Happy Halloween from the zombie sorceresses.
It feels a little melancholy regarding this blog. Like I’m just losing more will to post on it. But it doesn’t feel like writers block. It feels like I’ve honestly accomplished what I set out to do here.
In any event, I’ll be busy writing (hopefully) my next book in the coming month, so possibly expect even less activity here.
There is a type of car called the “Donk”. Usually but not always a large vintage car in its base, anything with four wheels can theoretically be “donkified”. It apparently started with hip-hop musicians in the American South, but the concept is universal.
A donk can be considered the inverse of a lowrider, in that it’s a “high-rider”. The car, usually ornate, is given very large wheels with thin tires and has its suspension raised as high as possible, the springs stiffened both for prestige and to ensure the chassis doesn’t bump the wheels.
Donks look good. But don’t expect them to handle like a formula one racer.
Note: The specific thing I reviewed was Initial D omnibus Volume 1 which is actually the first two manga volumes in one book. But whatever.
Reading the legendary racing series in original manga form made me think that… the anime kind of superannuated it. Ok, I already knew what happened from seeing the anime (spoiler alert: Takumi wins), and while the manga has some distinct diffferences (like the order of races), it’s not all that different. Certainly not different enough to be easily better or worse. This isn’t a “behind every good 1970s movie is a bad 1970s book” type of deal.
But it’s pretty self-explanatory how much better in motion picture form a car racing series works. Having one large panel (even if well-drawn) of two cars at a turn with a huge comic “VROOOM!” sound effect just isn’t the same as watching two cars (even if they’re from PS1/N64-era CGI) zip around the same turn. I don’t blame Shigeno for anything. It’s just the format is a lot inherently less capable.
With the release and controversy of Pokemon Legends ZA, it’s time to once again return to the Console Pokemon fantasy that was popped for good in Sword/Shield.
What is “Console Pokemon”? It’s something us 90s/00s kids had in our minds as we moved pocket monsters around our pocket gameboys. Basically, without severe hardware limitations, a Pokemon that would burst out into a paradigm shifting masterpiece.
Was this naive gamer fantasy? Probably. But it was something that had indeed happened with Mario 64 and Ocarina of Time (or GTA III, or Halo, or Final Fantasy VII…) We kept getting hints-a Snap here, a Stadium or Colosseum there. And then the 3DS (probably the first real big “Console Game”) and finally the Switch gave us… unoptimized 3d games with similar mechanics that looked worse than ones twenty years prior.
Of course, now I know that rather than being made by a mega-publisher as its flagship title, it’s actually developed by small Game Freak, whose lack of programming chops was evident in some ways from the get-go. Now I know that the business model is basically that of a yearly sports game, being critic proof in that regard. Now I know that with the franchise so lucrative, the games themselves matter as much as Half Life currently does to Valve.
So yeah, Console Pokemon isn’t coming.
In the past, I viewed NaNoWriMo as a gimmick. But this year I’m going to try it. Subject? I’m not telling you yet!
Looking at retrospectives for the infamously legendary recent video game bust Concord , I thought a lot of “wow, this really is the Ford Edsel of video games.” And I mean that specifically.
This video is as good as any for explaining in short terms what Concord was. That said:
Twilight 2000 had the problem of reaching a good stopping point (escaping Europe) but then being commercially successful enough to continue. Airlords of the Ozarks is a very blatant example of how the style shifted, to the point where I once used the phrase “Arkansas vs. the Blimps” to describe other settings doing the same.
I feel now that GDW might have written itself into a corner and for better or worse had to change tack instead of copy-pasting classic adventures only in different continents. But to go from brutal survival to almost Jon Land/Mack Maloney level conflicts against airships with nuclear missiles? It may have been too far in the opposite direction. But I don’t fault them for trying.
Plus Airlords is still vastly, vastly better than the abomination that is Kidnapped!
I saw “road trip” themed games and got Heading Out on a lark. I want to say that it was a worthwhile playthrough simply because of the feelings it generated and how at the very least it was interesting. But to be honest, this is a game where the messaging actually felt insulting to me.
So the gameplay itself is moderate roguelike resource management between driving set-pieces that control like a second-rate arcade racer from the mid 90s. I think it says something about its interest that I turned the difficulty down at the first chance. Beyond that, the best strategy is to frequently cut off road, which doesn’t feel right. Which unfortunately meant I had to experience the plot. Oh boy, the plot.
You’re a faceless figure on a trip of reckless driving in the 1970s USA. Through a series of not-exactly difficult deductions, it’s revealed the player is stuck in a Groundhog Day loop after being tricked into a deal with the devil. Is it real or metaphorical? I know it’s pretentious. As they go west to face the “world’s greatest driver” (an instant obvious hallucination), they develop a reputation as the “Interstate Jackalope” and various people comment on them (and other things) over the radio. This is the worst part of the game. The music itself ranges from serviceable to very good, with a lot of guitars and early 1970s electronics (think electric organs).
The “talk radio” is not. It is what happened if someone took the anti-American axe-grindiness of Grand Theft Auto at its worst but with none of the goofiness, and (even?) worse quality all around. It’s honestly one of the most mean-spirited pieces of fiction I’ve seen. Like the overwhelming theme is of some bitter underemployed elitist screeching at everything and everyone. You have the screaming right-wing host who is designed both to be completely wrong about everything while also being sanded down to the point where he can’t be as vile as a real George Wallace-era figure of that time and place would be. There’s a ripoff of the movie Network desperate host broadcasting and two liberal women who are supposed to be better than Mr. Right Wrong but who you’re also supposed to sneer at (see what I meant?), and the literal (drug?) devil who’s providing social commentary that is still supposed to be profound but ends up being the ramblings of someone who just read A Peoples History of the United States while listening to turn of the millennium whine-rock.
Also the story scenes/adventure book style choices you encounter are variations of: “I don’t really care because this is all a time loop/crazy drug-induced hallucination anyway” – “the same bitter nihilistic things you had to listen to now you have to read and watch” and, in my least favorite scene, treating immigrants who are sincerely in awe of America’s wealth with barely concealed subtext of them being naive fools and not, you know, people who actually have firsthand knowledge of what real poverty and oppression is like.
Anyway, I spited the game by ramming into as many things on the road as I could while giving my character the least sympathetic backstory in the choices allowed. (He was an adulterer who was driven to despair and rampages out of boredom).
…Whoa, never thought the plot of a rougelike would invoke this much reaction in me.
What has been said, and said accurately is that drones and tactics surrounding them are advancing and moving extra-fast in Ukraine. Yet counter-intuitively, this is a case for not rushing forward with swarms. Note: It is still important, and rapidly getting C-UAS, especially hard-kill weapons and proper training, is high priority.
Because this isn’t the first time this happened. And the (often unfairly) scorned Italian military of World War II is a stark example why.
So in the 1930s, automotive and aircraft technology was indeed roaring forward at a “Moores Law For Tanks and Propeller Planes” rate. Now I’m oversimplifying, but here’s what happened: Italy didn’t have the economy or resources for multiple huge waves, so they “modernized” too early , and were left with tons of biplanes and tiny tankettes .
I remember seeing a lecture on US interwar armor where even though he didn’t mention Italy or anything similar, he did use that as a reasonable answer for why America was slow in the same period. Now I mentioned the defensive priority being higher. Anti-tank guns and AA guns even if underpowered are still going to be useful in ways strictly worse tanks are not.
A 2013 game about a young woman exploring her now-deserted family home, Gone Home has been pretty controversial back in the day, being one of the first video games classified as the dreaded “Walking Simulators.” Now that I’ve played it, it’s weirdly better in terms of actual gameplay but worse in terms of central plot than I’d expected it to be.
So the game is not just “hold forward to win while listening to some pretentious narration” like too many of its successors were. It’s really atmospheric, you have to do some exploring even if it ultimately boils down to “go everywhere and interact with everything”, and it’s no worse in terms of kinetic gameplay or lack thereof than say, the classic PC adventure Myst. That’s the good part. It’s still just a short fun experience but there’s substance to it.
The not so good part is that the “secret” hidden is a melodramatic teen drama where I saw every twist and development coming despite not really knowing the game before I played it. The first world problems of upper-middle class America here just aren’t that intriguing.
That said, I have to give this a positive overall score. It is better than the firebreathers have made it out to be.
Fuldapocalypse Fiction 