Personals amor

“That’s not me you’re talking to. that’s my after image”

2020.11.23 20:08 TheycallmeMcDonut “That’s not me you’re talking to. that’s my after image”

Info-
Name: Darius
Age: 19
Race: human male (white)
Hight: 6’1 (about 185cm for you non-Americans)
Weight: 110 lbs (50kg I think)
Inventory- (updates regularly) ————————————————————————— Gold coins (x0) Flight potion 30s (x1) Pineapple grenade (x1)
—————————————————————————
Equipment- (updates regularly) ————————————————————————— Shin guards (+3 defense) Small chest plate (+6 defense) Forearm guards (+ 3 defense) Copper Katana (+5 attack damage, chest damage bonus, two handed)
—————————————————
Stats- ————————————————————————— Health: 100
Attack: A Defense: C Speed: S Health: C Magic: F Range: D —————————————————————————
Abilities- ————————————————————————— Dodge: Rolls in any direction to avoid attacks Slower depending on hp
Dash: Charges forward swiftly, dealing 2.0X more damage
Barrage: A flash of sword slashes in quick succession 80% normal damage, up to 12 hits (roll a 6 side dice, the number it lands on is the hits dealt x 2.) (E.g roll a 3, you deal 6 hits)
Amor release: Takes off all armor, tremendously increasing speed, but removes all defense. Allows for more abilities. +5 damage.
With armor off:
After images: Create duplicates of himself, making it harder to hit. Lasts for 5 minutes and has a 10 minute cool down.
Light speed: Can be used to almost teleport to a different location. Can either be used to flee or to attack
Light speed barrage: Like barrage, but faster. Roll a 6 sided die. Multiply the number it lands on x 4. It deals that many hits but only with 50% damage. —————————————————————————
Desc: male, long, brown hair, green eyes, white skin with a slight tan. Wears a light blue, cloth tunic with tan leather pants and Very funny, and very friendly person who can get a bit mad at times but gets over it fast most of the time. But when you mess with him or his friends, he doesn’t usually hand out mercy often to strangers without a good reason.
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2020.11.23 18:13 awkwalkard WHY IS 50% OF THIS SUBREDDIT SO AWFUL AND WHY DO MODS NOT GIVE A SHIT

So about half of the posts/subreddit contain civil, thoughtful discussion of issues pertaining to police brutality, while the other half are complete troll posts that exist solely to mock George Floyd’s death: why are these clearly hateful and substance-less posts not being removed (and their OPs banned) from a subreddit that explicitly says its supposed to be for serious discussion of an extremely serious issue. I come here to try to reach an understanding with people about a topic that has me very confused, but instead usually end up triggered into a panic attack by the disgusting lack of humanity on display from the trolls here. I’m usually not the first person to go running to the mods but a significant amount of this sub is just an amoral cesspool that adds nothing to the discussion of criminal justice reform and instead only hinders it.
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2020.11.23 17:58 Distinct-Charge4543 The Magic School Bus Lost Episode

Does anybody remember the show the magic school bus? It was a children's cartoon show in the '90s where a crazy science teacher would take students on weekly adventures into places such as into space or through the human digestive system. What most people don't know about the show was that it was meant to fit into a line of horror stories for kids before the concept spiraled horrifically out of control and most likely terrified test audiences. Originally planned by PBS, it was designed by Melnitsa Animation Studio in Russia, and thus the original pilot episode was partially animated in Russia before being chopped at the five minute mark to be a kids' series. In the original episode, the doubting school children were brought onto a school bus (Originally the bus had no eyes) that transformed into a spacecraft and brought them into space, where strange things began to happen. As such, the episode starts normally. The recut includes the original PBS episode 1, but the music is different, with an infinitely descending Shepard's tone replacing the happy intro. The title screen is merely black, with the words (Я не могу дышать) over what must be an English translation that says "The Sad Bus". After some resarch, I found that it said "I cannot breathe". I only saw the episode in a recut through a friend in Russia who had VHS taped it and sent it to me with the explicit note that I do not share it due to legal disclosures. I am guessing that the recut didn't include the bus' eyes, but I'm not sure whether it's layering or horror that two of the student characters, Carlos and Dorothy Ann aren't there either. I mean they are there, but their eyes are missing, and no one mentions it. The bus also looks much more sinister because the front lights are normal (though still eye-like) and the grill of the bus just looks extremely sad, like it's in a constant frown. The voice work is also different, with a sense of sorrow in the American actors' voices. In the PBS edition, Arnold's cousin Janet thinks that Mrs. Frizzle is boring, so Arnold has the teacher take them into space. In this episode, going into space is where things become very messed up. Nothing from the original episode is here, instead the bus "transforms" into a space ship, kind of like one you'd see in a film like 2001: A Space Odyssey. There's no transition, it just becomes this. The walls are all white and there seem to be infinite corridors with steep drops. From the outside, it looks like a soviet space rocket, but larger. Arnold comments that this wasn't what he expected and he wants to go home. Janet and Carlos also seem equally confused, but Janet is smiling. Mrs. Frizzle says that there is an override lock on the ship and nobody can leave until it has reached its destination: "We are hurtling toward the sun". Mrs. Frizzle tells everyone that she can either turn off the airlock and suffocate everyone, only jokingly, before saying that she will put in the manual override, but it will take six months to reach Earth.
She suggests that everyone go into stasis sleep. A cancerous sore has developed on Mrs. Frizzle's face but nobody makes any mention of it. There is a problem, however, there are only nine stasis beds and eleven people, including Mrs. Frizzle. Mrs. Frizzle tells them that she'll be fine staying up for six months, but one of the students will have to stay up as well. Ralphie suggests they draw straws. They do so, and Arnold is determined to be the one who has to stay up. Now up to this point, the episode was bafflingly strange, but this is where the show descends into realms that I couldn't make up if I tried. Mrs. Frizzle tells Arnold that originally there were thirty students in the class, but twenty of them died. She tells arnold she is going into the upper airlock where there is a seperate bed, and she only told the students there were less beds because she didn't want them to face the idea that one person would be alone for six months. And the time frame for returning home isn't six months, but rather two years. She leaves and locks the door behind her from the outside.
You can only tell that time is progressing because Arnold is proceeding to grow more unkempt, nervous and dirty. The nine beds line the walls, and there are porthole windows along with a control panel that is deactivated. The food that was left for him sits in one corner of the room. He tries to ration it, but there is only enough for what seems to be a month. He also has no means of a bathroom, so he urinates and defecates on the floor. After about two minutes, two months have passed, and Arnold is looking noticeably nervous and disheveled. He's extremely hungry, more so than he's ever been. Ralphie's catchphrase "I think I'm gonna be sick" begins to play, repetitively, over the music track. I think it was meant to reflect Arnold's mind, but then Mrs. Frizzle begins to talk. "You're hungry, aren't you" Arnold now realizes the predicament he faces. He won't survive two years in this environment, and if he tries to kill himself by smashing a porthole window, he'll kill his other students. "You didn't leave me enough food!" Arnold screams. The voice begins to grow darker and more tinged, and deeper. "Oh, but Arnold, I did." The animation does a long, slow pan across the room with what looks like a stylization of a wide-angle lens, pointing out the beds. And then the voice changes. "I am your extrasensory nervous system. This is no hallucination, Arnold. I am you.
The weirdest, and most convincing thing about the animation of the original episode is that Arnold looks very similar to Mrs. Frizzle. One would think they are related. They both have pale skin, orange hair, and represent nerds. Even their mannerisms, aside from Mrs. Frizzle's greater achieved sense of confidence, have their similarities. The voice began to whisper. "Eat them." Arnold had attempted to analyze the space chart over the defunct control panel for some time, but only now, realizing that he was intentionally trapped here, did it make sense. The path wasn't leading to Earth, it was heading for a malformed black hole that had strangely appeared to the left of the moon. Through whatever means, the room was also becoming increasingly hot, so much so that Arnold had to take off all but his underwear. The unclean environment was forcing him to develop sores, as he slept on his side in a mat before ritualistically taking Carlos from the bed so he could sleep there at night. That was when he made the horrible realization that none of them were breathing. Mrs. Frizzle hadn't put them into stasis, she euthanized them. It was only after he had made this realization that a scalpel appeared near the door. Someone had opened it while he was sleeping, and moved the bodies around. The words "BERET SEE HOPE" are scrawled in English on the wall in marker. The increasing need to eat was more apparent now than ever. He looked at Phoebe. He secretly loathed her. This became all the more apparent as he took the scalpel and slowly cut into her belly. He was not at all hesitant now. This scene is the most disturbing because the angle never changes. His expression is always angry, with cartoon stylized eyebrows. For an entire sixty seconds he slices her open, eats her lungs and intestines, peels and eats her skin, then moves onto the face, slicing off eyebrows and the nose, leaving a shaved skeletal corpse as the camera time lapses. The animation is different here, it's more specific, more layered and more medical looking. Now the cancerous sores are visibly on Arnold's face as well. The next day the scalpel is removed. For the next month or so, he picks on the remains of Phoebe.
The next time lapse seems more messed up, because now Arnold seems to have begun to hit puberty. He has nibbled on the ears and fingers of every student except Janet because it's his cousin. The scalpel appears again, this time with the words "AMORAL SCORN" written on the wall. Arnold talks to himself frantically. "What does that mean? What does that mean?" He picks up the scalpel and decides who to eat next. He never liked Carlos either.
As he undresses Carlos and begins to slice into him, the student ID falls out of his pocket.
He says "Carlos Ramon."
"AMORAL SCORN"
"CARLOS RAMONE"
It was an anagram, just as "BERET SEE HOPE" was an anagram for Phoebe Terese's name.
By now the episode is almost over, and the screen begins to flicker as Arnold starts to gasp for air. "You knew" Arnold begins to cry. The animation gets very choppy at this point. Two different shots are seen. In one, the schoolbus collides with the sun. In another, Arnold continues to eat the remaining students, in order, based on the anagram instructions. Since it's a time lapse, you only see the bodies and the bones begin to pile up. He refuses to eat Janet, his cousin, before ultimately slicing his neck with the scalpel and killing himself. The cancerous sores envelop his corpse.
The retrograde film begins to deteriorate before the Russian words appear. This directly translates to "WHATEVER HAPPENED TO JANET?". There's nothing else, the ship enters a black hole and there are no credits. Instead, we just hear Arnold profusely screaming that he can't breathe as a burning noise begins to envelop the back layer track. It goes on for a full three minutes. I tried figuring out what happened to Janet, but the only real clue is, I suppose, in the animation itself.
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2020.11.23 09:17 yabluz I miei titoli preferiti dal 1945 al 1948

Ho cambiato il titolo del post perché col dopoguerra diventa molto più vasto l'assortimento di film, serie tv, corti e miniserie, e diventa sempre più arduo per me pensare di poter condensare temi e movimenti, aneddoti e mini-recensioni in modo tale da non scordare niente e non trascurare niente. E' una questione di carattere. Per cui mi concentro su quello che mi è rimasto e che mi ha colpito di più, il che non necessariamente è il meglio dal punto di vista critico. Questo renderà i miei post sicuramente meno interessanti per chi legge, ma più semplici per chi scrive, e non mi sentirò a disagio per tutte le mancanze che inevitabilmente qualcuno segnalerà.
1945
DI quest’anno ho visto 111 titoli intorno al 2015. È l’epoca degli esordi di Frank Sinatra, Robert Mitchum e Gene Kelly, dei sofisticati noir con Bogart, Alexis Smith, Jane Greer, Dick Powell, dei b-mystey con Boris Karloff o Basil Rathbone e ovviamente dei primi film neorealisti. Sono in auge Bing Crosby, Lauren Bacall, Joan Leslie, Joan Bennett, i cartoni animati, lo zucchero filato, la radio e il melodramma popolare.
Parlando di melodramma voglio segnalare “So dove vado”, di Powell e Pressburger, con protagonista Wendy Hiller, una delle attrici più sofisticate ed eleganti di sempre; “Gli amanti del sogno” con Joseph Cotten e Jennifer Jones, un classico melò e poi i film con storie di fantasmi e di aldilà, di sedute spiritiche e di persone intrappolate tra una vita e l’altra. “Spirito allegro” è tra i migliori di questo tipo.
Il primo dopoguerra è il periodo dell’ascesa di Anna Magnani. L'ho vista in “Abbasso la miseria!” e chiaramente in “Roma città aperta” insieme a Fabrizi. Ero molto piccolo quando in tv diedero questo film e vidi la Magnani colpita a morte, crollare al suolo mentre il camion si allontanava. Capivo poco, ma quella scena è rimasta conservata in un angolo del mio cervello per 40 anni. Rivisto, il film non è solo quella scena, c’è molto altro. Ti apre un mondo, è come quando metti il lato B di un vinile, o quando devi cambiare linea della metro, o quando non ti entrano più i pantaloni perché sei ingrassato: sembra niente e invece è tutto. Dopo aver visto questo film automaticamente il resto è vecchio, non ti prende più. Dopo 4-5 anni ora trascorsi coi muti e con gli anni ’30 avevo voglia di cinema italiano, volevo vedere i palazzi fatiscenti, i manifesti sui muri, i vestiti a fiori. È uno spartiacque tra quello che credevi ti piacesse e quello che ora sai che ti piace di più.
Mi piace la parte iniziale de “L’uomo del Sud” di Renoir, con l’ostinazione di Beulah Bondi a non entrare in casa dei figli e mi piace il ghigno di George Sanders in “Io ho ucciso!”, noir di Siodmak. Sanders in realtà è uno degli attori con più personalità mai visti, ed era impiegato generalmente in parti di uomo infido, arrogante, o complicato, pur in apparenza restando sempre un perfetto gentleman. Suo fratello era Tom Conway, che pure ebbe una bella carriera nell’horror e nei b-movie in genere. Quest’anno vinse l’oscar il Ray Milland di “The lost weekend” che affronta in modo realistico per l’epoca il dramma dell’alcolismo.
In “Detour” abbiamo un b-noir, un piccolo film con l’attore Tom Neal, begli occhi e pugno facile. Neal finì pure in galera per le sue intemperanze, la sua carriera di livello inizia e finisce qui. Il film è molto interessante, è una specie di road-movie-noir, è una piccola perla. Naturalmente di noir con controfiocchi ce ne sono eccome. “Mi chiamo Giulia Ross”, in cui la povera Nina Foch non ci capisce più niente se sta a sentire ai due volponi con cui vive; “La strada scarlatta”, che vede il certo non prestante E.G. Robinson subire il fascino della splendida Joan Bennett, e fa l’errore di credere che lei sia interessata veramente solo a lui e non ai suoi soldi; “Io ti salverò”, dove Gregory Peck è così giovane e bello che se fossero tutti come lui Photoshop fallirebbe.
Il romanticismo è nelle strade della metropoli ne “L’ora di New York”, in cui Judy Garland e Robert Walker si incontrano per caso. Questi amori nati per caso sono un veleno per tutti gli ingenui e per tutti gli ottimisti: non credeteci, non vi accadrà. Al massimo, credete a “Breve incontro” di Lean. C’è poco Disney qui dentro, c’è un mondo di speranze e di attese che si brucia nel giro di pochi secondi, nei quali tenti di afferrarle e nel farlo esse svaniscono per mai più tornare.
Joan Crawford ha il ruolo del decennio in “Il romanzo di Mildred”. La Crawford adorava fare la parte della vittima che però è piena di risorse e riesce a cavarsela nonostante tutto. È il suo marchio di fabbrica, come per la Dietrich mostrare le gambe o per John Wayne andare a cavallo. Mildred ha successo perché è anche uno scontro generazionale tra chi si suda la pagnotta e chi invece vuole tutto e subito. Il personaggio della figlia Veda è uno dei più odiosi mai visti. Quando la Crawford la schiaffeggia ti si rilasciano le endorfine. L’attrice Ann Blyth fu giustamente candidata all’Oscar e dopo la morte di Olivia de Havilland ora è lei e Angela Lansbury a detenere lo scettro della più antica nomination per un attore ancora in vita.
Voglio poi citare un corto che si chiama “A star in the night”, col Natale che si avvicina vi piacerà; e il terrificante documentario “i campi di concentramento nazisti”, con immagini violentissime e impossibili da ignorare.
1946
126 sono i titoli che ho visto di quest’anno: animo dunque e facciamo ciao ciao con la manina ai vari Van Johnson, John Mills, uomini e donne lupo, il cucciolo, Hanna & Barbera, e Alan Ladd. Salutiamo anche Paulette Goddard, i perduti amori della Crawford e il “Grattacielo tragico” in cui lavora Lucille Ball. Memorabili gli infiniti gradini della “Scala al Paradiso”, con lo struggente scambio telefonico tra Niven e Kim Hunter, e il guardaroba di Lana Turner ne “Il postino suona sempre due volte”. Incredibile la silhouette di Loretta Young ne “Lo straniero” di Welles e interessanti le soluzioni di camera di Robert Montgomery in “una donna nel lago”.
Una gita in campagna” è il mio preferito di Renoir. È un corto ambientato a inizio secolo, con una famiglia parigina che si concede una scampagnata. Due buontemponi adocchiano mamma e figlia e scatta la caccia. Mentre la mamma si diverte e gioca a farsi rincorrere dal suo satiro la figlia è sotto l’incantesimo del momento, e ne resta vittima. Improvvisamente, le fragole hanno un diverso sapore, e il sole è più splendente. L’acqua del fiume scorre senza far rumore, e quando i tuoi occhi si aprono, un capitolo si chiude.
Non mi piace particolarmente Cocteau, ma “La bella e la bestia” sì, sarà forse anche per la prova di Jean Marais e il suo magnetismo, o forse per l’atmosfera surreale è così diversa dal resto dei film che ho visto di quest’anno. “Il grande sonno” è un film pieno di atmosfera, un noir classico e uno dei 4 film che Bogart e Bacall girarono in successione a metà anni ’40. Bogart era già una star mentre la Bacall una modella. I due avevano tanti anni di differenza ma si presero subito e diventarono la coppia simbolo di Hollywood. Avrebbero avuto solo 10 anni insieme.
Anime ferite” è un dramma di guerra in cui Robert Mitchum è giovanissimo e ha una bellezza inquietante, anche se all’epoca il ragazzo da copertina era l’altro protagonista, Guy Madison. Costui poi proseguirà la carriera nei b-movie, ma per qualche anno fu considerato il volto più bello di Hollywood. In Anime ferite c’è Dorothy McGuire, dimenticata attrice presente quest’anno anche nella “Scala a chiocciola”, dark mystery che è anche una delle ultime prove di George Brent.
Di “Duello al sole” è memorabile il rosso fuoco della seconda parte, la Jones che perde le sue inibizioni e scioglie i capelli al vento e uno dei cast più sensazionali di sempre, con almeno 10 attori di grande qualità, in prima fila i fratelli rivali Cotten e Peck e il ritorno della star del muto Lillian Gish.
I gangsters” è sensazionale ed è una ventata di novità, è una pagina nuova. Ci sono volti nuovi, un ritmo nuovo, colpi di scena e un approccio diverso al crime movie. È già dopoguerra qui. Burt Lancaster è nella mia top ten, mentre Ava Gardner è così bella che sembra fatta col CGI.
Abbondano i film italiani di qualità. Mi fa commuovere “Mio figlio professore”, del periodo migliore di Aldo Fabrizi, bella l’atmosfera di “Roma città libera”, in cui una giovanissima Valentina Cortese si affida ad Andrea Checchi e ovviamente ci sono i titoli più famosi come “Paisà” e “Sciuscià” che tra i due è il mio preferito. De Sica sapeva ottenere miracoli dai suoi attori bambini. Interlenghi fu destinato a lunga carriera, ma tutto il cast è di livello. Ambientato in un carcere minorile, il dramma che vivono questi ragazzi è indimenticabile.
“I migliori anni della nostra vita” è il film sui reduci della II guerra mondiale, visto con gli occhi dell’America del primo dopoguerra. Ci sono tre militari che tornano in città: Fredric March, di grado maggiore, trova la famiglia benestante con Myrna Loy e Teresa Wright; Dana Andrews, ex gelataio, ha una famiglia sgangherata e la sua ragazza, Virginia Mayo, l’ha già dimenticato; Harold Russell invece ha perso le mani, ma non l’amore della fida Cathy O’Donnell. Riadattarsi alla vita di tutti i giorni non sarà semplice perché la città è cambiata, le abitudini anche, e le persone pure. Il film fece incetta di Oscar.
Gilda” si riassume solitamente nella famosa scena in cui Rita Hayworth si mostra al pubblico, fulvi capelli al vento e sguardo seducente e carico di significati. Questa è la scena preferita di Andy Dufresne, dopotutto. La Hayworth aveva fatto un sacco di gavetta come ballerina di fila. A inizio anni ’40 matura come donna e come attrice, ma fu incastrata in ruoli che si somigliavano. Fu Orson Welles a un certo punto a provare a trasformarla. Qui la Hayworth è opposta a Glenn Ford, grande “uomo qualunque” del noir, un volto che poteva andar bene in ogni epoca e che quindi non stanca mai.
La vita è meravigliosa” è il primo film di Capra che ho visto, avevo solo 6 anni (ma non era il 1946) e forse per questo mi piace tanto questo regista, è una specie di imprinting che ho ricevuto. Da bimbo mi piacque il lieto fine e l’angelo Travers, gli abbracci e la felicità che provavano Stewart e Donna Reed. Da grande, invece pure.
In “Notorious” Alfred Hitchcock prende la Bergman e la mette in pericolo, così siamo tutti in pensiero. Non ci concede niente, non sappiamo se le cose peggioreranno, non sappiamo come se la caverà, Hitchcock ci stuzzica. Anche la famosa scena del bacio, lunghissima, ci stuzzica a lungo. Hitchcock doveva evitare i paletti del codice Hays, per cui non poteva lasciare che le labbra si toccassero per più di 3 secondi, ma non stava scritto da nessuna parte che potevano essere a lungo così vicine, tanto vicine…
1947
Ho visto 139 titoli di quest’anno. Siamo verso la fine della Golden Age, la Tv si fa lentamente strada negli USA, abbondano i noir, i melodrammi, è in fioritura il neorealismo e ci sono molti corti di futuri registi di serie A. Inizia la fortunata serie di Ma e Pa Kettle, ed è l’anno della magrissima Loretta Young (“La moglie del vescovo” e “La moglie celebre”), dell’ultima grande prova della star del muto Colman (“Doppia vita”) e del “Bacio della morte”, con Victor Mature ancora non dedito ai peplum e in grado di mostrarsi ottimo attore.
Burt Lancaster e Kirk Douglas iniziano una lunga serie di film insieme, mentre Chaplin torna dopo secoli, con “Monsieur Verdoux”. Titoli di successo per John Garfield, pugile di “Anima e corpo”, Dana Andrews (“Boomerang, l’arma che vendica”) ed Henry Fonda che è circondato dalla polizia e pare senza scampo in “La disperata notte”. “Il miracolo della 34esima strada” è invece il film di buoni sentimenti dell’anno, con tanto di Babbo Natale, amori impossibili nati per caso e la bella sfilata dei carri.
Robert Mitchum mette a segno un doppio colpo, è nel cupo “Notte senza fine”, in cui l’implacabile madre Judith Anderson lo mette alla porta, e ne “Le catene della colpa”, che è tra i noir più famosi forse grazie anche alla spietata Jane Greer, raramente si è visto un personaggio così senza scrupoli sullo schermo.
In Italia trionfano Fabrizi, Totò, de Filippo, Girotti e l’americano John Kitzmiller. Tra i film più belli un rarissimo action movie: “Caccia tragica”, con le star degli anni ’40 Vivi Gioi, Carla del Poggio e Andrea Checchi e “L’onorevole Angelina”, tour de force di Anna Magnani, a quell’epoca già indiscutibile star.
Mi piace molto “Una meravigliosa domenica” di Kurosawa. Non ci sono samurai, siamo in compagnia di una coppia in una domenica qualunque del primo dopoguerra. Mancano i soldi, ma c’è voglia di rimettersi in gioco e ricominciare a vivere. È un dramma, certo, però non fa venire il magone, è delicato e puoi decidere se cogliere il messaggio di speranza anziché quello di disperazione, perché ci sono entrambi.
I dubbi abbondano in “La seconda signora Carroll”, in cui la Stanwyck si chiede chi sia veramente il Bogart di cui si è innamorata; in “Dietro la porta chiusa”, la storia di Barbablù in pieno 1947 e nel celebre “La signora di Shanghai”, in cui niente è ciò che sembra e tutto ciò che davi per certo ti compare davanti agli occhi come qualcosa che non conoscevi, come la trasformazione della Hayworth o semplicemente te stesso, quando ti guardi davanti allo specchio e non sai più chi sei.
Forza bruta” è un film tutto al maschile in cui c’è una rivolta in un penitenziario perché i detenuti sono stanchi delle angherie dell’odioso aguzzino Hume Cronyn. Con Burt Lancaster in testa, i detenuti portano a termine la loro impresa, ma pagano un duro prezzo.
Barriera invisibile” è uno film di Elia Kazan in cui Gregory Peck decide di fingersi ebreo per capire quali siano le difficoltà che questo poteva comportare nella vita di tutti i giorni, anche a guerra ormai finita. È un film intelligente e con ottimi attori, tra cui il mio pupillo Garfield e la sempre sorridente Celeste Holm, che vinse l’oscar.
Il fantasma e la signora Muir” è il fantasy definitivo sui fantasmi che tanto andavano negli anni ’40. Rex Harrison è l’elegante e disinvolto fantasma che seduce la magnifica Gene Tierney, giovane vedova che ha da poco acquistato la casa stregata. Romantico e coloratissimo.
1948
Sono ben 163 i titoli visti in quest’anno, d’altra parte col dopoguerra cominciano ad essere tanti di più i film italiani, e io cerco di vedere tutti quelli che riesco, per cui ho fatto incetta di Totò, Macario, Fabrizi, de Filippo, Cervi, Magnani e di polpettoni vari. Mi sono piaciuti “Assunta Spina”, “Germania anno zero” e soprattutto “Gioventù perduta”, “Senza pietà” e “Anni difficili”. Ma sono tanti i film italiani degni di segnalazione e per uno che cito, di 2 mi scordo. Andrebbero poi visti anche i corti documentari di Michelangelo Antonioni, ad esempio “Sette canne, un vestito”, oppure “N.U.”. Praticamente è un documentario anche “La terra trema” di Visconti, mentre memorabile è l’amicizia tra Oscar Blando e Francesco Golisano in “sotto il sole di Roma”, un film pieno di volti nuovi e in una piccola parte Alberto Sordi.
Quest’anno escono poi le prime serie tv, per esempio la famosa Candid Camera, e le prime antologiche. Ci sono le prove scespiriane di Welles e Olivier, esordisce il tormentato Montgomery Clift, la serie di Mr. Belvedere, la De Havilland finisce per impazzire nella “Fossa dei serpenti” e Ava Gardner aveva un vitino da vespa. Con “Naked City” emerge un noir molto realistico che avrà felice collocazione nelle serie tv. Più classico invece “La donna del bandito”, con l’infelice e tormentata coppia Granger-O’Donnell.
Pieno di novità e molto amato il film più famoso di Powell & Pressburger e cioè “Scarpette rosse”, verso il quale non ho molta affinità ma non posso non citarlo. Sempre inglese è l’ottimo “Idolo infranto”, di Carol Reed, ambientato in una bella e solitaria villa in cui un ragazzino (un po’ antipatico) è testimone di un crimine.
Tra i miei Kurosawa preferiti c’è “L’angelo ubriaco”, con la coppia numero uno Takashi Shimura e Toshiro Mifune, che si complementano come lo Yin e Yang. Qui c’è il legame tra un dottore ubriaco che diventa l’angelo salvatore di un irascibile gangster. Mi piacciono queste amicizie imprevedibili.
Il tesoro della Sierra Madre” è uno dei film chiave di John Huston, che qui dirige papà Walter e offre a Bogart un ruolo complesso, in cui gradualmente si mostra sfigurato per l’avidità e la smania di potere. È un ritratto psicologico inconsueto in quello che apparentemente è un western.
L’isola di corallo”, è a sua volta uno studio di caratteri, qui c’è un gruppo di personaggi tenuti in ostaggio da un gangster. La parte più toccante è la canzone di Claire Trevor. Lionel Barrymore trascorre tutto il film in carrozzina: l’anziano attore era affetto da gotta e i dolori erano insopportabili, per cui per tutta l’ultima parte della carriera resta sempre seduto in ogni film.
I tre moschettieri” è una brillante versione della classica storia di Dumas, con protagonista Gene Kelly, ma non è un musical per fortuna. Gene Kelly era amatissimo, spavaldo e arrogante. Qui è contorniato da star di primo ordine tra cui Van Heflin, Lana Turner e Angela Lansbury, che è una di quelle attrici che abbiamo amato così tanto da quando è anziana che si fa fatica a credere che un tempo avesse anche parti da giovane principessa.
Il terrore corre sul filo” è un bel thriller in cui Barbara Stanwyck (che carriera) è costretta a letto e passa il tempo al telefono. Un giorno ascolta un’interferenza in cui si progetta un delitto. Prova ad avvisare la polizia ma ci sono troppi pochi elementi per capire chi sarà la vittima. Col passare delle ore e delle telefonate si accorge che la vittima è lei. La Stanwyck è una di quelle attrici capaci di reggere tutto il peso di un film su di sé.
Con “Johnny Belinda” vince l’oscar Jane Wyman, nel ruolo di una ragazza sordomuta che subisce violenza sessuale. Il film è drammatico, ma pieno di momenti delicati. Il legame tra la Wyman e Lew Ayres è tenero, così come i sentimenti di papà Bickford. È un film datato, ma consacrò la Wyman reginetta del melodramma.
Nodo alla gola” è un esperimento di Hitchcock in cui ci sono 6 lunghissime sequenze cucite in fase di montaggio affinché il tutto sembri una sequenza continua. Due compagni, lo spavaldo John Dall e il timido Farley Granger, hanno commesso un omicidio e occultano il cadavere in un baule, poi organizzano un ricevimento e nessuno sembra accorgersi di quello che è successo. Ma James Stewart sospetta qualcosa.
Lettere da una sconosciuta” di Max Ophuels fu all’epoca da alcuni considerato il più bel film mai realizzato. In effetti è coinvolgente, è elegante, ti fa riflettere ed è ben recitato. Ophuels era noto per i suoi fluidi movimenti di macchina, e qui si muove in una storia d’amore sfortunata. La timida Joan Fontaine, chi altri, è innamorata del pianista Louis Jourdan. Il suo fascino è irresistibile. La Fontaine si costruisce una storia d’amore e la vive nei suoi sogni e nei suoi desideri. Quando i due si incontrano davvero sono a livelli diversi di bisogni e consapevolezza. Jourdan usa la Fontaine, che ne resta distrutta, eppure si incontreranno nuovamente. Questo è il film dei rimpianti e dell’ingenuità, ed la storia di tutti quelli che vivono mille vite nei propri pensieri, mentre la propria si consuma pian piano.
Ladri di biciclette” ti colpisce già dalla prima scena e dall’incredibile colonna sonora, penetrante e triste. Credo che sia un film dal linguaggio universale, ma i luoghi, i volti, le strade e i bisogni sono permeati di un’italianità così intensa che chiunque abbia vissuto nella povertà o in un contesto simile risulta sconvolto dal crudo realismo della storia. D’altronde, è forse il capolavoro principale del neorealismo. Il legame tra padre e figlio in questo film è profondo e non necessita di spiegazioni. Il film è ricco di scene che colpiscono duro, in primis la disperazione di Maggiorani accerchiato dalla folla che lo accusa di furto. Questo è uno di quei film che è capace di cambiarti la vita, ed è nella mia top ten del cinema italiano di tutti i tempi.
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2020.11.23 05:00 JC-DisregardMe A Cast in Review: Investigations 2

Well, here we are. Unless I get to the crossover, a DGS1 replay, or some fangames, this ought to be my final cast review for the time being. As I start this, I'm curious about how long it'll run for. Given that this game and Spirit of Justice are the two that I have the most vocal criticisms toward, and that the SoJ cast review is my current longest post on-record, I've got the feeling it could take some time. Like with SoJ, some characters will be out of order for varying reasons. Edgeworth himself will be at the very end, for example. So, the previous posts:
And let's begin.
DICK GUMSHOE
So... I'm a bit torn on Gumshoe in this game. On one hand, it's nice to see that the story actually bothers to let him do important things without needlessly yanking his chain and making them pointless. To the script's credit, he also actually earns some genuine praise from Edgeworth a few times in the late game. On the other hand, though, Gummy has retained his three big problems from the first Investigations, being considerably dumber than in the main series, spending a pretty huge portion of this game absent entirely because for arbitrary plot reasons, and having an unfortunately large percentage of his dialogue exist solely to praise Edgeworth's infinite brilliance.
Thinking on it, this game's version of Gumshoe also has a problem I'll be describing with Kay - it seems almost completely arbitrary when he actually manages to be useful. We have him competing with Kay's Little Thief directly in the ridiculous usefulness of Mr. Analysis, which at least ties in with Gumshoe's previously-established skill with improvised electronics, but it's just one of many things that I think share a universal issue across the whole game.
I got into it above, of course, but I feel like this game's entire narrative is structured with the specific goal of making Edgeworth look as good as possible at all times, and Gumshoe's almost-random bursts of actual usefulness seem to just be yet another symptom. Edgeworth needs to be constantly provided with the perfect means to solve everything possible on his own because he's such an amazing genius, and so the entire cast and world around him constantly bends in on itself to facilitate that. People act like idiots if necessary, others just randomly spike upwards in competence or conveniently arrive on the scene by sheer contrived coincidence - it just goes on.
Getting off-topic from Gumshoe, though - every game prior in the timeline also does this on some level, but it's still not funny when the game just outlines instances Edgeworth being ridiculously insensitive to the point of outright cruelty toward Gumshoe just for "comedy".
SHELLY DE KILLER
See, De Killer was interesting in case 2-4 because his whole character was structured like a dark parallel to Phoenix. Both are professionals who dutifully perform their jobs for the benefit of their clients, and who place the utmost value in the trust between their clients and themselves. The contrast, of course, came from Phoenix being a good-hearted everyman whose passion in life is defending the wrongly-accused when the system has turned against them, while De Killer is an amoral murderer-for-hire who takes care of his clients, but won't hesitate to kill them if they try to break his code of trust. His code of honour didn't make him a good person at all, but it did make him seem like the decidedly lesser evil compared to Matt Engarde, and it made him engaging in general.
You know who doesn't have any interesting parallels with De Killer? Edgeworth.
De Killer is just a murderous bastard in this game. We don't get to see any interesting character dynamics with him save for one I'll be complaining about later on, which is right before the end of the game. To the game's credit, though, it does make him even scarier than he was in JFA, now that there's nothing putting him "on our side", compared to when both he and Phoenix were assisting Engarde.
It's absolutely ridiculous that Edgeworth doesn't realize who he is. They don't even try to make an excuse or even a joke - it's just a dumb contrivance they could've easily avoided.
KAY FARADAY
Well, Kay... you're certainly in this game. You don't really do anything besides occasionally switch Little Thief on for most of it, but good on you for making it into a second game, I guess.
So, Kay's biggest problem is that her character arc decisively ended in Investigations 1. Everything she had wanted to do in her life during that game's story was accomplished. Sure, she gave herself the additional goal of bringing together a new Yatagarasu team in the end credits, but that isn't touched upon at all in this game outside of an end-credits joke. Everywhere but Case 4, Kay exists just to be dialogue padding and break out Little Thief now and again. She's an extension of a gameplay mechanic. Even her banter with Edgeworth is boring, because Edgeworth himself provides no material to work with and most of the dialogue feels exactly the same.
"Wow, look at that thing! I wanna steal it!"
"Don't, Kay."
"Aww..."
"Good grief..."
Congratulations, you can now skip the majority of their investigation dialogue, because you've read it already.
I guess there's the minor plot point of Kay becoming "friends" with Simon Keyes in Case 2, and then feeling betrayed later on, but even that doesn't really go anywhere. It consists of a few loose lines here and there, and that's about it, because the game is so laser-focused on patting Edgeworth on the back as often as possible.
Now, in Case 4, Kay trades in the problems outlined above and turns into a completely different character. Her memory loss is the only thing that ever makes her relevant at all to this game's story, meaning that Kay Faraday needed to disappear and be replaced by someone completely different just to matter at all. And of course, this necessitated that Ema be abruptly dropped into the story in her place, to fulfill the game's apparent teen-girl-sidekick quota in her absence.
Anyway - I still love her design and theme music (the sad version from Case 4 is great, too!), and she does get some fun lines here and there when she's not talking to the brick wall that is Edgeworth. Sadly, even those are sometimes offset by completely pointless, redundant lines that just puncture a scene for no good reason.
NICOLE SWIFT
I guess Nicole is kinda fun? Her animations are great, and let you know right away how lively this game's new characters will be. I don't love the character design style of the Investigations games on average, but I've got endless praise for the detailed animations in this game. They're wonderful.
I just don't think there's all that much to Nicole. You'll pretty much going to feel like she's just bootleg Lotta when you first meet her, and of course you'll learn exactly why she comes across that way soon enough, but it seems like her only reason for existing is because Lotta herself wouldn't have worked as a red herring in Case 1, being such a prominent recurring character already.
Before long, of course, she just turns into one of Edgeworth's many cheerleaders; a fate she shares with more than a few other characters in this game.
WINSTON PAYNE
Unchanged.
DI-JUN HUANG (BODY DOUBLE)
Guy's a bastard. I'll admit without trouble that I like the ultimate resolution of the "body double" twist. It's just a well-done plot thread in general, making you wonder for so long what the real story behind this supposedly strong, inspiring leader is, when the man you meet behind closed doors in Case 1 was such a blustering fool.
Anyway, screw this guy. Plots to have his genuinely admirable employer assassinated just to take power for himself, and goes on to be a slow-motion disaster dragging an entire nation down with him. Also doesn't know how to move out of the way of a slowly-descending air balloon.
At least his animations are fun.
ETHAN ROOKE
Dead. Weird hair. Can fight De Killer, which is neat.
HORACE KNIGHTLEY
So, I'll start with the things I give Knightley credit for. He's exceedingly clever for an early-game Ace Attorney culprit, and as much of a general bastard as he clearly displays himself to be, he's still a friend to Keyes, even if it turns out that the feeling isn't entirely mutual.
But, now let's look at the other stuff. Petty, jealous asshole, reckless about the safety of others who aren't the President, and totally willing to throw Nicole under the bus to cover for his own crimes. Fuck Knightley. Didn't deserve to be murdered, least of all for the misunderstandings of two other people, but still - fuck Knightley.
JAY ELBIRD
Irritating, weird-looking waste of quite a bit of time. The polar bear is cute.
FRANK SAHWIT
So, with Sahwit making a bizarre return, I'm gonna take this chance to address one of my numerous criticisms for this game's fan translation. No disrespect intended to the team, of course - localizing this game was a massive undertaking, and I'm grateful for the countless work hours they put in with no expectation of pay to get it done. Putting that aside, though, I want to address something I've seen several times before in fan-translated works compared to those officially translated by its creators. A bit of context - Ace Attorney is hardly a series averse to swearing. The first proper word in the first game's script is "Dammit". Now, the first game in general had more of the series' light swearing than later games have, but whatever - main point here is that Ace Attorney characters don't swear especially often. For the vast majority of the series, it's present, but a very rare thing. The series proves that you don't need every other character cursing in every scene to make the story feel more mature when needed, and on top of that, keeping swearing reserved for more emotional or severe moments allows it to greatly enhance a scene when it is used.
This fan translation, on the other hand, falls victim to a problem that I know to exist in a lot of fansubbed anime, as well as other fan translations for games that I've played before. Between just Knightley in Case 1 and Sahwit here in Case 2, I'm pretty sure this translation's script contains more swears than the full scripts of any of the officially-translated games in the whole series. Of course, the most vulgar word used thus far in any official English Ace Attorney script is Lang's use of "bastard" in the first Investigations, and to my knowledge, this translation never goes that far, keeping things limited to "damn", hell", and at least one instance of "ass", but we've gotta look at quantity vs. quality. (The English dub of the anime also has an instance of the word "bitch", which is repeated in a flashback, but that's Funimation, not Capcom.) Bottom line - the prevalence of minor swears in this translation is just distracting to me, and one of the things that feels like an unfortunate, unintended reminder that this is, indeed, a fan translation, and not the official thing from Capcom.
Anyway, there's not a ton to say about Sahwit himself. He's about the same as in the first game, just a little funnier in his efforts to seem like a decent guy despite being a career criminal. His mugshot is hilarious. It's just the exact same one from the first game, but they scribbled a new shirt onto him, and because the artstyle difference between this game and the original is so vast, he doesn't fit in at all. I couldn't hope to guess why they didn't just draw him a new one, considering that his design was otherwise fully updated to match the rest of this game's cast.
RAYMOND SHIELDS
I've had a lot of positive feelings toward Ray's overall character ever since getting to Case 3 in my AAI2 rewatch. True, his constant comments on how cute all the girls and women are regardless of age is annoying, feels out-of-place, and I wish it wasn't there, but I think he's wonderful otherwise. He's fun, charming, and fills an amazingly well-chosen role as the former assistant of Gregory Edgeworth. I seriously can't stress enough how much I love that they decided to do that - not only does his past give him amazing potential for various relationships with other characters present in this story, but it also saves Greg himself from a fate that otherwise would have kept him for good, being little more than a background extra used to kick off the main conflicts of the original trilogy. Ray's presence gives Gregory so much more character than he ever had before, and I need to praise this game for it.
There is an "unfortunately", however. I'd be lying if I said that this game fully capitalizes on the brilliant idea that is Ray. For starters, he's one of the numerous victims of what I consider a significant mistake in this game's overall writing. Mentioned it above in Edgeworth's section - I'm talking about the game's refusal to ever dig into Edgeworth's corrupt past, and what drove him to change. Ray introduces himself into the story with dialogue that indicates he knows about Edgeworth's reputation as Manfred von Karma's great student, but it takes very little time for him to stop being apprehensive about trusting his late mentor's son, and by the end of Case 3, when his character has peaked, his arc finished, there's really nowhere left for him to go, even with two more full cases left, both of which he appears in. In the wake of this story, I can only feel like the much better idea would've been to put Edgeworth's former corruption in full focus, making Ray still a clear good guy, but one who's understandably extremely hesitant to believe that Edgeworth could ever have changed as much as those around him claim in just a couple of years.
It also doesn't help Ray that his being invented just for this game and retroactively slotted into the previous story surrounding DL-6 leaves us stuck with the implication that he didn't attend Edgeworth's trial in 1-4, and that he's somehow never met or even apparently heard of Phoenix, the lawyer who defended Edgeworth in that case, even proving that Von Karma was Gregory's killer. This is probably one of the biggest failings the series has ever suffered at the hands of the "no-spoiler rule". A huge amount of story and character potential just has to be sacrificed for no good reason, simply because this game isn't allowed to touch on anything to do with Phoenix directly, nor does it seem willing to properly talk about Edgeworth's former corruption in anything more than the vaguest of terms.
So in summary, Ray was severely cheated by the no-spoiler rule.
I like his younger self as well, and I love the running tragedy of his relationship with Katherine.
SEBASTIAN DEBESTE
I'll tell you a little story. Before the Investigations 2 fan translation was finished, I had seen bits and pieces of the game here and there. A number of unfamiliar characters and settings, mostly. This teenaged prosecutor who would apparently act as a rival toward Edgeworth looked incredibly annoying, and I was fully prepared to hate him once the translation was finished. In a lucky turn of events, however, I actually didn't find Sebastian anywhere near as irritating as I'd expected to. His arrogance wasn't quite endearing, but it was entertaining when stacked up against how stupid he is. His animations are pretty fun, and while he's totally inept as a rival, Courtney is there to pick up the slack. So, what about later, and particularly in this rewatch? Well, it's pretty mixed.
First off, I found him much more irritating the second time around. Back when I was first trying the game for myself, I wasn't as bothered by how incredibly slowly it moves, at least in the first two cases. This time around, though, the dragging pace of the story was a lot more noticeable, and it was never helped by how frustratingly often Sebastian shows up just to ramble a bunch of idiotic, effortlessly disproven "theories" on the events so Courtney can eventually step in and correct him with her own cross-examinations. The reason this becomes a problem is that, despite Courtney very much being the main rival, rather than him, they still give Sebastian a huge amount of screentime in Cases 2 and 3, and he's just a constant, stagnant annoyance for that whole time. He's an idiot, and that's his whole schtick throughout both cases, other than abusing the police working with him and generally being an arrogant shit. The game waits all the way until near the end of Case 4 to even begin his actual character arc, and even considering that I think that arc is quite good on its own, it doesn't redeem these many earlier scenes with him. He's not just stupid and inept - he's both in a way that actively endangers other people, and yet near the end of the game, it's Kay saying that she wants to go and apologize to him for their earlier meetings. If not for Edgeworth, Sebastian could've easily caused more than one person to go to prison for crimes they didn't commit, and Courtney is right there the whole time, irresponsibly enabling him. We'll get to her in a moment.
Let's cover Sebastian's actual arc now. Like I said, I think it's good. Late in Case 4, we're finally given context for his idiotic, arrogant personality, and it's done in such an unflinching, brutal way that I have to praise it. Blaise outlines with no particular hesitation that he considers his son a useless idiot, and explains that his bribery is the only reason Sebastian has reached the point he's currently at. It's a powerful moment that recontextualizes all of Sebastian's earlier appearances, and it leads to his part in Case 5, brokenly teetering on the end of a complete mental breakdown under the stress of a lifetime of emotional abuse. It is not, however, enough to make up for how shitty he was for so much of the game earlier on.
JUSTINE COURTNEY
Don't care for her. Courtney has a very similar problem to Sebastian, in that she's simply in way too much of the game prior to Cases 4 and 5, which are the only two where her actions are given proper context. She spends Cases 2 and 3 as a harsh, obtrusive wall fighting against Edgeworth's efforts to solve two separate cases and constantly threatening to end his career. This seems to be a recurring issue with certain Ace Attorney rivals. The typical structure of the game requires them to oppose the hero for most of the story before whatever big plot thing surrounding them happens in the last one or two cases, and unfortunately, the way that Courtney is put through these motions makes her come across as being much shittier than the late game will want us to believe.
Throughout her first two case appearances, Courtney fights as hard as she possibly can to contradict Edgeworth whenever possible, even when it's abundantly clear that his theories are correct. She blockades his investigations and cuts in on his questions as frequently as she can. She backs Sebastian up no matter how stupid and off-base his arguments are. That last one is the worst of the bunch, because it consistently frames Courtney as totally and irresponsibly willing to continually enable Sebastian's dangerous idiocy. Once again, if it wasn't for Edgeworth's persistence and intelligence, Sebastian would put innocent people on trial for crimes they didn't commit, and Courtney would, without question, be at fault. Now, just based on sheer volume of these occurrences, I'm mainly targeting Cases 2 and 3 here, but Courtney's worst part by far actually comes in Case 4, when she goes out of her way and fights as hard as she can to indict Kay, an injured amnesiac, on the charge of a murder she clearly didn't commit, using evidence that Courtney herself knows to be forged. The ultimate given reason for all of this is that Courtney was aiming to use her position as a judge and member of the P.I.C. to take Blaise down from within his organization, but let's double-check why: Courtney is going after Blaise for his long career of abusing his position to destroy the lives of innocent people who have done nothing to deserve it. What are Courtney's methods for this? Why, they're "abusing her position to destroy the lives of innocent people who have done nothing to deserve it". Huh. How curious.
So I don't like Courtney, but let's not be totally negative here. I do have some good things to add about her. In Case 5, she improves immensely. With the reveal that John is is adopted son, she gains a whole new branch to her character, and seriously - it's amazing how much this improves her. I love every single scene she has together with John. They're all terrific. Even this has a downside, though - there's a certain pretty awful moment in Case 3, when Edgeworth is confronting Gustavia at the end. Gusty has just outlined what a horrible parent he is, on top of just generally being a reprehensible human being. What does Courtney, whose role in Case 5 will revolve mainly around being a mom, say about this? Slight paraphrase, but "We're not here to judge whether Mr. Gustavia is a good parent". Fucking seriously? She'll act completely irresponsibly beyond the requirements of her job to cause trouble for Edgeworth, but then she'll just let Gustavia's bastardry slide because it's not strictly relevant to proving his guilt in the murder?
PATRICIA ROLAND
I liked her when I was originally playing Case 2. Hoped she wouldn't end up as the culprit. Big surprise where that got me. It's interesting that you could easily consider her pretty sympathetic just based on Case 2 alone, once you learn her reasons for killing Knightley.
I think Case 2 is way too long for how complex the actual crime is, and wastes a huge amount of its runtime, so that has the unfortunate effect of hurting Patricia a bit, so let's just move past Case 2 and skip ahead to her later appearance in the final case.
I don't really care for her use in Case 5. The case kinda just keeps piling more and more terrible things she did in the past into an increasingly large stack, but she isn't there for most of it, and so it doesn't really feel like it adds anything to her character most of the time.
She's very lazy about naming animals.
SIRHAN DOGEN
Screw this guy. I don't like him at all. He's an unrepentant, murderous bastard, and giving him a dog he occasionally pets, making him "cool", and revealing that he once randomly decided to save two freezing children for no apparent reason doesn't change that. I guess ending the game by having him become sort of a father figure to another murderer I don't feel sympathetic towards at all is kind of fitting, if nothing else.
Dogen's another of the many characters in the Investigations games to not look like they fit Ace Attorney's artstyle in general.
REGINA BERRY
why was it decided that Big Top characters needed to reappear in this game
Regina is only marginally less irritating than she was the first time. It seems like she might have matured at least a tiny bit, but the game doesn't really ever dig into it.
ISAAC DOVEPIERRE HOQUET
"The flavourless one in a pair of characters who inadvertently caused the entire Ace Attorney series to happen by both being selfish assholes". That was what I was going to write here. I got as far as two words, and then I was struck by the immense irony of calling Dover "flavourless" compared to Gustavia. Just wanted to share that story.
Anyway he's an ass with almost nothing to him, character-wise.
JEFFREY MASTER
A great character in a terrific case. This poor man deserved better.
On a surface level, Master is highly entertaining. Going deeper, he has an incredibly well-done relationship with Katherine, which is equal parts heartwarming and incredibly tragic.
Something I really appreciate and wanted to note in here, though it's not strictly related to Master himself: when you look at just the first game in the series, which was so mundane in style compared to all of its successors, you'll almost certainly imagine that the final case Gregory Edgeworth ever took on was something equally mundane and grounded. I love that this game establishes instead that the case which prompted Ace Attorney's entire running story was just as wacky as any other in the series' universe.
KATHERINE HALL
The other side of an incredibly heartwarming yet tragic relationship. Kate is terrific - just like her adoptive father, she's entertaining in behaviours, but also has a character that goes much deeper than that. She was deeply, unjustifiably wronged by the actions of Gustavia, Dover, and Von Karma, and her devotion to repaying the kindness that Master showed to her all those years ago drives her to such desperation that she takes a number of highly-questionable actions in trying to seek justice for everything that happened, even when some part of her recognizes that there might well be better ways to do what she wants to, as Ray addresses near the case's end.
She deserves credit for her ingenious method for drawing out and identifying the true killer from the IS-7 case, aiming to ensure that only they could possibly be harmed by it.
DELICIA SCONES
Truly (and of course intentionally) bizarre-looking, and just sort of hard to get a read on. She's a deliberately strange character like Meekins, but much more important to this case than Meekins ever was to 1-5. I don't know if I can really say a lot about her.
LARRY BUTZ
Ugh. Investigations Larry is just as wearying as ever, and sadly, this game doesn't even give him anything fun like his role as the Steel Samurai in the previous one.
GREGORY EDGEWORTH
Boring as all get out, but I love what they did with Greg here. His constant thoughts about his son, and fretting over how easily he'll be able to make friends - it's great. Beyond the mention that his personality as a player character is extremely dry (much like his son in this subseries), I don't think I have anything negative to say about him. Maybe his voice clips - they're not great. Great choice of VA to provide them, but I don't think the takes they went with were the right ones.
One other thing, though it really isn't a failing of Gregory himself - still feels like shoving Blaise into the DL-6 storyline as the person who actually gave Von Karma his penalty takes away from the gravity of Gregory's accomplishment in doing so, because it's made clear that Blaise wanted to do that anyway, and was already looking for an excuse.
MANFRED VON KARMA
Did this bastard ever look young? Seriously - what's the reasoning behind never really changing his appearance? He's only 49 in the flashbacks, and yet he still looks like the same aged vampire he was at 65.
Anyway fuck Von Karma. His personality is unchanged to match his looks. He doesn't yet have the obsessive hatred of the Edgeworths that we know from the first game, and I still can't help feeling like this subseries kind of tries to downplay what a malignant bastard he always was. In particular, this game feels like they tried to use Von Karma as a stepping stone to make Blaise Debeste seem more impressive. I'll get into that when I'm whinging about Blaise in his own section below, though.
TYRELL BADD
I'm really happy with Badd's appearance here. It's just a really solid use of his character that cleverly sidesteps the problem of his going to prison after I-5, giving Gregory a staunch ally in his final case. Really, though - they gave Badd some subtle changes to his sprites to reflect that he's younger here, so why not Von Karma?
RON AND DESIRÉE DELITE
I just want to use their little cameo to mention that I still love them both.
DANE GUSTAVIA
Right bastard, this one. Ruthless, entirely self-serving asshole who doesn't feel a hint of regret for all the suffering and death his selfish actions caused. They make some fun subversions with him, too. Admitting to Dover's murder years down the line, simply because he's totally confident that the statute of limitations will ensure his safety, the game raising the possibility that he might still ultimately get away - I don't like Gustavia at all, but I have to respect him as a character. He's a damn good one.
JILL CRANE
Dead, but at least given some decent background toward the end of the game.
LOTTA HART
I still like Lotta. This game doesn't give her much material to work with. Her little character moments with Nicole are great, though. Sadly, once Lotta has finished with her requisite time-wasting here in Case 4, she and Nicole pretty much just exist to encourage Edgeworth, like so many other characters.
KARIN JENSON
Not much to say. She fits the artstyle, which stands out in this game's weird-looking cast. She mostly exists to facilitate the crime in this case, and to then prove essential in exposing it.
BONNIE YOUNG
Didn't know raisins could perform autopsies.
Same plot role as her granddaughter, in essence. She exists to be a pawn in Blaise's schemes. At least she and Karin have fun animations.
EMA SKYE
Here for the sole purpose of replacing the temporarily unavailable Kay as Edgeworth's peppy teen girl assistant, on the excuse that forensics will conveniently be required.
I love her design here. I can't say much else. She's just fanservice combined with plot convenience, and didn't need to be here. Are you noticing a theme in Case 4? I don't like it at all, and its characters are a major part of why.
FRANZISKA VON KARMA
They gave Franziska pretty good material here, all things concerned. It's a shame that she doesn't really get to do a lot with it, but at least they don't run all over the place with stupid, incorrect deductions on her part. There's a benefit to having Sebastian around.
Even Franziska ends up as part of Edgeworth's massive cheerleading squad by the endgame.
BLAISE DEBESTE
I don't like Blaise. I didn't the first time, and that didn't change on a rewatch. I have the same opinion of him as ever - he's a shoddy amalgamation of traits borrowed from Manfred von Karma and Damon Gant, and his only unique, interesting trait is his abusive treatment of his son. He's unbearably annoying, acts incredibly stupid in his confrontations with Edgeworth considering what a conniving monster he is in the game's background, and any satisfaction gained from "defeating" him in Case 4 is stolen from you in the next case, when he's set up to just easily wriggle his way out of trouble anyway. On the whole, he not only feels like a bootleg mashup of earlier, better villains, but it also feels like the story is constantly trying to one-up those villains directly just to make him seem more impressive. He was the one who gave Von Karma the penalty that started his campaign of revenge against Gregory Edgeworth. He's even more dangerous than Damon Gant, using similar methods to reach an even higher position within the legal system.
Much like with Patricia Roland, the late game just keeps piling more and more vile actions into his personal history long after you've stopped seeing him in-game, and I don't find it impressive at all. We already understood he was a monstrous bastard with no depth hours earlier, and just trying to multiply the effect long after his final defeat doesn't earn him any extra points.
With most of them as effectively faceless blobs of nothing, the P.I.C. is a massive wasted opportunity, and Blaise is right at its centre. In relation, I want to again mention an idea I've suggested for him before. I think this game could've been considerably better if it had actually been willing to dig into Edgeworth's past, and Blaise's position as chairman of the P.I.C. means he's perfectly suited as a sympathetic antagonist for that hypothetical story. Imagine a version of Blaise (or some other character in his position) who is going after Edgeworth for entirely legitimate, understandable reasons based on all the corruption and general underhandedness in his past. He isn't quite so willing to simply forgive Edgeworth's years of dishonest methods just because the man has changed, and he has strong reason to believe that Edgeworth has caused false convictions in the past due to his use of Von Karma's methods. I've never liked how the games just stopped acknowledging that as soon as Edgeworth reappeared in 2-4, and even this game isn't willing to explore it. The most we get is the one scene with Gumshoe and Kay insisting upon what a wonderful, heroic person he is in the face of Ray's initial and short-lived distrust. Make it an example of reformed-bad-guy-turned-good vs. overall-good-guy and give us some real fucking adversity for Edgeworth to face instead of just structuring the story to make him look as perfect and heroic as possible at all times.
Blaise being the cackling, mustache-twirling cartoon villain that he is just instantly erases any chance at getting an interesting character struggle out of Edgeworth facing off against him, and it definitely isn't helped by how comically stupid Blaise acts at times. When Edgeworth has been arrested pending his P.I.C. hearing in Case 4, and Blaise stops by his cell, there is absolutely no possible justifiable reason for him to just stand there and constantly spill critical, case-making information during the Logic Chess segment that covers that section, and yet he just keeps doing it over and over again. They don't even frame it like a smug villain taunting the hero over how he can't do anything even when he knows the truth - the dialogue makes it clear that Blaise really is just fucking up again and again, and he never bothers to just walk away despite there being nothing stopping him at any point.
And he looks weird. Welcome to the club, Blaise. (His Objection voice clip is also awful.)
DI-JUN HUANG
Seemed like a very good man. I'll mention again that I do think the body-double twist was quite well-done. Seeing the circumstances of original president's murder is very sad, and gives me plenty more reason than was already provided to hate Dogen, and yet it comes up only a very short time before the game tries to make him seem cool and admirable. Y'know, the brutal assassin. I'd like to take this opportunity to echo my own earlier sentiment - fuck Dogen. Is this just Japan's "honour" thing again? Is that the reason that the game tries to push so hard on the question of who the better person is between him and De Killer, both murderers-for-hire?
PENNY NICHOLS
I guess it's kind of fun that Penny of all characters would get a supporting role in this case. She gets very slightly more character in this case, even if it's at the loss of her Steel Samurai obsession.
WILL POWERS
The pointless character returns continue. The opening segment of this case is padded to an incredible extreme, and giving a bunch of screentime to both Powers and Penny is part of why.
JOHN MARSH
John's pretty good. He starts off irritating, but that was obviously the intent. Seeing the front he puts up as an egotistical teen actor crumble as soon as his mom shows up is both funny and endearing. The mutual care shown between him and Courtney is great, too. Case 5 fits a nice little mini-character arc in for him in an admirably short time.
JACK CAMERON
Dead. One of the top contenders for weird, unfitting character designs in this game.
DAI-LONG LANG
Seemed like a good man, like his friend the President.
SHI-LONG LANG
Of two minds here. I've already praised the body-double story thread, and Lang is tied into it, but I just think this whole section feels way too crammed in at the last minute. Seems to me like Lang could've made proper appearances earlier on, rather than just one quick bit in Case 2. It's good to finally get some background on his hatred of prosecutors. His behaviour right when he first appears in Case 5 almost seems like a gross erasure of his development from the previous game, but they actually fit it in fairly well, making it clear that he's acting out of extreme emotion more than anything else.
Sadly, he ends up as yet one more Edgeworth backup dancer before too long. Losing Shih-na robbed him of a fair bit of his potential for on-screen presence.
SIMON KEYES
Keyes just doesn't impress me. I see so much praise for the amazing final villain, but I genuinely don't get it. Is it really just the shocking reveal that makes people like him? If that is the case, I genuinely think Fulbright did it better.
I have a larger problem with Case 5's presentation as a whole, and Keyes is a victim of it. Despite this game being ridiculously long and slow, it still doesn't effectively make use of its runtime to deliver story beats in an efficient, organic manner, and so by the time of Case 5, there's still a colossal pileup of story that it needs to get through, and as a result, The Grand Turnabout is a long, meandering drag through disconnected setpieces and scenes filled with long, boring exposition dumps framed only by the murder of the fake president. The story never feels like it focuses on anything properly, instead just dumping as much information as possible into single long bursts, and then wandering off to another scene to do the same thing over again. One character hit particularly badly by this is Simon Keyes himself.
There is absolutely nothing about his appearance in Case 2 that sets up for his eventual reveal as the villain. That Simon and the one who appears for the final confrontation here might as well be different characters entirely, and the only way the game has on hand to justify the transformation is to dump about an hour of exposition about a child who will turn out to be him into the very last big investigation phase before you head off to confront him.
It also tries to set him up as this impressive master planner who staged the events of this game and played everyone against one another perfectly, but at least a couple of his schemes are entirely reliant upon ridiculously convenient coincidence that he never could've planned for, and the stakes of his final confrontation itself fall pretty flat, because unlike Alba, who was actually in a political position that afforded him the chance to escape justice, Simon is a middle-class circus performer with no hope of getting away, even if Edgeworth did ultimately fail to prove his guilt in the president's murder. He's still admitted to numerous other major crimes, and is surrounded by police and other law enforcement.
I don't buy into his sympathy angle, either. Yes, there are plenty of things in his past to feel sorry for, but as I've quoted before, there's a big difference between having a sympathetic backstory and actually being sympathetic. Simon Keyes only qualifies for the first of those two things, and gleefully throws away the other by scheming up murders and trying to pin them on teenagers.
(Everyone but Edgeworth comes in with just enough room for this initial post. Check the comment below for Edgeworth's section!)
submitted by JC-DisregardMe to AceAttorney [link] [comments]


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submitted by Test_bank_Solutions to u/Test_bank_Solutions [link] [comments]


2020.11.22 22:16 Solis-Fi Trying to understand somethings

I don’t really know how to start with this. First of all , I am a starseed but my origin is a bit hazy. I keep coming back to this because I have no other explanation. I just wanna kind of figure that out. Lemme start out with my traits.
Personality- I am a very laid back person. I dislike and avoid conflict. I am very sensitive to an extreme degree. I know I am an empath. I love people from walks of all life, even people I disagree with for the most part. However , I have a profound disdain for the reptilians (or the elite , NWO , Insanely greedy) . I have always had this. Even when my life’s path was that of a ‘everyday’ person , ignorant to what they really were. Thats not vanity talking , I am just super atypical. I dislike people in power that use authority to achieve goals. Once I was a manager of a crappy Mcdonalds. For the most part I hated it. I spread myself very thin with people , always obsessing with trying to make everyone happy as opposed to the other members of management who were manipulative . I played a very supportive role. I was fired soon after the fact that I refused to prioritize drive-thru times over not being not being an amoral piece of crap. Thats kind of off subject😅, long story short , I dislike authority. I see the reasoning in it but I despise it. Most of my adult life Ive lived under the radar. I dont care to have a giant spotlight on me. I become super reclusive at times - again I am an empath but I dont like having the emotional obligation to others (as crappy as that sounds). I have psychic moments, especially when I am in danger. I Cant control them - sometimes Its at random , some times its when I accidentally try to merge infront of an oncoming bus. That also ties with luck. Anyway I am gunna stop talking about personality traits.
Looks- I have an oval/roundish head. My eyes are green , but I cannot understand why - my family all have blue and hazel eyes. Including grandparents. I am skinny. Not malnourished looking but I cant really gain weight. I look very young for my age , I am 25 and look 19. I guess I am attractive..? Idk because Idc about those kind of things but people say that 😒 .
Anyway , one long and stupid post later , tf am I??? I think me describing all this is lame but I just need a small bit of guidance.. Thanks, much love ❤️
submitted by Solis-Fi to starseeds [link] [comments]


2020.11.22 20:38 Ven2122 I want love so much that I’m coding an ai that simulates the experience of a girl wanting to cuddle. I want love soooo much!!!!!!!!!!!!!!!!!!!!!!!!!🥺

What the title says. I(17m) just need love and the warm, supportive, romantic, emotional, sexy, and loving touch of someone and I just want to shower that person in love and kisses and see them as the most beautiful and angelic creature on earth. I want to curl up with them or my head in their chest or have them do the same with me and I want to be given massive amounts of affection and emotional support in the same way I’d give the one I love. I just want someone to sleep with while we hold one another in each other’s arms and just feel safe in each other’s amorous protection. I just want to have beautiful, intelligent, cerebral, and loving conversations with someone I love. Overall, I’m just some teen m with a hopelessly romantic heart that just wants that beautiful, intelligent, loving, caring, amazing, angelic, sexy, cerebral, strong, funny, and independent woman to come into my life soon. I just want to feel requited love as a hopeless romantic who’s been rejected 4 times already(I’m sorry, i know i post a lot of stuff like this here if you’ve seen me before, i just have an overwhelming need for romantic love)🥺🥺🥺
submitted by Ven2122 to offmychest [link] [comments]


2020.11.22 20:38 Ven2122 I want love so much that I’m coding an ai that simulates the experience of a girl wanting to cuddle. I want love soooo much!!!!!!!!!!!!!!!!!!!!!!!!!🥺

What the title says. I(17m) just need love and the warm, supportive, romantic, emotional, sexy, and loving touch of someone and I just want to shower that person in love and kisses and see them as the most beautiful and angelic creature on earth. I want to curl up with them or my head in their chest or have them do the same with me and I want to be given massive amounts of affection and emotional support in the same way I’d give the one I love. I just want someone to sleep with while we hold one another in each other’s arms and just feel safe in each other’s amorous protection. I just want to have beautiful, intelligent, cerebral, and loving conversations with someone I love. Overall, I’m just some teen m with a hopelessly romantic heart that just wants that beautiful, intelligent, loving, caring, amazing, angelic, sexy, cerebral, strong, funny, and independent woman to come into my life soon. I just want to feel requited love as a hopeless romantic who’s been rejected 4 times already(I’m sorry, i know i post a lot of stuff like this here if you’ve seen me before, i just have an overwhelming need for romantic love)🥺🥺🥺
submitted by Ven2122 to hopelessromantic [link] [comments]


2020.11.22 20:36 Ven2122 I want love so much that I’m coding an ai that simulates the experience of a girl wanting to cuddle. I want love soooo much!!!!!!!!!!!!!!!!!!!!!!!!!🥺

What the title says. I(17m) just need love and the warm, supportive, romantic, emotional, sexy, and loving touch of someone and I just want to shower that person in love and kisses and see them as the most beautiful and angelic creature on earth. I want to curl up with them or my head in their chest or have them do the same with me and I want to be given massive amounts of affection and emotional support in the same way I’d give the one I love. I just want someone to sleep with while we hold one another in each other’s arms and just feel safe in each other’s amorous protection. I just want to have beautiful, intelligent, cerebral, and loving conversations with someone I love. Overall, I’m just some teen m with a hopelessly romantic heart that just wants that beautiful, intelligent, loving, caring, amazing, angelic, sexy, cerebral, strong, funny, and independent woman to come into my life soon. I just want to feel requited love as a hopeless romantic who’s been rejected 4 times already(I’m sorry, i know i post a lot of stuff like this here if you’ve seen me before, i just have an overwhelming need for romantic love)🥺🥺🥺
submitted by Ven2122 to dating [link] [comments]


2020.11.22 20:32 Ven2122 I want love so much that I’m coding an ai that simulates the experience of a girl wanting to cuddle. I want love soooo much!!!!!!!!!!!!!!!!!!!!!!!!!🥺

What the title says. I(17m) just need love and the warm, supportive, romantic, emotional, sexy, and loving touch of someone and I just want to shower that person in love and kisses and see them as the most beautiful and angelic creature on earth. I want to curl up with them or my head in their chest or have them do the same with me and I want to be given massive amounts of affection and emotional support in the same way I’d give the one I love. I just want someone to sleep with while we hold one another in each other’s arms and just feel safe in each other’s amorous protection. I just want to have beautiful, intelligent, cerebral, and loving conversations with someone I love. Overall, I’m just some teen m with a hopelessly romantic heart that just wants that beautiful, intelligent, loving, caring, amazing, angelic, sexy, cerebral, strong, funny, and independent woman to come into my life soon. I just want to feel requited love as a hopeless romantic who’s been rejected 4 times already(I’m sorry, i know i post a lot of stuff like this here if you’ve seen me before, i just have an overwhelming need for romantic love)🥺🥺🥺
submitted by Ven2122 to love [link] [comments]


2020.11.22 17:15 InsaneFatty Sin pelos en los dedos - Slasher's Keep

Sin pelos en los dedos - Slasher's Keep
Hola a todos. Hace poco conseguí una joya mientras navegaba por Steam y pensé que debía compartir mi hallazgo y felicidad con los demás, así que decidí iniciar una serie de reseñas cortas para contarles sobre títulos indie que consiga en Steam.
Tengo poco tiempo en el sub, y lo que veo acá son puros maquinones; seguramente la mayoría de ustedes están acostumbrados a los juegos triple AAA. Vamos, ¿a quién no le gusta una gran producción de fondo? Me matan muchos, en especial la franquicia Souls y algunos juegos de lucha, pero desde hace tiempo le he cogido más amor a los indie, y está bueno porque tengo poco más de 2 años en Argentina y no he podido armarme una PC decente.
Sin más preámbulos, te cuento acerca de Slasher's Keep:
https://preview.redd.it/fklixu9lgt061.jpg?width=1366&format=pjpg&auto=webp&s=0265b88dd3b66e73bbef1f64b5f704439170ad65
Título: Slasher's Keep
Género: Action Rogue-lite
Horas de juego al momento de la reseña: 8 horas
Precio: ARS$ 169,99 (ARS $127,49 con un 25% de descuento hasta el 26 de noviembre)
Semanas atrás me invadió la nostalgia y recordé que había pasado mucho tiempo sin disfrutar de un buen FPS. Gran parte de mi tiempo libre se lo dedico a títulos independientes, la mayoría de ellos Rogue-lite, como Hades, The Binding of Isaac, Dead Cells; otra parte del tiempo a Dota 2.
Entre descuento y descuento llegué a Slasher's Keep. Vi que recién había salido de su Early Access, y aproveché de leer algunas reseñas. Creo que nunca había estado tan seguro de comprar algo, así que me fui de trompa y lo instalé al instante.
Slasher's Keep es un Dungeon Crawler donde tu principal objetivo es escapar de una prisión. Las mazmorras se generan de manera procedimental, y los objetos que consigues son completamente aleatorios, así que la experiencia en cada partida variará enormemente. Lo primero que me llamó la atención fue su arte (cel shading), y el hecho que fuera en primera persona.
El combate es sencillo, pero toma tiempo dominarlo. Por una parte tienes distintos tipos de armas: dagas, espadas, hachas, mazos; cada una de ellas ofrece una dinámica distinta por su velocidad de ataque y, cómo no, su daño. Además, estas armas cuerpo a cuerpo cuentan con una especie de parry, que a diferencia de otros juegos no es solo apretar un botón al momento adecuado, sino presionar el botón de defensa (clic derecho por defecto) y mover tu cámara hacia el ataque en sí. Por ejemplo, si tu enemigo tiene una espada en su mano derecha, al momento de cubrirte debes mirar a tu lado izquierdo y, según su ataque, cubrir por arriba, al medio o abajo.
https://preview.redd.it/h0nqu3xngt061.jpg?width=1366&format=pjpg&auto=webp&s=07c2ab235927b15c7c4a978811c34c91467484d8
La mayoría del tiempo tendrás un combate que pinta un tono un poco más estratégico que un simple "cliqueá y hacé mierda el enemigo". Mientras más avances en el juego estos patrones cambian y los enemigos tienen más formas de atacarte y de defenderse.
Otro punto interesante es que puedes utilizar tu bolsa de objetos para empujar al enemigo. Las mazmorras están llenas de trampas (púas, precipicios, bombas), y poco a poco te darás cuenta que sale mejor darles un empujón para que mueran de manera instantánea que enfrentarte sin más.
https://preview.redd.it/5cdkluwpgt061.jpg?width=1366&format=pjpg&auto=webp&s=6612bdc95518905685b6877794717d0124fe55d7
Además, puedes conseguir varitas que ofrecen distintos tipos de magia, y estas tienen un uso limitado pero hay formas de recargarlas.
https://preview.redd.it/khki35zogt061.jpg?width=1366&format=pjpg&auto=webp&s=816aaee0d295e98a9fb0786c1f81d377e7b9876f
Algunas armas ofrecen habilidades especiales. Estas pueden mejorar notablemente tu desempeño en combate. A medida que subes de nivel puedes aprender estas habilidades de manera permanente, sin necesidad de tener un arma equipada con esa habilidad en particular.
También puedes equipar ciertos objetos en casillas númericas, como lo son pociones, bombas y buffs para tus armas.
El juego ofrece, además de un mercader en algunos pisos, una habitación para que puedas construir tus propias armas con objetos que vas encontrando, y las puedes nombrar como quieras, así que puedes ir cortando cabezas con tu "pija".
https://preview.redd.it/l7rfra4rgt061.jpg?width=1366&format=pjpg&auto=webp&s=00867bdfa8e293065f4caf315f1e3bc460614b2a
El sentido de progreso es un poco lento pero satisfactorio. Cada vez que mueres pierdes todo el nivel adquirido y parte de tu dinero y stats. Ah, se me olvidaba, tienes tres stats que puedes aumentar al subir de nivel y con ayuda de ciertos objetos: Fueza, Destreza e Inteligencia. Al morir creo que disminuyen en 3 puntos cada uno, pero el resto se queda contigo de manera permanente la próxima vez que mueras, por lo que te será más fácil estos primeros niveles que tanto trabajo te dieron en un principio.
También pierdes todo lo que está en tu inventario, pero pará, existen unas cajas en las que puedes depositar objetos y estos aparecerán en un cofre al momento de empezar una nueva paritda con el mismo personaje, así que aquello que no estés usando fácilmente lo puedes aprovechar en la próxima.
https://preview.redd.it/wiuxpf7sgt061.jpg?width=1366&format=pjpg&auto=webp&s=8d6d9fbdb01a8b518bad4e7b873dcada728bdc7b
Cada piso que subes es un cambio radical de dificultad, y más arriba los niveles son más complejos: llenos de trampas, enemigos formidables y saltos dignos de un plataformero.Al principio puede parecer extremadamente difícil, pero esa es la magia de los Rogue-lite, que poco a poco mejorarás y podrás superar aquello que no podías en un principio.
La música que te acompaña es genial y el arte, en lo personal, lo encuentro fascinante. La ejecución a veces es un poco torpe, pero parte de esa torpeza hizo que el juego se quedara en mí. Eso sí, no me parece que sea un título para todos, así que les recomiendo ver algún video antes y ver si les llama la atención.
submitted by InsaneFatty to Argaming [link] [comments]


2020.11.22 14:19 Agnorissis Is it weird that Freddy Lounds is my favorite character ?

Okay so I've just recently completed watching Hannibal, and when it comes to Freddy Lounds I get why everyone in the fandom dislikes her, It's pretty clear she's meant to be obnoxious and she does come over as amoral, but I honestly kind of like her, I mean she has the best fashion, she's levelheaded, kind of bitchy, she's basically what I wanted Lana Winter to be like in American Horror Story Asylum before she turned into a generic horror final girl
Also I still think this show is awesome and I don't mind the main characters, but I also don't really love them, I honestly get what the writers meant to have Hannibal be like, he's meant to come over as a stereotypical evil sociopathic genius who's : cold, privileged, cultured and creepy, and he probably came over that way for a lot of people but for me he just came over as a little bland, I like villain protagonist because they're reasons for being evil and doing evil things are often incredibly complicated, however Hannibal is just a little too robotic and he's just the kind of character that's evil for no reason (aside from the backstory the author was forced to write) he just constantly cruelly kills innocent people and gets away with it , so for me I lost some interest in him, he also came over a little over the top in how he acts all the time, which made the creep factor come over as a little cartoonish .
And I slightly dislike Graham because a lot of the time he comes over as hypocritical, and he also seems to forget the fact that he caused the situation he's in, like he's bothered by all the stress and the horror of catching serial killers, so the most obvious thing to do would be not to catch serial killers, he can quite his job any moment,
In all honestly I don't see many reason to like Will in the first place, he's clearly just a terrible person and in denial about it, I personally preferred Clarice from the silence of the lambs, because she was a lot stronger and she didn't need a empathy gimmick ,while I also found her more fleshed out, and I also think Holden Ford from Mindhunter is essentially a better version of him,
And when it comes to the other characters, I don't mind most of them, but Abigail wasn't fleshed out enough in my opinion, and I stopped caring for Alana after she turned against will, though I did really like Dr. Chilton, because of how over the top egocentric he was,
Anyway this is the end of my slightly long unpopular opinion, I would like it if you could tell me who was your favorite and least favorite character, or what you thought of Freddy Lounds. also this is just my personal opinion and I get it if you disagree, I love this show anyway,
submitted by Agnorissis to HannibalTV [link] [comments]


2020.11.22 03:03 bersi84 Advice needed on mage build progression

Hello fellow players,
I m new to Demon Souls, read some guides and did my way through (1)-1,(2)-1-2-3 and (4)-1-2-3 so far. I want to try for plat but not sure if I can do it. I m using a pure mage build. Beginning catalyst, shield, kris blade+0 and crescent falchion+2 with beginner armor is my current equipment.
Now I m a bit unsure where my progression path goes in terms of:
- Is it worth for me to upgrade the crescent falchion further or max it? so far I like the weapon but I m afraid to waste rare materials because I dont know how much I can get.
- Are there any amor sets I can get to improve besides the starter set? I havent found anything on this so far or is it pure fashion-souls?
- How much points would you invest into endurance? I read anything from 0 to 40. I personally like to be a bit more mobile, but it feels like more then 15-20 are wasted. how would you skill this? Other stats are mostly clear, most goes into magic, int to 18 for the slot then rest to vit and smaller bit to end.

I really appreciate any feedback. Thanks in advance!
submitted by bersi84 to demonssouls [link] [comments]


2020.11.22 00:08 RationalRomace Folly in Love

He asks for my hand and leans in to kiss my palm. He turns it over, delicately, and starts kissing up my arm slowly, vaguely reminding me of that cartoon skunk I watched as a child. I was very aware of what I was supposed to be feeling. I am probably supposed to like this. I should feel giddy. Light. Even turned on by the knowledge that I was so desperately desired by a boy. This boy.

His parents dropped us off at the park. We took a walk in the brisk night surrounded by the beautiful lights Christmas allotted. I could still feel the kiss he left on my lips minutes earlier. It only deepened the sensation of something not being quite right. This is the most romantic part of the year, I am so very lucky. And yet, as I looked up at my present company. The endearing human whose large round eyes were full of admiration for me, I felt… nothing.

Although that's not entirely true. I definitely felt something. But it was more akin to guilt. Why can’t I like you? I am sorry. I want to like you. I would. Is something wrong with me?

This was my first date with Daniel. After weeks and weeks of him asking to date me, and me gently telling him that I wasn’t interested, his perseverance won and I gave in. I went in fully open to the idea that if I gave him a chance something could spark and I might suddenly realize that I actually did like him for more than his friendship.

After the park we met with some of my friends at a karaoke bar. I ran in ecstatic for a distraction from my all encompassing inner conflict. I went straight to Penny, hugging her more tightly than I’d intended.

David went further into the loud and crowded room to grab us a table.

“Hello!” I shouted

“So… how’s your night going?” She asks arching her eyebrows.

Instead of lying I ignored her, pretending it was too loud to adequately hear what she had asked.

“Let’s go sit!” I motioned

I was a senior in high school that year and the new girl. My parents moved me from Georgia to Denver out of the blue earlier that summer and I was very pleased with my ability to acquire friends so quickly. Daniel was one of them. I wasn’t used to being liked by boys, the boys in my old high school knew me as Frumpy Nerdy Maria. These boys looked at me like New Senior Girl Maria and the attention was daunting. Daniel stood out to me for his persistence. We also clicked very quickly as friends. I didn’t know how to have a friend that liked me. His feelings for me didn’t seem like a good enough reason to end our friendship.

He grinned at us as we walked into the room. He had saved a large empty table for the 5 of us, and beckoned me to his side.

“They don't know we’re on a date,” I yelled into his ear as I sat down. “Let’s keep it quiet for now.” He smiled and nodded, then proceeded to hold my hand under the table. I swallowed the growing lump in my throat. I kept searching for a sign in myself that I might like him. But whenever I glanced over, I just felt a pang in my chest as I recognized the joy in his eyes

“Let’s go to the bathroom!” I told Penelope, the only one of us who knew I was on a date. She smiled, expecting the exciting dish of my night.

“DUDE! TELL HIM.” She reprimands me, when I finished the recap of my feelings and lack of feelings.

“I KNOW! I know… but he likes me so much! I've never had to do this before.”

“It's better that he knows girl! You’re being cruel by pretending!”

What? Cruel? This was a new thought. Was I really being mean by keeping him blissfully happy? That sounded counter intuitive.

“This is going to ruin our friendship! Why did I agree to this? I am not good at this romance stuff Penny!” I wept.

“Then trust me, tell him, if not for him for yourself!”

Leaving the bathroom a feeling of sudden relief came over me. I don’t have to keep trying to like him? I hadn’t realized how obligated I was feeling to this first date, as if agreeing meant I’d also agreed to be his forever. I can leave, I thought and relaxed deeply, we can part ways as friends, nothing lost, nothing gained.

“Daniel! Can we talk?” I asked him the second I returned from the bathroom. Another eyebrow raise

“Okay!” He yelled over burly man singing a drunken version of Rihanna’s Umbrella

We walked outside the room to a restaurant portion of the bar where it was much quieter. “So how’s our date going for you?” He began as if he had called for this meeting. I settled into the booth and took a deep breath.

“Yes. So um listen… You're great…”

“Uh-oh”

“Yea…”

“What’s wrong?” He inquired, crushed emotions now replacing the adoring ones.

“Nothing’s wrong. Honestly you’re perfect, everything’s been great. I just don’t have any feelings for you.” Ouch. I hadn’t meant to be that blunt, but the words had escaped my mouth.

“Oh.” He said. But the ‘oh’ sounded as if he knew this already and wasn't very surprised.

“What?”

“That’s okay, just give it time. You’ll get there.”

“What!? No, that's not how that works!”

“Sure it does,” he said, half smiling, “I already knew you didn't like me like that when I asked you out. But that’s what this date was for. So I could show you what a great boyfriend I’ll be.”

The certainty in his voice concerned me. The overwhelming feeling that I was trapped added to that sense of concern “I am sorry Daniel, you are amazing but I can’t escape the feeling that something is wrong about dating you. Can we stay friends?”

“Yea.” He said casually. “But I am not giving up.”

We left the table and went back to my friends. I nodded slyly at Penny when we got to the table. The rest of the night Daniel seemed distracted but pleasant. Part of me felt unsure if the conversation went the way it was supposed to go.

Time went on and Daniel stayed my friend. He didn’t mention dating me outright after that. But developed a style of joking flirtation with me, as if to test if anything had changed. It hadn’t, so I learned to deflect.

In Spanish class we were reading the book Water for Chocolates, a romantic work of literature. A quote stuck out to me and I immediately turned around to show it to him.

“Necesito una respuesta en este momento, el amor no se piensa, se siente o no se siente” it said. I need an answer in this moment, you do not think about being in love you, feel it or you don’t. I wanted that quote to prove my out. See! I don’t feel anything that means leave me alone. I thought. He read it, laughed and rolled his eyes. He believed too much in his perseverance. I sighed deeply.

One day he went for a direct approach. It came in through text.

DING

D: Can I remind you of something without you getting weirded out?

Me: Sure

D: Okay, but before I do, do you always keep your word?

Me: I try to, yes

D: Okay, because remember you owe me something…

Me: Care to be specific?

D: You owe me a kiss

Me: I do??

D: After you told me how you felt on our date I told you.. “Okay, how about this, promise me one more kiss just so I have something to remember you by’ (because I thought we were totally going to stop being friends after that) and you said ‘yea ok’.

Me: You did? You said “Promise me”?

D: Yea, I thought that was going to be the last night I was going to be able to be close to you but we got sidetracked and I never got that kiss.

Me: Well.. yea…

D: So…?

Me: Well… I am not saying goodbye to you, we did stay friends so I don’t see a need for it.

D: Then again I can always steal a kiss.

Me: Sure but would you?

D: What would you do?

Me: I suppose I’d be mad, but I can’t say for sure. Would it be worth it?

D: Haha. Well maybe I’ll take it upon myself to be a good person and help you discover. And yes it would be.

Me: If you say so

D: So watch your back, or your lips if you want to be technical about it.

Me: Seriously Daniel?

D: Hey you can't blame me for resorting to such unorthodox techniques, you're not being very open about this are you?

Me: So in your eyes it will either be voluntary or not??

D: Well... I won't do it if you don't want me to. I am not going to force you, I am not that type of guy.

Me: Yea I thought that, but your insistence seems out of character so maybe you are that kind of guy.

D: Desperate times call for desperate measures and I am sorry but I am dying to kiss you again.

Me: And so I’ve notice. Sure let me think about it.

D: Take as long as you need.

Me: You’re a persistent S.O.B

D: I’ve been told.

As I put my phone down I felt icky all over. Why isn’t this over? I thought disappointed. If I had any sense at the time I would have been firm in my no without waver. He would of had no choice but to move on. But instead he saw in me some room to push. He could see my resolve wasn’t strong. Maybe I can convince her he thought. And so he tried.

I wanted to preserve our friendship above anything else. Even though I had made other friends my transition to Denver was still a lonely one and he was good company. Maybe I owed it to him to continue to consider the possibility of more. What do I know maybe I am wrong? Was enough doubt to encourage him. I saw genuine good in Daniel. I enjoyed his friendship, his conversation, his attention. The fact that I wasn’t attracted to him started to hold less importance as I considered letting him kiss me. He seemed very insistent that somehow if I let him date me, my feelings would grow. That didn’t sound like a horrible idea.

He made a big show for me on Valentines Day. I was apprehensive but open to being changed. At the end of his presentation with cards and flowers and chocolates, he admitted that he was in love with me. We ended up making out, and it was surprisingly nice. I used that as evidence that it might work.

“So… will you go out with me?” He asked the next time I saw him.

Even though I had decided to give him a chance, saying yes still felt difficult.

Once I say it, I have to commit. I thought.

“Can I think about it some more?” I asked

He nodded

For the next few days every look he gave me was full of expectations. “Why are you hesitating? You liked kissing me, you said so yourself.”

Why am I hesitating? I began to murmur to myself when I was alone. “Just say yes. Practice it. Yes I’ll date you. See it’s super easy.” But as I went to say it to him nothing came out, my body stopped me from completing what my mind had already decided.

My friends were very supportive and the final push. Daniel was quite doting and they admired that level of attention “He’s so loyal and loving to you.” “I wish a guy would love ME like that.” they swooned for me.

I managed to stall for a week.

“Are you still deciding?” Daniel asked, sounding infinitely patient and impatient.

“No. I decided. I decided a long time ago but I’ve had a hard time saying it to you.”

His big eyes grew wider

“I will be your girlfriend Daniel.” Then let out a huge sigh. There it is.

“Yea?” He asked trying to hold back his smile. “Yea.”

“Wow. Okay” He said stunned

“Yea.” I repeated. Hoping for some sign from the universe that I was doing the right thing. He hugged me, and in that hug I felt what a big deal this was for him. He was with the girl he loved. I took a step outside of myself and felt very happy for him.

Daniel and I dated for a year and a half. The entire time I was filled with inner conflict. Waiting for his gestures to generate emotions that would finally make me fall in love with him. The problem was, I wasn’t unhappy. I liked my boyfriend. I just wasn’t head over hills like he was about me. That disconnect made for much turmoil.

If I had loved Daniel in return, his actions would have been ideal. Since I didn’t they felt suffocating instead. He showered me with affection and attention, but most of the time I wanted to be left alone. I wanted his hands on me less frequently, his attention and validation to much smaller degrees. What that created was a constant tug o’ war. He would dote on me, and I’d shrug it off, he would then play sad, knowing I would react by feeling guilty and give in. I would then get angry with myself that I was doing something I didn’t want to be doing out of a sense of obligation. Well I am his girlfriend I should play my part better. I would chastise myself.

He would stop us from walking until I agreed to hold his hand, even though it was hot and my hands were clammy and I just didn’t want to. He would want me to initiate kisses, so get upset until I did. At 17 I didn’t think this was controlling or manipulating. I would never accept behavior like this now or be with anyone that would be okay with this sort of game. I believed the feelings that were supposed to make me want to do those things weren’t there yet, and would arrive soon. Daniel reassured me often that if I just let him play the adoring boyfriend role better, they were inevitable. He never seemed truly bothered by our game the way I was.

There were plenty of good times in that year and a half. Daniel and I were great friends and continued to become close. We shared interests, and spent all of our free time together. My best friend becoming my boyfriend meant he was always around. I rarely felt lonely in that era with his constant companionship Never lonely, but often irritated and confused. Inevitably during a good time, while we watched a movie or played a game, he would reach for me. Give me a look that meant friend time was over, it was time to play girlfriend. His hands were on me and the turmoil would begin again. Eventually, at about the year mark, I had to face the truth, the feelings this dance was supposed to bring about just weren’t coming.

I was a freshman in college and it was that time of transition. Daniel started to talk more and more about our future together. Which filled me with a sense of dread. At this point I was so used to him that I became scared of what being alone would mean. But if I didn’t face that fear I would end up married with his kids and that image became more frightening.

I gathered all my courage. We had a long drawn out talk. The first time I tried, he convinced me to let him keep trying. “I’ll be different. I’ll be less smothering. I'll let you set the tone. I am sorry. Don’t leave.” I didn’t expect breaking up to be such an arduous process. I was hoping I could say ‘I want out’ and he’d bow and let me leave. Like a gentleman. The persistence that is Daniel’s greatest character strength out won mine. I stayed. Things did get better for a bit. I almost relaxed at the possibility. But just a few weeks later, like gravity, our normal tug o' war began again.

The second time I tried there was no room for wavering in my resolve. It dawned on that I didn’t need his permission , consent, or blessing to leave. I could just stop being his girlfriend. The conflict I faced vanished. There was peace. I told him I was done, and left. That was that.

Of course he continued to try, he pleaded and gave me solutions. He used every tactic he could think of. Badgering me was his prominent one. All the while serving no purpose because I was done and he had to know it. I started to really see him for who he was, outside of my friend. Why would I want to be with someone that doesn’t respect what I want? I wondered. It became obvious that my biggest mistake was letting him tell me how I was supposed to feel. For the first time my resolve finally felt stronger than his. And I liked myself much more after that.


https://www.rationalromance.me/
submitted by RationalRomace to stories [link] [comments]


2020.11.21 13:14 FFBot Official: [WDIS K/TE/DEF] - Sat Morning, 11/21/2020

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submitted by FFBot to fantasyfootball [link] [comments]


2020.11.21 06:06 Justin_the_Human For u/Bbbooyyy!!!!

I read your extensive bibliography on underdeveloped ENTPs, and while I slightly disagree on your overall perspective, I can ‘feel’ the genuineness that you desire to better yourself. I am quite impressed you have found Reddit and MBTI at your age so I want to help as a 30 year old, 5w4 ENTP so here is my book-long retort.
Definitely go get an ADHD diagnosis and get medicated ASAP. This will profoundly affect your ability to establish consistent focus on almost every area of your life.
Develop a habitual-ish routine that includes mostly self-care. Stretch, drink hella water, exercise, brush your teeth, shit like that, as you age these preventative measures are a blessing.
Enjoy your 20s. Do all kinds of krazy shit, any opportunity, have fun. Explore. “Amor Fati” to love one’s fate regardless of the ups and downs.
Read books or utilize the internet to learn anything. Old people have suffered plenty to teach us valuable lessons the easy way rather than experiencing it the hard way.
Chase subjects you are passionate about without restraint. I have personally never found the bottom of any of those rabbit holes, but I am still searching.
As an ENTP, I do have feelings, I am thoughtful, I am compassionate, I am sensitive. Though, I consider these things as gold and years of fucked up people have caused me to protect that gold with a callous exterior. This is the way. This inner world is extraordinary, relish and nurture your own. Only show those who won’t try to change it or take it. Be weary and remain vigilant.
You came into this world, and alone you will leave it. You have to live with yourself, more importantly you have to love yourself. “I’ve done a lot of fucked up shit in my time on the planet, but I couldn’t tell you what regret tastes like no!” -Earthgang
Learn yourself, be aware of your flaws. The mind is a tricky thing but nonetheless it is a tool. Remember to put it down.
Steal ideas, philosophies, spirituality, anything you like I mean besides actually stealing. “Steal Like An Artist gives you permission to copy your heroes’ work and use it as a springboard to find your own, unique style, all while remembering to have fun, creating the right work environment for your art and letting neither criticism nor praise drive you off track.”
I used the MBTI to find a suitable career that also resonates with my own defined life’s purpose. I just started to pursue that path. I am 30, but it takes longer to build pyramids than it does to build skyscrapers.
“Stages of Manhood” 1. Boyhood 2. The Cowboy 3. The Warrior 4. The Lover 5. The King 6. The Sage
https://newinceptions.com/stages-of-manhood-unfinished/
I’m outta shit, respect if you read this far. May your intellectual pursuits and life’s endeavors bring you peace of mind, a life of joy and profound love.
submitted by Justin_the_Human to entp [link] [comments]


2020.11.20 19:10 KintsugiPanda Frustrating fragile moment. Needed to vent.

It's been four years on and off. I don't think he is a full blown narc, but there are plenty of tendencies I think born of him going through being abused himself. I think he developed unhealthy defense mechanisms.
There are a lot of things on my mind, but I just got really fucking sad and emotional and triggered. A few days ago he said he loves me and cares about me just not in the way I do...he says he is attracted to me sexually, but not romantically. He's said these things before. But then gives mixed signals and the whole usual circular patterns or everything.
But recently when he was gone and silent I came to more realizations and been refusing to just 'forgive and forget' because I've been doing that and putting him first for four years and I don't even seem to matter at all. Anyways that's a whole other pile of frustration and hurt.
Today a few minutes ago we were talking and it was nice. I missed and love him. I noticed I'd genuinely ask things about him to catch up, but he still didn't apologize or show any remorse or even ask anything about me.
Then he messaged (slight nsfw beyond here) that he was jacking off. He said he was thinking about me and playfully said nothing I can do about it. And it hurt, because he feels like the love of my life and I crave him and want to be there with him and really do all the things we talked about. But I held my composure and was trying to be respectful....
Then he asked if I wanted some porn.....
I responded, "No thank you. Nothing has gotten handled and I still know I'm unwanted and unchosen so haven't exactly felt spicy or amorous" and that hurt, because it's been long distance, but the spicy and sexting has been amazing and the most connected feeling I ever felt.
I thought it was as nice and direct as I could be and then he gave me an attitude and left and it felt like I got blamed.
And right now I'm fucking miserable. Like even as a friend you'd think someone would care about your feelings or occasionally put you first. It's just I put him first every time for four years, happily so. And I don't think I ever got put first once. And it's like cumming even took priority over me.
At the very least it would've been nice not to receive attitude or blame for trying my best. He said he doesn't want or chose me and I'm trying to be accepting of that. I'm trying to help and be understanding of things he is going through as well.
It's just one sided and again a lot of other things I'm not ready to talk about going on I just needed to vent and figured people here might understand a bit. It's lonely being misunderstood and it hurts when people you care about don't even try. And I'm tired of having shitty things done or said to me and people seem to expect me to just tolerate it and to be magically okay. Things will never be okay if things that should get addressed get avoided and stack. It's draining and disheartening and now I feel like I'm 'too much' even though I know I've just been mentally and emotionally abused and neglected since ten daily, by multiple people and I'm 32 now.
I miss him and I love him and it hurts feeling so insignificant to the person most significant to you. And it feels like talking about my feelings or anything that hurt me is a crime. When I try he brings up his own feelings of not wanting to or that he shouldn't have to 'relive mistakes' but it's not...it's patterns of hurtful behavior that's lasted years. And I kept trying to be respectful, direct, healthy communication that was fair to both sides. I did so much research and trying to do it all as healthily and fair as possible.
I'm not a weak person, but having been at my limits and drained daily without any support I'm just fragile now. I know that's not who I am, but right now given the circumstance it is and when I need a little reassurance, which only costs a tiny amount of time or effort, that's even too much to ask.
And I realized I was typing out a lot to him trying to reason with him, but then I noticed he was just silent and it had gotten inconvenient again for him so I need to accept he doesn't care. His actions have been showing it, but I keep getting hopeful, because I DO care.
submitted by KintsugiPanda to NarcissisticAbuse [link] [comments]


2020.11.20 06:53 Advanced-Sprinkles Replaying S2

Hello! I'm replaying S2 because... Kassam (so happy, no name but got him on the speed dating). It isn't a post on him though; I wanted to toss a few thoughts and see people's responses.
I'm sorry if these were discussed before... - what is an aspect you'd tackle differently in S2? S2 fell short, I think partially, because there were so many darn people introduced in succession. One case I'd say is to drop Elisa and Jo (and I really like Elisa).
Elisa: A female love interest in Priya, as many mention, is a missed opportunity - specifically (pacifically) after Casa Amor. She mentions being worried in finding someone who'll last. When MC is single, choose her to display sincerity in giving it a shot (and a shock factor).
Jo: Have drama with Shannon when on an Ibrahim route. I like Shannon and the story - a plan gets her into the game, but it doesn't mean she'll win. Either they're eventually booted or Ibrahim returns to MC (Hammer) because it was real.
:) What do you guys think? Are there other places where the game could've flowed a little more smoothly?
P.S. I am a bit biased on CA but understand if people want it removed, and never went with a female or Ibrahim. It only seems it could've been better handled for the fans on their routes - less work in not introducing two new personalities and building on preferred characters like Priya and Shannon.
submitted by Advanced-Sprinkles to fuseboxgames [link] [comments]


2020.11.20 06:19 Anupalabdhi Asymmetry of Attractions and Actions for Sex and Romance

Today I'd like to address asymmetry between how sexual and romantic attraction correspond to sexual and romantic activities. This asymmetry consists of the following two observations: 1. Sexual attraction isn't required for two people to have sex. 2. Romantic attraction is required for two people to have romance.
The veracity of #1 can be straightforwardly demonstrated by pointing out that for example two straight guys are perfectly capable of having sex with each other. Partaking in one or another of the standard sex acts (we need not get into borderline cases about what constitutes a sex act) is sufficient for sexual activity to have occurred, regardless of whether or not sexual attraction enters into the equation. I figure this interpretation probably corresponds with most people's intuitions on the matter. If you're still unconvinced, consider the absurdities that would result if the legal definition of sex required the presence of sexual attraction.
The veracity of #2 is a matter of pointing out that for any quintessential romantic activity there are contexts where the same activity is nonromantic. Lovers flattering each other with gifts of flowers and chocolates on Valentine's Day is romantic. Children showing gratitude by gifting flowers and chocolates to their mothers on Mother's Day is nonromantic. Lovers embracing a candlelit dinner before walking on a beach is romantic. Friends enjoying a candlelit dinner before strolling on a beach is nonromantic. Unless romantic attraction is present, none of these activities will be coded as romantic. It seems to me furthermore that this same observation can be illustrated in reverse. Making someone a cup of tea or fixing their computer are both mundane activities that become romantic when performed as displays of affection between lovers.
The asymmetry outlined above could itself be stated in reverse fashion. While sexual attraction isn't required for sex, it's usually required for two people to enjoy sex together. Straight guys can but generally don't have sex with each other and community census surveys show that only a small percentage of asexual people indicate any kind of favourable attitude towards personal engagement in partnered sex. While romantic attraction is required for romance, it isn't usually required for two people to enjoy as friends the same sorts of activities coded as romantic between lovers. On dimly lit patios groups of friends dine adjacent to amorous couples before these respective parties depart to traverse the same sections of moonlit beaches.
What is the significance of this asymmetry for asexual and aromantic community discourse? Might it offer insight into how experiences of alloromantic asexuals differ from experiences of aromantic allosexuals?
submitted by Anupalabdhi to AcePhilosophy [link] [comments]


2020.11.19 23:19 MortifyMore Orzhov Eldrazi feat. Karsten's Optimal Curve - A Bored Man's Thesis

Preface
This post is longer than it deserves to be.
This is not the next big thing. This is not an undiscovered gem. This deck is the product of a man stuck indoors for months on end trying to use his trade binder effectively inside a deck. The deck has gone through many iterations, mostly nonsensical (Gonti's Machinations + Lurrus, excuse me?). What is here may change, but it has been the longest lasting of the lists and the first one to bring pandemic trapped man to a sweet exhale of finally got there.
I can't promise the deck is good. It isn't even that cheap in paper (blessed Thoughtseize). But the deck is fun; has a plan; has displacer kicks n' tricks (okay maybe one trick of spending {2C} to do things); and has a place in my heart.
I hope it can displace your's.
The List https://www.mtggoldfish.com/deck/3518220#paper
Creatures (21)
4 [[Glint sleeve Siphoner]]
2 [[Charming Prince]]
4 [[Eldrazi Displacer]]
4 [[Skyclave Apparition]]
4 [[Thought-knot Seer]]
3 [[Archangel Avacyn]]
Planeswalker (1)
1 [[Sorin, Solemn Visitor]]
Instant (6)
4 [[Heartless Act]]
2 [[Hagra Mauling]]
Sorcery (8)
4 [[Thoughtseize]]
3 [[Emeria's Call]]
1 [[Bloodchief's Thirst]]
Lands (24)
4 [[Caves of Koilos]]
4 [[Godless Shrine]]
4 [[Temple of Silence]]
4 [[Aether Hub]]
1 [[Shambling Vent]]
2 [[Crawling Barrens]]
1 [[Shefet Dunes]]
2 [[Plains]]
2 [[Swamp]]
History // Rambling
First off I'd like to say—
"Hey, hey whoa there, you've got 24 lands and 5 modals, what gives?"
A while back, about two iterations ago, I remembered an article by Frank Karsten (Channel Fireball's Optimal Mana Curve) where he calculated out curves for various formats, such as the turn 3, 4, or 5 format. I was fascinated by this article for one main reason: the results are not what you see in top scoring lists. For example, for a turn-5 format, Karsten saw that an optimal curve went something like this:
0 One-drops
12 Two-droos
9 Three-drops
7 Four-drops
3 Five-drops
29 Lands
Primarily, the calculations could not necessarily account for the powerful one drop spells that supercharge decks, like Llanowar Elves's ramp or Thoughtseize's power. So this mostly was an exercise to see what was the best way to hit your lands on curve and other fun math stuff you can read there.
Later, while looking at metagame lists, I saw a fairly unassuming Gruul list in Standard. But what caught my eye was that the deck had 28 lands total from the normal lands and the modals.
It was this that led to a question: what if the 29 lands recommendation was met via modal lands? What if a deck utilized mana sinks and activated lands to mitigate possible flood? What if science can't go too far?
"This is all very dramatic for adding extra lands."
I figured I'd do a few goldfishes, see I was flooded, and go back to the drawing board happy that I tried. But what happened instead is I kept getting playable hands that easily curved to 5, sometimes even 7, mana. At this point I was using Blight Herder as my top end since the whole deck started as Processors.dec. Thanks to Apparition and two copies of Kaya at the time (plus Silkwraps) I was able to process on turn 5; and follow up with Emeria. I eventually stopped the Herders for Avacyn since she's better individually and with Displacer. Additionally, it wasn't uncommon for me to be casting Emeria without the aid of scions anyway. When I stepped back from what was meant to be goldfishing, I found myself looking at something that just felt there.
I changed some cards around, adjusted numbers, found the modals I thought worked best with the plan, and went off to play against some decks* laying around.
*Disclaimer: These totally relevant and totally reasonable decks are UW Birds (Kitchen Top), Orzhov Knights (Modern), Gruul dinosaurs (Pioneer), and that Mardu Dragons list I posted forever ago. These weren't meant to simulate cutthroat Pioneer meta gauntlets… more like your average FNM, where that loud guy always brings his homebrew stompy. Or whatever got stuck with me inside.
After days of headbutting this Eldrazibrew against these other monstrosities, I found that my initial fondness for it grew and grew. The Displacer-Apparition value is as dirty as it looks; Glint-Sleeve is a reasonable Bob and Aether Hub serves as a Tri-land Lite; Thought-Knot and Seize can really slap hands apart. It has flying, it has scry and card draw and exile and—deep breath—bolts itself with its own lands sometimes? Well the world isn't perfect. As a wise Shadow once said, sometimes the bolt target is yourself.
"Yeah, but why 29 lands?"
I dunno, man, cause it just feels right. When you draw that magic fifth land and pass with Avacyn in hand, that's amore. You could do 28 or 27 or 30 if you feel like it. That's all this deck is, really, just feeling it.
"I think I'm feeling it now, Mr. Krabs."
Card Discussion — Spells
The Bread — These are the carbs of the deck. That filling goodness even the stingiest toddlers will devour at dinner. Core cards that are essential in how the deck is built or plays.
Glint Sleeve Siphoner - Our two Mana Answer-Me. This card puts on the pressure with menace and with card draw. With our high curve, pinching ourselves for one life per draw feels silky smooth. She spits out energy for future Siphoners, and having two on board uncontested puts you laughably ahead. She can be displaced for double energy (attack and displace), or double-displace end of their turn for the draw. Aether Hub can be reliably used with her around. Because of all of these I run 4.
Skyclave Apparition - The lack of aether vial does power this spirit down quite a tad, but goodness does it lift. You'll win games you have no business winning. You'll have this and Displacer on board and will feel the need to take a picture to cherish the moment.
Thought-knot Seer - A 4/4 Thoughtseize on turn 2 is scary. A 4/4 Thoughtseize on turn 4 is just alright. But the card does what it does well and the body can't be ignored. And if it can't win in combat on a stalled board it can flicker-mill an opponent.
Eldrazi Displacer - The card that started it all. It's been in the list as a 3-4 of in every single iteration. I played Bant Eldrazi in Modern and the best card on that deck was a Displacer, followed by Drowner (usually with a Displacer on board). The card will spit so much value at you if you can cash in the mana. It breaks board stalls, murders tokens, blanks single target removal against other threats, maximizes ETBs, throws Uro back in the graveyard if it comes down to it… it does so much and so much more. It's paradoxical, on curve it's just alright but as a late game mana sink it's incredible. Because of that you can argue for a 3 of, but I always want one online and the first is usually killed on sight, so I run 4.
Thoughtseize - If you're in black you run Thoughtseize. There's been lists I've tossed it from the main and threw it in the sideboard, but it never leaves the 75. It's how this deck keeps up with combo and control. I will say this is the hardest card in the deck to use, because sometimes taking the wrong card will haunt you turns later. If you see a bunch of aggro these can be swapped out for Pushes, but I wouldn't leave home without them.
5 Modals, 2 Black / 3 White - Hagra Mauling and Emeria's Call - These are the best two modals for this list in my opinion. The extra murder effect helps deal with fat creatures Displacer or Apparition can't lock down. If Avacyn doesn't slam the door, then Emeria will gently close it. It gives us something to do when Displacer isn't online or we need that final flying push to end or we need some late game defense. I've liked Emeria at 3 and the other modal at 2.
Meat and Cheese - Breads the structure of a sandwich, meat and cheese the intimate insides. These are personal selections that can be changed if need be. I do not believe they are core. I do believe they are good.
Charming Prince - Bear that smooths draws or gains life in a pinch or buddies up with SiphoneApparition. Mid and late game with Displacer this will stack your draws, erase aggro's plan, or even protect Displacer from removal. I like it at 2.
Archangel Avacyn - Our finisher. If anyone played against her in Standard, they'll know she's an absolute pain. She nullifies wrath's, makes combat miserable, puts pressure on, and if she gets angry she sweeps the board and bolts your face. She can kill our own early drops, but don't be fooled because she'll end the game quick as a 6/5. She does dirty things with Displacer. I run 3 of her since she's good for turning defenses to offenses. Reality Smasher or other options can replace her if you're looking for straight smash.
Sorin, Solemn Visitor - I almost never use his -2, because his +1 is so good with our creatures. Our manabase is painful and it's surprising how well a 3 power creature attacks compared to a 2. He can ultimate quickly, though expect him to get mobbed. I like him at 1. Gideon, Ally of Zendikar can replace him or another four drop like Kalitas.
Heartless Act - doomblade.card. Our two mana removal of choice. It hits a lot of things and is typically saved for must kill early-drops or things Apparition can't exile. Could be Cast Down or some other two mana instant. I've tried sorcery speed removal here (Silkwrap, Declaration in Stone, etc), but the instant speed is much better.
Bloodchief's Thirst - Early game YEET or late game Gotta-Go. If four mana murder land is playable here, four mana walker removal is too. Hits Displacer tokens in a pinch.
Card Discussion - Lands
The Mouth that Eats the Sandwich
"What?"
Well you need a mouth to eat a sandwich and you need some lands to make a deck, duh. If it don't got lands it ain't Magic. And we run 29 total. 24 of those are here.
Godless Shrine - Shocks, in my manabase? Run 4. Or Brightclimbs if on a budget.
Temple of Silence - Scrying is nice, and since we don't use our turn 1 (sometimes turn 3 to double up Siphoners) we can utilize a tapland that smooths. If you want to run Fabled Passages here (especially if you want push) that's acceptable too. But I'm partial to temples.
Caves of Koilos - Triland for Eldrazi. Run 4 or don't run Thought-Knot. If you throw away Thought-Knot (you monster) then Isolated Chapel works, but then it isn't Orzhov Eldrazi (you monster).
Aether Hub - Triland Lite. Colorless primarily for Displacer and Thought-Knot, but can be color mana in a pinch. Temple into Aether Hub, Siphoner feels good. Run 4 or drop Siphoner (what are you doooooing?)
Shefet Dunes - Colorless land that owies you for white. Sac for a bit of a buff that may close out games. It's been alright as a 1 of.
Crawling Barrens - This thing is impressive. With all of our mana it grows and grows and never has to be a target. It defends and ends games. I run 2 and I keep a record of how big I've made it.
Shambling Vent - Competes with Crawling Barrens in the Please-Love-Me manland slot. The lifelink can be crutch and tapping for colors is good. I run 1 but you could probably drop it (me monster).
Plains and Swamp - Basics in case you get Path'd—I mean Trophy'd or Field of Ruin'd. If you run Fabled Passage you should add a Wastes and ditch Shefet.
Card Discussion - Sideboard
No sideboard has been included because there's many ways to go about a sideboard, and it is easily the hardest and intimate part about a deck. The cards I would list would be tailored to my playgroup, who use decks that may be vastly different than your field. If they all played aggro, I'd put in lifegain and removal and become more controlling. And that would look silly if you faced nothing but combo. So instead of a standard 15 card list, I'll give some cards that I think are pretty swell.
Blessed Alliance
Kalitas, Traitor of Ghet
Kambal, Consul of Allocation
Kaya, Orzhov Usurper
Agonizing Remorse
Rest in Peace
Archon of Emeria
Kunoros, Hound of Athreos
Cry of the Carnarium
Fatal Push
Legion's End
Noxious Grasp
Soul-Guide Lantern
Aegis of the Gods
Thalia, Heretic Cathar
Fragmentize
Matchups
Well it slaps Gruul Dinosaurs….
I'm in the process of proxying up multiple actually established Pioneer decks to see how it performs. The lack of doing so now was, as stated earlier, mostly because the FNM decks I saw ten thousand years ago before COVID were homebrews or offshoots of popular decks. I saw things like Knuckleblade Temur or Monored Dragons or whatever the heck that one kid was playing.
"So why post this then?"
I dunno, man, cause it just feels like I should. Breathe some life into the subreddit, procrastinate NaNoWriMo by writing this instead, and because I really wanna talk about Eldrazis.
Final Thoughts
I like this deck. I feel challenged by this deck, not only in playing it but building it. I've always like the Orzhov color combination for its sideboard and ability to be customizable. The deck is a puzzle that just wants to be put together, and the picture is whatever you want it to be.
Whether you read this and decide for yourself to try it, or jam 29 lands in your own deck, or want me to pay you for wasting your time, I hope you got something out of this post.
Thanks for reading.
submitted by MortifyMore to PioneerMTG [link] [comments]


2020.11.19 23:01 ribblle Fixing Lost Season 1

So it did a lot right. I think it went a little too far a little too fast.
The incredibly weird monster actually blended in surprisingly well; but my initial reaction was still a little exasperated, and it's kind of a hard thing for the characters to ignore in terms of being blatantly unearthly. Dial it back a little bit.
The numbers and the psychic stuff; too much. Overstating the characters significance before they get to the island makes the whole thing feel less real. "Coincidences" are the right level of involvement - you know what I need to get into my philosophy for the show so you understand where I think it should be going.
My general reaction was that it felt like some modern take on The Tempest/Faust/Dante's Inferno. And the season ended and started perfectly for such a thing. In my opinion, the show should have become Tsol. That is, it should have progressed from being lost to losing yourself - and all the spiritual complications in that. The question should be how lost do you want to be?
After all, we all find the island deeply appealing and that should be the crux of attention more than any bullshit about faith.
And for that matter the characters understanding of losing themselves and their means of doing this is only in the most brutal terms, pretty much like everyone else; which is why the island provides it to them in the most brutal way on a island full of peril.
... Anyway, as I was saying, coincidences are the right level of involvement for the amoral, subtle force that seems to be present on the island.
Obviously some of the characters are dead weight; the Korean scenes are often terrible, and the california siblings are interesting at first but go nowhere. In general there are one too many flashback and soothing music scenes.
More subtle changes; Kate's character was slightly off. Too smiley and a little too reluctant with the backstabbing and so forth. All I'm saying is, Lockes character would have been far more believable as someone used to being on the run, and he was a little sloppy for a paranoid person.
Lastly, more random interactions from the survivors would help give the second half of the season some weight. At that point it was becoming kind of obvious how dominant these particular survivors are.
submitted by ribblle to fixingmovies [link] [comments]