dale didn’t have too much of a profile in the advertising world. I think, ultimately, he was much more focused on the work than on the publicity. So, things being what they are, what I’ve collected seems to be the most comprehensive look at his career, at least the parts that I’ve directly touch. By no means is it comprehensive, I know nothing about his radio days in the early 70s, and little about his work after I joined the cartoon industry. But all of what I have is yours, below.

I’ll lead with what a few of his colleagues and friends wrote a few years ago for Dale’s birthday. And then, below that, all the various campaign pieces (written from my perspective, of course) I’ve recalled over the years.

.....

April 2016, on the occasion of Dale’s birthday.

Dale Pon, my mentor and friend. Fucking smart.

Dale Pon’s been on my mind lately, as he is almost every day, because of the ways he taught me to think about …. um,everything. I’ve written about some other important mentors before, but Dale’s influence was so staggering I could never figure out how to sketch it out in anything shorter than book length.

“Dominate the space.” (He was referring to graphic design, but it might have served as a life philosophy).

“Of course, there’s an absolute truth.”

“You remember the first thing you see, but the last thing you hear.”

“The power of three.” (Broke that rule with this list.)

“Advertising is a frequency medium.”

“You make album tracks. I make hit songs.”

I’m not sure that he ever thought of himself as particularly quotable, but as you’ll see below, I wasn’t alone in internalizing. There were hundreds more bon mots, most of which he probably forgot as soon as he said them but stuff I’ve never been able to shake off, to this day.

His resume doesn’t do him justice, but quickly… For 40 years, Dale Pon was at the forefront of media programming and promotion for many of the major media companies, CBS, NBC, Viacom, Storer Broadcasting (where we met). He specialized in radio throughout his career, but when Bob Pittman moved into cable television, he prevailed there too (“I Want My MTV!” is still returns hundreds of thousands of Google search results, 30 years after it went off the air). He was wildly successful in an advertising agency partnership with ad legend George Lois, before setting up a solo shop, Dale Pon Advertising, in New York City.

Dale was brash and loud, very, and he certainly wasn’t to everyone’s taste. The friend who first recommended me for one of his jobs called in a rage when he quit and said if I really needed a gig so badly… I knew Dale’s work from its supremacy of the metropolitan subway system for the New York country music powerhouse (a paradox if there ever was one) WHN Radio, but it hadn’t occurred to me that actual human beings created advertising, or that it took any real brain power. Dale quickly disabused me of that notion, as he sent me to his tailor to buy me my first three piece suit (more appropriate for Park Avenue media than the cut off shorts I wore to our interview).

Most of all, he was really fucking smart. And deeply, articulately, astute about media. He could tell the story of radio stations or television networks better than anyone, and persuade their audiences to fall profoundly in love, by sticking to the basic human emotions like truth, desire, love. (My favorite? “Love songs, nothing but love songs” for WPIX-FM, directly appropriated for an Off-Broadway show). He didn’t end it there, with a creative, strategic and statistical brilliance that combined, to quote Bob Pittman (from another context completely) “math and magic.”

What I appreciated most was his intense, almost overwhelming desire to teach me everything he knew at exactly the moment I was desperate for his knowledge. In fact, as I observed him with myself and others over the years, it would be fair to say that if you wasn’t interested in being taught, Dale Pon wasn’t interested in you. And, not for nothing, it went both ways. He’s was as incisive a questioner and listener as one could want. Curious, intrigued, dying to know anything on almost any subject. In my case, it meant that we generally spent six or seven days together all the years we were together in two different media capitals. Whew!

Difficult? Challenging? Exasperating? You bet. I wouldn’t trade that time for anything.

Dale’s the one who changed the course of my work life, and as Scott Webb says below, “he changed me.” It’s because of Dale that I stumbled on my understanding that I wasn’t a music guy after all, or even a TV baby, but a pop culture sponge. I wouldn’t had the chance to participate in any of the culture shiftings I got to observe first hand. Who knows, maybe I would’ve stumbled through a life of complete dissatisfaction. That’s how profound his influence was on me.

Dale’s birthday recently passed by, and stuck for cogent things to say about him, I reached out to a few friends who’ve crossed his path and might be better at expressing themselves than I ever could. You’ll notice they’re pretty powerful personalities themselves, but Dale made an impression. Boy, did he make an impression. (I left out some of those controversial moments and unproductive comments.)

Well, our friends didn’t let us down. They got to the heart of the matter in ways I never could. Thanks everyone.

…..

Herb Scannell: Mythical.

Dale Pon is mythical.

He’s the man who “wanted his MTV” and got the world to say the same. My friend Fred always claimed that he learned whatever he knew from Dale and whatever I know I learned from Fred so it all comes back to Dale. Or blame them both. Happy Birthday Dale! Forever young!

…..

Bob Pittman: The Mad Scientist.

Dale Pon is the mad scientist of advertising. Full of passion, always with a breakthrough idea and the urgency to get it done quickly with no compromises. He made a huge contribution to my successes at WNBC Radio, MTV and even Six Flags theme parks. One of a kind….happy birthday to him from a big fan!

……

Scott Webb: “Most people don’t know how to think.”

Dale Pon didn’t just change my life he changed me. He encouraged me to be brave and fearless and never stop solving problems. He is one of the smartest people I have ever met and the teacher I will never forget.

You never know how things are going to happen. After 4 years at Sarah Lawrence, one of the most expensive liberal arts schools, I was clueless about a career. My secret wish was to write comics (mostly because I had no talent to draw). Unlike most of my class at SLC my parents were basically working class folks with a yankee work ethic who expected me to not move back home after graduation.

One January evening, I was talking with my friend Betsy K who had just graduated. She had just returned home from job hunting in the city. She had an interview at WNBC Radio; they weren’t hiring but were looking for interns. “What’s an intern?” I asked. I was so naive.

I immediately fell in love with the energy of the radio station. I had to work there.

“You’ll be working for Dale Pon. He’s very demanding. Do you think you can handle that?” asked Buzz Brindle, a WNBC program director. Me? Of course! I’ve got my Yankee work ethic and my Sarah Lawrence education. I thought I was ready for anything. But I was not ready for Dale Pan.

Dale was bigger than life, louder than anyone else in the company and frequently slammed the door to his tiny office. I found him brilliant, charismatic and intimidating.

My first big assignment for Dale was to create a chart of all the radio stations in New York and rank them by ratings performance over the past 2 years. I wanted to do a great job for him but the truth was that I was terrible at chart making. I was a liberal arts comic book kid and he had me doing statistical analysis and I knew if I did a bad job I would probably face his famous wrath behind a slammed closed door. But despite my inept chart building, Dale painstakingly taught me how to read the Arbitron reports and methodically went through my work and instructed me how to correct it. I learned more from him over that 5 month internship than I had in my last 2 years of college. But my lesson wasn’t in statistical analysis or radio promotion. Dale had high expectations of me, he believed in me and he was demanding in the pursuit of excellence.

A lot of people at the station didn’t like Dale mostly because he would raise his voice to make a point or because he was passionate about his beliefs, or would not hold back his opinion when something was mediocre, pedestrian or just plain stupid. Dale expected greatness in people, work and business. His mission was to win and often people found that difficult to embrace. I, on the other hand, found it awesome. I guess he reminded me of the comic book heroes I admired so much - characters who were extraordinary and could do things other people thought were impossible. Most people at the radio station were happy to have a job and get a paycheck and could care less about being #1 but for him that was all that mattered.

It didn’t hurt that he was so smart and insightful. He had the uncanny super power of understand exactly what the problem was – and he taught me that creativity was the ability to solve problems in fresh, innovative and smart ways.

“Do you know why I hired you?” he asked me at the end of my internship. “I didn’t want to hire one of those kids who studied advertising or media in college. Those kids have been ruined. They show up thinking they already know everything - and they haven’t even had a job yet. You didn’t know anything but you were willing to learn and think. Most people don’t know how to think.”

Those were some of the most important words I ever heard. They lit a fire of confidence and trust in myself that did not exist before and served me throughout my life, not just in work but in life.

…..

Bill Sobel: He yelled at me on the phone…no idea why.

…..

Noreen Morioka: “Good creates things, and Evil destroys it.”

There is no doubt that we all have a great Dale Pon story. Dale never did anything average. He did everything in extremes. Whether you were laughing so hard that you couldn’t breathe or wanting to shake him like a rag doll, Dale is unforgettable.

One of my favorite Dale Pon stories is when he was pitching a new name for a network. Since the channel was going to be all re-runs of a lower level, Dale named it Trash TV. I loved it, but when I presented my designs, he thought what I did wasn’t trashy enough and proceeded to get another designer to put flies swarming around the proposed logomark. When he presented his concept to the network president, he stopped at the building dumpster and pulled out garbage to bring up to presentation. Needless to say, the meeting didn’t go well, and the president was furious that Dale brought garbage into his beautiful office. Stern words were exchanged on both sides and security was called to take Dale and garbage out of the office. He called later to let me know they were going to search for another name. The network changed their name several times since then, and each time Dale would just smile. We all knew his solution was genius.

Like you, Fred, Dale taught me a lot. He taught me never to settle, always come back stronger and most importantly what the difference between good and evil was.

“Good creates things, and Evil destroys it.” Thanks to this simple Dale Pon-ism, I live my life by.

I will always have a deep respect and love for that guy. Happy Birthday, Dale. You are the true original.

…..

Tina Potter: So thoughtful.

Dale is a magnanimous gift-giver. I once told him the Chrysler Building was my favorite building in NY, and the next time I saw him, he brought me a beautiful framed B&W print of the building! So thoughtful. I still have it!

……

Judith Bookbinder: ANYTHING IS POSSIBLE.

I learned a lot from Dale in a very short time.

Dale taught me that ANYTHING IS POSSIBLE.

If you want to make something happen, figure it out or find someone who can do it for you.

This simple wisdom is something that has served me throughout my professional life.

…..

Ed Salamon: Directness and Simplicity.

I always appreciate the opportunity to say something nice about Dale, but the stories that first came to mind involved women, drugs, and fistfights. Or were otherwise too self-incriminating. Here’s what I’ve come up with:

The genius of Dale’s creativity is its directness and simplicity (like “I Want My MTV!”). Unfortunately that sometimes resulted in it being underappreciated.

When we worked together at WHN Radio I once heard our boss say to Dale at the end of the day “We need a new ad campaign slogan for the station by tomorrow. Take twenty minutes tonight, walk around the Village and come up with something.”

When I later started The United Stations Radio Network with Dick Clark and others, we hired Dale to create the logo, which he agreed to do out of friendship for only a nominal fee. The logo was a distinctive type face, with the letters stuck together (“united”). Some in the company commented that it was too simple; others appreciated its genius.

……

Tom Freston: A great bunch of guys.

Dale is a great bunch of guys. Argumentative, persistent, a perfectionist, fun, difficult, and smart as hell….winning, ultimately, most of his arguments. Happy birthday.

…..

Therese Gamba: “Work smarter, not harder.”

Long before there was “Better Call Saul” it was “Better Call Dale” when you were faced with a creative challenge. Dale had a long term relationship with MTV Networks having been part of the launch team for that iconic channel. So when The Nashville Network had to be relaunched as the new home of the WWE (then the WWF), oh and it had to be done in three months, there was only one person to call.

My first meeting with Dale was over lunch at the Mercer Kitchen. Fred had prepped me that Dale liked metrics and to be ready for a lot of questions. But as anyone who’s met with Dale will tell you, you can never be fully prepared for the hurricane of creative energy that is Dale Pon.

I was prepared with my Venn diagram of the overlap between TNN’s current viewers and the WWE’s viewers (no surprise, not a big cross section). Then the questions started in what felt like a ping pong match at warp speed.

Two hours into the lunch I had held my own and received the nod from Dale that I was on the right track. I was exhausted, relieved and thrilled to have passed the test. I learned that once you’ve basked in the glow of Dale’s approval, you were hooked. I also learned that I had become a member of an exclusive club, “Dale’s World.” My fellow club members all know the stories, share the memories and still live by what he taught us.

Dale always said “work smarter, not harder.” That mantra has never failed me just as Dale never failed to be supportive, inquisitive and completely one of a kind!

Happy Birthday dear Dale!

(From left): Dale Pon, Anne Grassi, Scott Webb at WNBC Radio, circa 1980.

Alan Goodman: “I’ll give you 50 bucks to fuck up this guy’s haircut.”

Two stories about Dale Pon –

1. I was in Paris with Dale (who ran our advertising agency – my mentor was now my supplier) and MTV’s VP of Programming, Les Garland. Dale and Les weren’t pals. How tense was it? We had dinner together one night in Paris and Les bought us all expensive Cuban cigars. Outside, Dale waited until Les split off to go to his hotel. The first second Les was out of sight, Dale pitched his cigar in the gutter.

We had flown on 10 hours notice so we could shoot Mick Jagger saying “I Want My MTV!” Dale had already shot a number of other MTV generation stars shouting the line, and some were even biggish. But Jagger was THE “get.” We knew that once Jagger blessed our campaign by participating, we’d get anyone else we would ever want. (We did).

We waited around the hotel a couple of days until we got the bat signal that Mick was ready, and raced over to his hotel to set up. Very quickly, what was supposed to be Dale’s shoot had become Les’ shoot. Dale was pissed, rigid with anger, sequestered with me in the adjoining room forced to watch the proceedings on a monitor. I went over to him to try to diffuse the situation. I can’t remember what I told him. But I remember his response, word for word:

“Do you think I need to hear any of this right now?”

I realized why I was in Paris. I was there, as the client, to witness who threw the first punch.

I had spent every single day of the past four months in the office trying to figure out how to do a job I had no idea how to do. I was exhausted. I had zero interest in the kind of politics and shenanigans that network executives pull, and I didn’t want to be there. That’s it, I decided. I’ve had enough. I’m a writer. I have a talent. I can make a living. I will get back home and I will immediately quit.

I said nothing. I smiled through the rest of the shoot. We stopped at a bistro after we wrapped, and had a lovely dinner and wine with the crew. It was a celebration. For good reason. We had Jagger. I stayed quiet. Silent, even. No one knew of my plans.

When we reached the hotel, Dale drew me aside and sat me down.

“You’re not going to quit,” he said. What?! Huh?! How did he know? On top of everything, the man can read minds??!

“You’re not going to quit. You are at the very beginning of something that will change the world, and you will have a great career. You have to stay there and be a part of that and do what you do really well. You cannot leave. Do you understand? You cannot quit.”

He went up to bed. I went home the next day, and didn’t quit. Instead, I stayed and helped make the thing that changed the world. And it was the beginning of a great career.

2. I went to get my hair cut at Astor Place one day. I walked up to my guy, and there in the chair was Dale. I didn’t know Dale used my guy. Dale looked up at me, looked at the barber, and told him, “I’ll give you 50 bucks to fuck up this guy’s haircut.”

…..

Scott Webb (unedited): “He didn’t just change my life he changed me.”

You never know how things are going to happen.

I was a few short months away from graduating from Sarah Lawrence College with no idea what I would do for a job. I was a kid who had grown up reading and loving comic books. After 4 years at one of the most expensive liberal arts schools I was clueless about a career. My secret wish remained to write comics (mostly because I had no talent to draw). Sarah Lawrence was a great place for me. It was there that I understood how to learn. I was naturally curious and SLC exposed me to a world of ideas and brilliant people (students and teachers). But Sarah Lawrence was not a place where I could start a career path. 5 months from graduating I felt the looming pressure of finding a job and making money. Unlike most of my class at SLC my parents were basically working class folks with a yankee work ethic who expected me to not move back home after graduation.

One January evening, I was talking with my friend Betsy K who had just graduated. She had just returned home from job hunting in the city. She had an interview at WNBC radio with a guy named Buzz Brindle. She said they weren’t hiring but were looking for interns. “What’s an intern?” I asked. I was so naive. She explained that an internship is where you work for free - for experience and to get your foot in the door. WNBC was part of NBC - one of only 3 existing TV networks at the time and my eyes lit up at the idea of of doing anything with a big media company. So I lined up a meeting with Buzz to see if I was intern material.

Buzz was sweet and avuncular and I immediately fell in love with the energy of the radio station. I had to work there. “We’re looking for interns in the promotion department” Buzz explained and I just nodded as affirmatively as possible. “You’ll be working for Dale Pon. He’s very demanding. Do you think you can handle that?” Me? Of course! I’ve got my Yankee work ethic and my Sarah Lawrence education. I thought I was ready for anything. But I was not ready for Dale Pon.

I interned at the station 2 days a week and It appeared I was the only male in Dale’s promotion team. I reported to a woman named Anne Grassi but Dale was the boss. Dale was bigger than life, louder than anyone else in the company and frequently slammed the door to his tiny office. I had never worked in an office before. I found him brilliant, charismatic and intimidating. The other interns and I would huddle in the conference room where we did our work and wait for our next assignment.

I did many things as an intern but my first big assignment for Dale was to create a chart of all the radio stations in New York and rank them by ratings performance over the past 2 years. This was no small task - this was way before computers in offices - and required me to go to the NBC research department to collect dozens of Arbitron ratings books and laboriously extract the data he wanted and lay it out graphically. I wanted to do a great job for him but the truth was that I was terrible at chart making.

I was a liberal arts comic book kid and he had me doing statistical analysis and I knew if I did a bad job I would probably face his famous wrath behind a slammed closed door. But despite my inept chart building, Dale painstakingly taught me how to read the Arbitron reports and methodically went through my work and instructed me how to correct it. I learned more from him over that 5 month internship than I had in my last 2 years of college. But my lesson wasn’t in statistical analysis or radio promotion. Dale had high expectations of me, he believed in me and he was demanding in the pursuit of excellence.

The chart was part of his battle plan to make WNBC #1 in the NYC market and when I understood the big picture of what he was doing I felt even more inspired and willing to do anything in the service of that cause.

It didn’t hurt that he was so smart and insightful. He had the uncanny super power of understand exactly wha the problem was - and he taught me that creativity was the ability to solve problems in fresh, innovative and smart ways. “Do you know why I hired you?” he asked me at the end of my internship. “I didn’t want to hire one of those kids who studied advertising or media in college. Those kids have been ruined. They show up thinking they already know everything - and they haven’t even had a job yet. You didn’t know anything but you were willing to learn and think. Most people don’t know how to think.” Those were some of the most important words I ever heard. They lit a fire of confidence and trust in myself that did not exist before and served me throughout my life, not just in work but in life.

.....

Susan Kantor and David Hyman were on the opposite side of their relationships with him, Susan as a long time account executive in Dale’s agencies, and David as a client. Drew Takahashi, a trusted friend and wonderful creative partner.

I’m particularly fond of the pull quote from David’s recollections. Having had hundreds of restaurant meals with DP over the years, waitress confusion was probably my overriding remembrance.

Susan Kantor has traveled to the upper heights of television since her time with Dale Pon in the 1980s. But when you read her memoir below he prepared her well, as he did with all of us.

Drew Takahashi is a director who co-founded (Colossal) Pictures, San Francisco, one of the most creative production companies of the 1980s and 90s, and one of the key creative suppliers to the first decades of MTV.

David Hyman became my head of marketing at the MTVi Group when the company purchased Sonicnet.com, one of David’s early digital music endeavors (he’s gone on as founder of MOG, one of the seminal digital music streamers).

…..

Susan Kantor: “Lead, don’t follow”. Love, Dale”

Hands down, Dale Pon was my most influential career mentor. Ridiculously smart, enormously passionate, admirably courageous and truthfully a little scary.

We would all brace ourselves for the moment the elevator doors opened and the sound of his fiercely determined walk in his trademarked cowboy boots could be heard. With the first, “good morning” would come a rapid fire interrogation of where we were at on all the “to do’s” he had just given us an hour ago. “Why isn’t it done yet?”

Leslie Fenn-Gershon and I used to joke about putting a Valium in his Perrier so we could get through the day.

When I got to the office in the morning there would often be a “note”, on my chair written with red Sharpie marker on yellow pad lined paper (pre-email), from Dale. His handwriting, had as much conviction as his spoken word. These encouraging notes were meant to guide, remind, teach, mentor or simply, to show his appreciation - often complimentary, occasionally piercing. I still have them.

“Lead, don’t follow”. Love, Dale

“Let’s make things happen!” Love Dale “

“There are children and there are parents. Be a parent.” Love, Dale “

“Everyone wants to be told what to do. Tell them.” Love, Dale “

“We had a good day today. Thank you for your help.” Love, Dale

As we chased rock stars around the globe helping MTV and VH1 revolutionize the music industry, and traversed across the county to position many TV and radio stations in their market, Dale always imparted the importance of what we were doing and demanded we do our very best, every day.

He recognized my innate work ethic, enthusiasm and willingness to do whatever it took to learn and succeed – he also knew how young and naïve I was. Ripe for mentorship and direction. I got both, and then some. The Dale Pon “boot camp” was not always pretty, but it was always colorful, impactful, memorable and most importantly, meaningful.

Not only did he teach me all about advertising and the importance of finding the unique selling proposition and saying it as simply as possible so people would remember it, he showed me the world and how not to be intimidated by it. He made me self-aware of my talents and my shortcomings. He also taught me there was no substitute for doing the work.

To this day, I love you Dale and I thank you for believing in me and giving me the chance of a lifetime.

Belated birthday wishes and hope to see you again soon!

…..

Drew Takahashi: “…he gleefully pushed me to do stuff I hated.“

After seeing you and the MTV crew took me back to good/bad old days. I realized I missed Dale Pon.

Back in the day I didn’t know he was a mentor. I only knew he gleefully pushed me to do stuff I hated. In the end I realized you and he knew what was better for me than what I knew. Someday I’ll learn my lesson.

Steve Linden and I went to shoot with Dale for WNBC [AM]. He asked us to meet him at Windows on the World bar for drinks and dinner. He showed up two hours later and Steve and I were suitably toasted. Then he insisted we join him in a very alcoholic dinner. I was so hungover the morning of the shoot I didn’t know how I could direct the talent, Don Imus. Dale apologized for needing to shoot something first so we didn’t roll my spot until the afternoon. Saved my ass.

Many more memories. The weirdest was him in the Colossal bathroom cleaning crabs of their guts for a surprise picnic in the middle of our animation camera shoot.

…..

David Hyman: “[He] always confused the waitresses.”

Here’s mine:

Dale came up with the name of my company, Gracenote. I think that just came really easy to him.

For a while he was a really great teacher to me. I stubbornly couldn’t take the occasional abuse that went with it, even though it was probably good for me. I was honored to be asked as the voice over for a $30 million tv ad campaign by Dale and encouraged to do voice over work. Thrilling to be informed I had career chops outside of sales & marketing.

Dale is the only person i know that would always order two margaritas for himself (at the same time). It always confused the waitresses.

.....

With Dale Pon @WHN Radio. 1977, New York City.

It was against all odds, but my late 70s stint in country music radio hooked me up with a mentor who made the difference.

Before I got to New York’s 1050 WHN, I was aware of the station. Well aware. Sometime in 1976, my friend/future partner/father of my beloved nephew and niece, Alan Goodman, asked me whether I’d seen some giant subway posters (the top photo above). Of course, I’d noticed them, with large portraits of Johnny Cash, Elvis Presley, The Eagles, Charlie Pride, Loretta Lynn, Kenny Rogers, Olivia Newton-John, Linda Ronstadt and seemingly dozens of other traditional and contemporary stars of the era. There were so many, they seemed to be everywhere. And, they were gorgeous, well designed, in a sea of drop-dead-New York graffiti, hum drum posters, homeless campers and mess, standing out like nothing we’d ever seen down there before. Too bad it was for music we couldn’t stand.

After I got the job with the station’s creative director and ad man, Dale Pon (another story for another time), I found out a bit about the thinking at the station and the advertising campaign. How did a city that was the home of the most sophisticated popular music of all time –to the likes of Duke Ellington, George Gershwin, Irving Berlin, Frank Sinatra– welcome the shitkickers in and become the second most popular radio station in the United States (or the world, for that matter)?

Dale was the supremely gifted Vice President of Creative Services, and he introduced me to Ed Salamon, the station’s innovative program director (Neil Rockoff was the General Manager who brought them together), who used a Top 40 radio approach* to country radio, upending the entire (typical New Yorker’s) notion that country music hadn’t evolved since Hank Williams.

No ordinary radio promotion guy, Dale had been a media buyer at Ogilvy, a radio upstart (a mild description) when the world switched from AM to “progressive” FM, and run radio ad sales teams. In the 80s, he would go on to successfully run his own advertising agency, and together we started one of the most famous media campaigns of all time, “I Want My MTV!”).

Dale Pon wasn’t going to promote the station as cowboy boots and hats, like the last team did. He wanted big ratings for WHN, big ratings. They all did.

* If you’re interested, Ed’s written a book that details his contrarian, and wildly successful, methods called WHN: When New York Went Country.

WHN Radio illustrations from top to bottom, all creative direction by Dale Pon 1977: New York City subway station double truck posters (L-R) Olivia Newton-John (obscured), Linda Ronstadt, Elvis Presley; Olivia Newton-John; Kenny Rogers; Television/Radio Age cover ads; Linda Ronstadt double truck subway poster.

.....

I Want My MTV! Early 1980s, New York City.

MTV had been on the air for six months and we’d fired the storied Ogilvy & Mather and hired Dale Pon’s LPG/Pon (a joint venture with George Lois) at my insistence. Now they were presenting their first trade campaign for advertisers and cable operators and my first big decision was being called into question. America is fast becoming a land of Cable Brats! “It’s audacious! Outrageous! Just like you guys.” George Lois was a big talker, a big seller, and a bit of a smart ass, loudmouth. He was also smart. Even though I knew he designed the “cable brats” thing, it was my brilliant mentor Dale, who’d never steered me wrong creatively or strategically, who was behind the whole thing. His ex-girlfriend, and now one of my best friends, Nancy Podbielniak, had written the copy. Besides, I agreed with Dale that generally trade advertising was a waste of time and bigger waste of money. Consumers were where it’s at, and weren’t all the tradesmen we were hopping to reach consumers too? If we had a knockout punch of consumer advertising our job would be done. I knew he was keeping his powder dry for the big show.

America is fast becoming a land of Cable Brats! There’s an incorrigible new generation out there. They grew up with music. They grew up with television. So we put ‘em both together – for the Cable Brats, and they’re taking over America! They’re men and women in the 18 to 34 age range advertisers want most – plus the increasingly important 12 to 17 segement. The Cable Brats buy all the high volume, high ticket, high tech, high profit products of modern America. They’re strong-willed, cunning, crazily impulsive – an advertiser’s peerless audience. They look and listen and they want their MTV. And they buy, buy, buy. Rock'n'Roll wasn’t enough for them – now they want their MTV. (The exploding 24-hour Video Music Cable Network (and it’s Stereo!)

George was certainly right. It was audacious, and it was a touch outrageous. Somehow, the tone wasn’t quite right, but after the crap Ogilvy had done for us, it was way better. Besides, hidden in there was the sand grain that was going to lead us to our pearl.

.....

I Want My MTV! 1982, New York City.

vimeo

I WANT MY MTV! took the phenomenon that had taken over the imaginations of young America and supercharged it into a famous brand with just about everyone in the country. I just googled [in 2010] “I Want My MTV” and it popped up almost 4,760,000 results. Pretty amazing for an advertising campaign that ceased to exist 22 years ago.* Pretty potent. The whole thing was the work of my mentor and friend Dale Pon. He’d been my first boss in the commercial media, at WHN Radio in New York when it was a country music station. He’d recommended me for my job at Warner Amex Satellite Entertainment Company, as the production director of The Movie Channel, and eventually as the first Creative Director of MTV: Music Television. We’d fallen in and out over the years, but in late 1981, when it came time for us to hire an advertising agency again –at first, the top dog had vetoed Dale as not heavy enough for a company like ours– with a lot of help from my immediate boss Bob Pittman, I was able to convince everyone that Dale understood media promotion better than anyone else in America. Anyone. Besides, didn’t he have “insurance” with his partner, legendary adman George Lois?

Dale Pon (via MTV: The Making of a Revolution)

No one had ever encountered an ad executive like Dale, because he had the unique ability to be completely and analytically strategic –”math and magic” Pittman might call it– and be wildly, and intelligently, creative at the same time. An almost unheard of combination, especially in media advertising. Sure, he had a volatile nature, in advertising that was often a given (look at his partner). But it was his strategic, creative abilities that really set him apart.

We’d already done our first trade campaign, the “Cable Brats,“ to the discomfort of most of the suits in the corporate marketing group (Bob and his team, me included, were in programming). But Dale didn’t buy into the efficacy of trade ads anyhow, so now were onto the big show, television advertising. The only problem was that we all recognized that an effective campaign would cost about $10,000,000. Our budget only had $2,000,000, and if we didn’t spend it quickly the corporate gods would probably take it away in the fall.

youtube

"I want my Maypo” commercials, created by John Hubley

Looking back, the core creative ended up being the most straightforward part. Dale’s closest friend and creative partner, Nancy Podbielniak had written the cable brats copy and had a tag line “Rock'n'roll wasn’t enough for them – now they want their MTV!” That rung a bell in George Lois, someone who never missed a chance to abscond with someone else’s good idea, and decided to rip off his own knock off of a Maypo campaign from the 1950s and 60s (animator John Hubley originated it as a set famous animated spots, and George had unsuccessfully knocked it off using sports stars) and presented a storyboard that completely duplicated his version. Rock stars like Mick Jagger were saying “I Want My MTV” and crying like babies, implying they were spoiled children being denied. No one was buying it until Dale let me know that there was no way he’d ask Pete Townshend or Mick to cry for us. “Pride! They need to show their pride in rock'n'roll! They’ll be shouting!” After a little corporate fuss we were able to sell it in.

AMERICA! DEMAND YOUR MTV!

Now, it was the next part that was completely and utterly brilliant. Because Dale came from the school that great creative was all well and good, but unless it could move the business needle, what good was it? In this case, the needle wasn’t ratings (cable TV didn’t have ratings in 1981), but active households, distribution for MTV. Cable operators were all relatively old guys who thought The Weather Channel was a better idea; they’d turned a deaf ear to their younger employees who were clamoring for us instead.

To dramatically simplify the strategy Dale organized, he decided to only advertise in markets where:

• There was enough penetration to justify a modest ad spend.

• But where there were critically large cable operators on the fence about taking MTV.

• And that we could afford a 300 gross rating point buy (three times heavier as any consumer products agency would suggest) for at least four weeks in a row (the traditional media spend would call for pulsing 10 days on and 10 days off).

The “G” in LPG/Pon was Dick Gershon. Along with data from our affiliate group, he crunched and crunched and crunched until he came up with a list of markets and dates we could afford. It was 20% of what we needed, but everyone figured if we could really start to knock off a bunch of cable systems, get them actually launch our network, the domino effect would solidify MTV’s hold on the market forever.

Strategy in place, the creative was back on the front burner. The basic campaign was a great way to get famous rock stars endorsing our channel, but where was the close? What would actually make the 'ka-ching’ we needed? Luckily, back in the day there was only one way to for a homeowner get anything from your reluctant jerk of a cable operator (they figure they held all the cards, why should they do anything to make life better for their consumers?). And what was it that young adults loved to do? Dale knew immediately.

No one alive in front of a television set in the summer of 1982 could ever forget

Pete Townshend, with the wackiest haircut of his career, shouting at the video camera:

“America! DEMAND your MTV! Call your cable operator and say, "I WANT MY MTV!!”

We shot the spots wherever the rock stars would have us for 20 minutes (they still weren’t really sure this MTV: Music Television thing was going to be good for them). Our director and producer, Tommy Schlamme and Buzz Potamkin, got together with some puppeteers to choreograph the 'dancing’ stereo television. I asked my partner to go into the studio to edit the music sections when they weren’t rocking enough, and –poof!– famous advertising.

Nothing to it, yes?

* For comparison, “I Want My Maypo” posts 112,000 results on Google. Or “Where’s the beef?”, another famous 1980’s campaign for Wendy’s returns 176,000 (or if you only use that phrase, which has been appropriated for all sorts of uses, you get 2,640,000).

.....

“Mee, mee, me, meeee!” MTV Networks Online, 1999/2000 New York City

vimeo

MTV got Sonicnet in the middle of another transaction they thought would be more important. But as the internet heated up in the business world’s consciousness, Sonicnet.com became something they thought to pay attention to. Which meant that, as president of MTV Networks Online, I was trying to help make the thing successful.

vimeo

MTV had also acquired a then-unique personalized radio application. Coupled with Sonicnet, we decided an ad campaign would supercharge the site, something large media folks like us thought was necessary. (It wasn’t.*)

Over a few objections, I hired my brilliant, challenging mentor Dale Pon to create our campaign. Dale had done our the iconic “I Want My MTV” for me in the early 1980s and constantly proved himself to be the most creative and effective media ad man in America. The stunningly talented and perfectly musical film director Tim Newman was already on our online staff (after turning his back on a career that included some of the greatest music videos of all time), so he was really the only person who we thought could direct the spots. Dale hustled our head of marketing, David Hyman, into his one and only –and perfect– voice acting job. (And, I should put in a word for the Sonicnet logo. Designed by AdamsMorioka, from a concept developed by Fred Graver.

vimeo

You can see for yourself that Dale knew how conceive big ideas to bring out the best from stars. With Tim in the director’s chair, the results were pretty stunning. And, to cap it, Dale really knew how to use MTVi’s clout to reach for the stars (like Isaac Hayes, James Brown, Joshua Bell, Jewel, Pat Metheny, Sheryl Crow, Beenie Man, Gang Starr, Faith Hill, Lindsey Buckingham, Don Henley, Al Jarreau, Alice Cooper, Blink 182, Kenny Wayne Shephard, Bon Jovi, Buck Cherry, Charlotte Church, Christina Acquilera, Dwight Yoakam, The Ruff Ryders, Eve, Johnny Resnick (The Goo Goo Dolls), kd lang, Buck Cherry, Kelis, Lindsey Buckingham, Melissa Etheridge, Moby, Seal, Sisqo, Static X, SheDaisy, Hillary Hahn, Charlotte Church, Yo Yo Ma, and Sting.)

This campaign, like every other one I’d worked on with Dale over the decades, was a hoot. One of the best things to come out of my one year in the early corporate internet.

…..

* IMHO, one of the great mistakes media companies made during Web 1.0, was thinking that their traditional audience reach would give them huge advantage in building web destinations. They’d made the exact same mistake in the transition from broadcast to cable. It didn’t occur to them in either era that a basic misunderstanding of the newest medium –not knowing what the audience wanted from the upstarts– would not attract anyone to their websites.

And, by the by, the same mistake has been made from popular websites bungling the transition to mobile. And, so it goes.

#Dale Pon

10 notes · View notes

lynsunrise · 5 years

Text

Sanditon, Sidney, Charlotte,my love

As time passes I feel like I just have to do something to emphasize the influence that Sanditon has on me. I simply feel that the time has come when it’s nearly a crime to be silent and not to tell how I feel about it. It is just my personal humble opinion. The way I feel. And. It is so hard to express one's feelings when they are so passionate but I want to try my best. That’s the least I can do to express my gratitude to all those people who brought Sanditon to life.

There are some spoilers in my text. I say this because to upset somebody is what I am most afraid of at the moment. So I have seen four episodes so far.

Let me then begin with the first episode. I will base my praise on my impressions that are as if carved in my heart and are always before my eyes. The moment when someone falls in love… I have read a few lines from an interview of the wonderful Theo James and I can remember that he was saying about that we always wonder how it happens, how does it happen – falling in love. Maybe Sanditon with its amazing cast and story can draw the curtain aside a bit and let us take a closer look at the one of the greatest mysteries of life that will never be solved. And thank God it will not.

The very first episode when Charlotte enters the Trafalgar House and sees that picture. What is it then that’s happening with us as well? I can say that I want to have the same picture on the wall in my home, a copy, to be able to adore it and feel constantly inspired. That picture of Sidney Parker is magnificent. Especially those eyes. They caught her eyes at once. It isn’t simply a picture of a “very good-looking” young man with that air of fashion, elegance, it is so much more. We cannot tell yet what but we know it. That person from the picture looks at you finding out everything about you but not saying anything about himself. In an interview there was said that Theo James makes Sidney Parker have the mysterious atmosphere when you never know what he’s really thinking and it is truly amazing because I keep thinking even of that picture and I think I can see a beautiful soul of the man but clouded with thick mystery. He knows everything about you, penetrates your heart, you know nothing about him but are drawn to his aura.

And then the beautiful loveliest Charlotte meets Sidney, a real human, that very one from the picture. And the way she feels, the way she compares the real human to his image…

Here I must say that Rose Williams is just like a rose that began to grow inside my heart right away from the moment I saw her for the first time because I didn’t know about her before Sanditon.

Her loveliness is disarming, totally. Her intelligence, naivety, sincerity, her pure soul are everything! Charlotte is so unique. So unique. The brightness of her reacting to the world around her is adorable. Every smile is a gift.

And then she sees Sidney from the distance at first and then he comes closer and jumps out of the carriage and we all see the tall handsome man of such a statuesque beauty that it takes one's breath away. He is so alive! Lively, bright, witty, a bit sarcastic, abrupt but the most charming and attractive of all. He is also gloomy, moody, pensive, thoughtful. He is sincere, he is elegant.

We can also see it at the ball, at the beginning. But we can only guess what is going on inside his soul. We see how unbelievably magnetic and handsome he is, like a burning dark flame, a dark fire that is impossible to avoid and so hard to see through. But at the same time his soul is so absolutely honest, boyish in a good way (when he at once begins to talk to Charlottte when answering her question), this combination of genuine interest and somber cloud around him. A self-made serious reserved man and a fiery passionate young one – two in one. This is a completely romantic combination.

Definitely. We are so lucky to be able to enjoy watching Sanditon. We, romantic people. Sidney Parker is the definition of the mysterious nature of the man, exactly the one who can thrill. Those expressive eloquent dark eyes and expressive eyebrows and that dazzling smile are capable of melting down an iceberg. Charlotte Heywood is the definition of a free heart, loving heart and her loveliness and sincerity are remarkable, and she is so beautiful ant true to her soul, I cannot imagine anyone else in this whole world playing her instead of Rose Williams. Such a Jewel, treasure, oh my God! And I cannot imagine anyone else on Earth besides Theo James playing Sidney Parker.

I keep returning to the second episode when we see Sidney appear on that busy street, and the atmosphere suddenly changes. Now I am able to think only of romance. He is there, talking to Tom, and we see how different the brothers are, and I cannot help noticing that in spite of all he has been through that hardened his outer shell of the heart there is always something so adorable and boyish in good ways in his whole atmosphere. Something so genuine. I guess he is the kind of person that “When he loves he LOVES, he cannot love by halves” and I suppose it is the same with Charotte. So I am so thrilled and excited about what might come next. And when she was apologizing to him because of her words at the ball I was staring so intensely at them, and when she said “think too badly of me” he was as if relieved because he maybe was beginning to feel too moved by her or so, and there he found a way to distance himself but I may be mistaken. I see in him something so adorably vulnerable and painfully vulnerable too, especially it was easily seen in his eyes, written on his face at the end of the painful and beautiful episode 4. The way he was looking at her, so shocked I shall never forget. His eyes when she said the word “slavery”…I felt a pang in my heart. He was so hurt. So hurt. If only he could then explain everything to her but it couldn’t be.

So far, the episode 3 gave us the most blessed happy moments of theirs. And I can say that I have already watched each a hundred times. The beginning is a masterpiece, we see that picture again and this time it is like Charlotte's confidant in what she saw at the coves and there is something in her eyes…I do not even know how I should name that emotion. Something so secret, subtle, tender, infatuating. When the passion was far more hidden but by being so it was unbelievably strong, genuine if we speak about Love... This scene. Something like a rare diamond that by being discovered shined dazzlingly. Something so truly human, beautiful, mysterious and inspiring. True sensibility, it is so powerful, so charged with sensualism. When she shares the secret yet unknown to herself with those eyes of Sidney…

This is most romantic, teasing for the heart and amusing how they meet during that day. And then that accident where they get to know each other better and be amazed once again. Then the splendid witty dialogue of theirs. I am swept off my feet by its chemistry and intensity. Incandescenting. Beauteous. You look at them and smile and screw up your eyes because they are bright like the Sun. And other moments…And of course that stroll along the beach. Unforgettable. The impression from this scene will never vanish from my heart. Especially that smile, “Admiral Heywood”…. Also the voices… I cannot find enough words to express how I adore this beautiful delicious British accent. Especially when I hear the voice of Theo James. Actually I am listening to all actors with the utmost admiration, the language is like a sweet melody. English is not my native language, and I try my best to express my great admiration for it.

I enjoy, savour every dialogue, every line, scenery, costume, glance.

There is such a wide variety of beautiful things for eyes to notice, look at and admire, examine.

The landscapes and even the weather, even the coolness of the air, all is perceivable. You close your eyes and in a grey cold windy evening imagine walking along that sandy shore. And if Charlotte is walking there shivering with cold, the contrast between the cool air and the fire of a kiss is head spinning and breathtaking, and no cold can compete with the fire of that kiss…If it could be there, near the sea... But it is just my fantasy…the way the film influences my thoughts…

When I am watching Sanditon I feel absolutely “safe” because I know I feel the presence of this solid Script like a guardian standing behind it. And I know we are in good hands. This is such a relief. When you can rely on the perfect script.

I also adore the brilliant splendid sense of humor that we can see coming from many characters, it is as if they are radiating it without even intending, it is the way they are. For example when Tom Parker pretended to be seriously impressed by the impropriety of Arthur's conduct at the table when the latter took the famous pineapple…And Charlotte and Mrs. Parker couldn’t help laughing, smiling. It was adorable.

The sincerity I can see in every scene. True adoration, surprise, infatuation, admiration.

I feel that I will rewatch the series over and over again to be able to discern all possible details not only in human emotions but in the historical atmosphere of the Regency period. Through the series I will understand it better and feel like living in it for a moment. Studying all the wonderful details. All is created with such historical accuracy, care, love and knowledge!

Those eyes of Sidney when he said “Forgive me” in the third episode are forever in my heart.

These beautiful lines, this amazing script. My head is full of the dialogues from the film, each intonation, each lowering of the voice is imprinted on my mind as if a design on wax. Sanditon imprinted a kiss of Love and fascination on my very soul. On the core of my heart.

Thank you!

#sanditon 2019 #sanditon #rose williams #theo james #Theo james and rose williams #jane austen #period dramas #perfection

47 notes · View notes

adamatomic · 4 years

Text

Design of Doom Eternal

Wanted to jot down some thoughts while they were still fresh, and I hate writing threads on Twitter, so, here we are.

(Surprise! Male game designer has DOOM OPINIONS. BEHOLD LOL)

First, disclaimers: what follows is super subjective, pretty picky, and likely unjustified. I love a good mobility shooter - Doom 2016 and Titanfall 2 are the only western shooters I really enjoy, and each do super interesting things spatially, mechanically, etc. However, I’ve never worked on any kind of FPS type of game, and never worked on a AAA game, nor shipped a game during a global pandemic, and there’s a lot that I don’t understand about what goes into making this kind of thing, much less how it’s even possible. Making a followup to a well-loved and hugely successful game is also a terrifying prospect. Finally, I am about to "dwell” on what I perceive to be “negative” things about the game, which is pretty unfair, because there’s a LOT of positives (it’s fun, it’s gorgeous, the load times are crazy short, the vistas slay again, amazing accessibility options, perfect audio, etc etc). But I think this is a game where a lot of the positives are really in your face, and what again I personally perceive to be the negatives are a little bit harder to put your finger on. And this isn’t a review, and definitely isn’t yucking anyone’s yums. This is me trying to figure out why this one feels a bit different to play. Hopefully the unanimously positive reception of the game by literally everyone everywhere (including myself) balances out whatever acid might be in these queries.

OK!

Jungle Gyms Versus Canyons

Ok, so. Doom Eternal is structured a lot like 2016 in that it’s corridors linking big wave-based arenas, which is a good structure for a game about shooting all the things. Arenas can be flat-ish or tall-ish. Tall-ish arenas seem to roughly come in two flavors: jungle gyms, and canyons. Jungle gym arenas are the ones that I feel like took centerstage in the marketing and gameplay of Doom 2016, as a way of showing off the double-jump / ledge grab / launchpad vertical mobility stuff, and because they make narrative / thematic sense in the human-built oil rig environments that comprise much of Doom 2016′s level architecture. Jungle gyms are distinguished somewhat from canyons by generally having what feel like distinct “floors”, or solid planes creating multiple separated levels of combat. Canyons, even if they have some transverse traversal elements, are more open and chaotic, with less concrete divisions between elevations. I’m belaboring this essential difference because it has a bunch of second-order effects on gameplay - jungle gyms allow you to jump from skirmish to skirmish, you can use your mobility options to “interrupt” combat, while canyons are more continuous. Jungle gyms usually have more obstacles (like the aforementioned distinct floors) which make it slightly harder for long range enemy attacks to land, which reduces the overall ambient damage-soak.

The key thing about all these arenas - flat open spaces, distinct jungle gym environments, and canyon style playgrounds - is that you definitely want all of them in your game, because the strategy and tactics for playing these fights changes a lot based on these constraints. When do you want a roof over your head? When do you not? When do you want your back to a wall? These are valid and important differences for these games specifically, especially when basic resource management strategies in these encounters is pretty similar, and because the enemy behaviors and attacks have so much variety.

So far, though, Doom Eternal feels like it has a WHOLE LOT of canyons, and NOT a whole lot of jungle gyms. It’s possible that this changes later in the game, so take all this with a big grain of salt. But the first 3-4 hours of gameplay are really dominated by canyon-style vertical arenas, which isn’t necessarily ideal in terms of variety (and makes you angst a little harder for the wall-run affordances of other mobility shooters). They also tend to be slightly same-y, outdoor, rocky environments, versus the more oil rig-inspired, recognizably human-scale mining structures of 2016 (I’m sure this changes later in the game too). The oil rig-inspired stuff also lends itself to jungle gyms a lot more naturally, so I feel like these choices of arena shapes and environment types are kind of an interconnected and difficult problem.

None of this would really even qualify as a problem, either - this is nitpicking nitpicks, at this point - except relying on canyons so much exacerbates some of the “fussiness” of the combat changes (those are next). For me, anyways - I’m not sure anyone else is feeling like these are problems haha. And it’s a big game, so I’m not sure how much this stuff changes across the whole campaign yet!

Tactical Ballistics

A Doom thing I adored in 2016 and am continuing to enjoy in Eternal is the way ammo, health, and other arcade-style upgrades are thoughtfully placed around the arenas. It’s a nod to the strongest parts of Vanquish’s level design, and goes all the way back to using coins in Super Mario to lure players out to new places they might not explore otherwise. It’s a huge part of what gives the nu-Doom arenas their “chess-like” feel, and shifts the fights away from Serious Sam-style battles and makes them into four-dimensional puzzles. 2016 doubles down on this tactical approach by leveraging a kind of resource triangle of chainsaw kills, glory kills, and just plain firefights.

A lot of Eternal’s design seems committed to upping the ante on all of these strengths. Lower ammo capacities puts more pressure on the chainsaw kills. There’s a new technique called “flame belch” that turns the resource triangle into a resource square to accommodate armor. Monsters have “weak points” now, shortcuts that change their behavior or get you fast glory kills. It’s a pretty compelling jigsaw puzzle of abilities.

It also places a lot of strain on player attention and cognition, because all this is running on top of straight-up arena-wave firefights (with 7+ enemy types at a time, all with unique behaviors and optimal strats) AND beefy mobility controls (swinging, dashing, double-jumps, ledge grabs, launch pads, etc). It’s kind of a lot. But I don’t think this is necessarily the place for saying “this is DOOM, man, you got to keep it simple, just shoot the monsters, how come there’s even upgrades” or whatever. For so many reasons, but the primary of which is that most of this stuff rules, and throwing it away would suck. So what do you do?

I want to focus on two small, specific things that really stand out to me - I’m not totally sure that they’re actually “bad”, but I think they have a lot of weird secondary and tertiary effects that contribute to some perceptions of “fussiness” in some of the battles.

Weak Points

This is a big enough change that it is repeatedly tutorialized through video on every loading screen, after every game over, and after every new enemy is introduced... so I know it was on the designers’ radar haha. And it's an interesting addition - chess fights in Doom are already about hierarchies, and adding another tiny hierarchy within an existing hierarchy is a NICE bit of tension to add, it gives a kind of scrambly feeling that is good overall. The issue for me arises from an apparent or perceived damage scaling issue around these weak points. For example, the optional sniper rifle upgrade to the heavy cannon and the optional sticky bombs upgrade to the shotgun insta-wreck the arachnotron and revenant enemies’ weak points, while sustained plasma rifle fire doesn’t seem to ever do the job. Which makes sense on paper - this is a nice way of putting pressure on the player’s weapon choices and ammo, which is what it’s all about. Although I guess you could argue that it’s also all about movement, and that this particular combat pressure has a pretty tenuous relationship with mobility in general.

Either way, it means you spend a lot of time squinting at your weapon wheel mid-battle to see how many shots your shotgun still has, because you ran out of chainsaw fuel a while ago, and are still being actively bombarded at a pretty long distance (because its a canyon and not a jungle gym). I know, I need to git gud, trust me, i KNOW. But check out the weapon wheel ammo display size in Doom 2016 versus Doom Eternal:

I love the new color scheme and ammo icons in Eternal! But it’s 3-4x harder to read the actual, very important ammo counts.

All these small changes add up to something that feels like a pretty different gameplay experience compared to the more spatial (read: movement-based) and literally easier-to-read resource management stuff from 2016. Which, it’s a sequel - failing to sufficiently differentiate it is its own huge risk. And, to be fair, 2016 had its fair share of fussy (though more legible) weapon switching. But when you add this stuff up, the matrix of considerations in moment-to-moment combat in Eternal is pretty different from 2016, and I think it largely comes down to the damage scaling around the weak points. While you can technically choose to play through battles without leveraging weakpoints (thus sidestepping most of these cascading issues), this approach is heavily incentivized by the major behavior changes that happen after you hit weak points (in addition to the constant tutorializing) and the waves appear to have been balanced around taking advantage of these things. Whether or not these are even flaws, technically, whatever they are is exacerbated by the UI design of the weapon wheel AND the relatively popularity of the relatively unobscured canyon arenas. So it’s hard for me to judge weak point damage scaling in a vacuum.

Overall, these new combat options make the arenas feel more constrained and more prescribed. Design is a nightmare this way: sometimes by giving people more choices, you’re actually giving them less. My pitch for a small tweak that might engage with some of these issues would be to keep weak points, but get rid of the damage scaling and maybe make the hitboxes a little bigger. The goal here is NOT to make weak point enemies easier so much as to open up options about what weapons you can use against them, thereby reducing wheel squinting, thereby freeing up more attention to movement and all the other stuff that ruuuules about nu-Doom in general.

Also, I should clarify that it’s entirely possible that I completely imagined the weak point damage scaling, and am a big dummy with bad aim.

Flame Belch

This is a pretty small thing, there’s this new “flame belch” move, intended to complement the existing chainsaw and glory kill moves as a way of “farming” resources from combat, one of the things that really defined Doom 2016. It differs in one huge way though, in that it has to be committed to BEFORE killing a monster. Chainsaws and glory kills ARE kills. Flame belch adds a status instead, which is “cashed in” later when you do the kill. If chainsaw kills and glory kills and BFG shots are Super Mario jumps, Flame Belch is more like a Tony Hawk jump - it starts early and is carefully calculated. Which is pretty dope!! But in this environment where weak point damage scaling and canyon layouts are already putting huge strains on the player’s attention, it feels like a big ask. The “triangle button” mechanic from 2016, the BFG, was a kill move with cool-down, so really I’m just suggesting stuff they already tried anyways. There’s no way this is news to anybody, much less the developers haha.

But... I would love to play a build where flame belch was totally a thing, just it was a finishing move, not a status thing. Let it plug into that reload-replacing resource-farming punctuation pacing flow. That shit rules.

Of course, I have to wonder what the unintended secondary and tertiary consequences of these suggestions would be. Good action games are often tenuous and deeply interconnected things where results are really hard to predict. Maybe they already tried these ideas and they sucked, or they know their own game a lot better than I do, and have a big stack of reasons this stuff would suck for most of their player base.

But wait...

Where The Hell Am I?

Last section, I promise.

I am extremely not going to weigh in on whether or not Doom games need “Story” or not, or what that even means.

But...

If you are driving a monster truck, it is probably pretty fun to see a big line of cars in front of you, and know that you are about to drive all over those cars, and that at the end is a really big fancy car... and you are going to drive over that too.

The general conceit of Doom 2016, that you are on one end of a Mars base, and you need to get to the other end, and in between is a whole lot of cars demons, is a good one. It has good monster truck-ness.

So far this is something that I’m struggling to extract from Eternal. I’m not really sure who any of these grumpy folks are, or where it is that they are, or why I am going down this corridor (aside from the very Doom-like fact that it is the only corridor around).

The problem for me is decidedly NOT that I don’t understand the slayer’s emotional whatever, or that I haven’t been painstakingly expositioned into the specific hierarchies of the demon universe, or anything that I think would normally be described as a “narrative”. For me, it’s that I don’t get to sort of soak in the anticipation of the loooong line of cars I’m about to crunch.

Does Doom need a story? Idk. Doom might need a lot of about-to-get-crushed cars though.

Finally finally finally, and this is highly subjective, but I think the slayer is just more fun when he’s an X factor or a rogue agent. NPCs recognizing the slayer feels sort of weird to me? The feeling that he is a fly in the ointment I think is stronger and sexier when he’s like... outside the canon, almost. I’m not totally convinced that having him Kratos around is as fun as having a bunch of demons and priests both confused and terrified of what this dude is doing.

I need to get back to family stuff. They let me sit here and type this out, which was very kind of them. Only five tantrums so far. Either way, I’m looking very forward to playing more Doom Eternal...

...just as soon as I finish designing 17 more shirts in ACNH.

Hope everyone’s staying home and staying safe! Rip and tear, friends. Rip and tear <3

4 notes · View notes