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An Interview with RAKninja

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The following is an interview with former Café Staff member and longtime YouTube Pooper and forum-goer known as RAKninja. Unlike in my past two interviews I had with some (former) infamous members, I decided to do this interview the old-fashioned way of asking one question and waiting for an answer privately. This is in part to show some honor to the user in question since we at YouChew respect his wishes and services throughout his time here. While some parts might be edited (mostly for grammatical purposes), the messages that RAK conveys still remain the same throughout the interview. We at YouChew hope you learn something new out of this and hope you have a happy 10th Anniversary for YouTube Poop! Let's hope the next 10 provide some more fun for years to come.
 
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CL: To older members of YouChew and the first YouTube Poopers in general, they more likely know you are. However, for newer, post-2010 members of YouChew and YouTube Poopers, they probably look at you and wonder what makes you... you. For any newcomers at hand, could you care to give us a brief description of who you are and how you might describe your style of Pooping?

RAK: I am the one and only RAK. Though I had been watching poops for months beforehand, I became active in both Poop and Youchew right after the "Boomer Generation" (around 2006-2007). The strongest bonds I've forged here were with people who joined Youchew contemporary with me. Those people included the likes of Emperor Ing, NS2, and Crash2991. Yet, for some reason, we pretty much all ended up serving on one sort of staff or another at some point.

I'm probably most well known for my service on the tennis staff. because i was the most outspoken and visible Fuck, people assumed i was actually the "leader" of the staff, but this isn't really true. Well, it is sort of true, but not really. Does this make sense? Even today, it is obvious I greatly influenced the tennis community here. After all, two awards are based off of my former avatars.

As for my style of Poop, I like to call it "source enhancement". I typically only work with source material I like, and I'll make whatever edits necessary to enhance the native comedy of the source material. I'm also a bit experimental. I'd like to think I've influenced "brain-rape" or "rapecore" as you know it today. Back when I started, that style didn't exist (not even MycroProcessor used it). My hand may not be felt as strongly as Mycro, Gamebop, Imaperson, and many others, but I did pioneer a few things.

CL: You've mentioned that there were some awards that your avatars helped influence. Care to explain what they are and why they got to be like that?

RAK: First, there's the Robo-Racquet Award (Posted Image). This is awarded for participating in 5 multi-way tennis matches. Although I was not involved in its creation, I would assume the title and the image were being references to me is because of the doubles variant I invented. Assuming players A and B are on a team, and players C and D are their opponents, round order is A,C, B, D, A+B, C+D. This is the format I used for the doubles cup. I'm pretty sure we used it in the season, as well.
Second is the Cafe Staff service medal, awarded for serving on the Cafe Staff (Posted Image). As I introduced YouChew to Stampy, the Maxamal Rabbit and his amazing bunny boobies, and as I am most often represented by a golden Megatron, Shadow Blaziken (most recently known as Shockwave) drew me up a golden Stampytron. Once again, I had nothing to do with the creation of the mdeal, but for a very long time, I was the most visible and outspoken member of the Tennis Staff.

I can only speculate as to why these awards are the way they are, but knowing most of the mods and admins for as long as I have, it is probably because I personified these things, to a great extent, to them. I'm glad to say they hold me in such high regard, as they are the few who can possibly see the extent of the work I've done.

There was a medal I was involved in the creation of, if only out of the concept. The Tennis Fuck Choice Award (Posted Image) grew out of suggestions made by me, among other members of the staff at the time.

CL: Any particularly special examples (besides BROS.) that you hold in mind when referring to your "source enhancements?" If so, why do they hold such prominence?

RAK: Actually, my "non-enhancement" videos are the minority. Those would be a few tennis videos where the round I was volleying is deconstructed so much that if I were to use "source enhancement," my video would feel more like a serve than a volley, and that's something I strive to avoid in tennis.

A few examples though, are "STUART'S CALCULATIONS," "HIS BRAIN IS GONE," and "ENZO'S AFTERNOON HOBBY IS NOW BUNNY BOOBIES."

CL: Oh, so basically the innate looking or sounding a source is (like that Star Trek scene with that brain being surgically removed), the less likely you'll end up using the source as a video that requires "source enhancements?"

RAK: Oh, no. What I do is take the funny that is already there, and amplify it. In the Star Trek video (the middle video), this was mainly for William Shatner's hammy acting. That particular video also highlights another of my hallmarks, repetition. I love sequences like this that are four or five bits of video strung up in a semi-random order, with the pace of the repetition gets faster as the sequence goes on. Another little gag from that video that I'm not sure anyone got was the pulse monitor beeping sound. That cracks me up almost as Shatner's softly whispered "what?"

What?


I can do "enhancement" regardless of source, there is just a point in a game of tennis where any given footage will become too edited to "enhance" the source itself.

CL: Alright. You know, it's also funny you mention the last video in that earlier question, because that bunny scene has also been one of the pioneering moments that YouChew has had during its early history! I have wondered for the longest time what that source was all about. Now as a moment of revelations, would you care to tell me what that source was and why you first decided to use it in one of your YouTube Poop Tennis matches?

RAK: Ahhh, the source is Beast Wars Neo. I want to say it's episode 22. Now, as to why I used it, it has to do with how I play a game of tennis with someone i know well. Every aspect of my tennis videos is part of a coded conversation with my opponent. I get pretty detailed on it in the tennis theory threads. In this particular case, I was playing Future's Passed. Our match was a "signature source" match; I was to only use Transformers, and he would to only use ReBoot.

So, as I knew Future's Passed was into furry stuff, I decided to use bits of Transformers with "furry" things. I didn't want the match to be all mainframe entertainment, so i avoided the regular Beast Wars. I got the kid "wrestling" with his faithful Burro from an episode of Headmasters, and I got Stampy and Break from Beast Wars Neo.

Japan had two Beast Wars anime shows. See, it took forever for them to translate Mainframe's Beast Wars (and later, Beast Machines), so Japan decided to slap together some cheap anime to hold the fans over for those years they translated it. Stampy is the rabbit and Break is the penguin.

I picked this particular scene because I happened to pause right on the very frame, and I noticed "Stampy, he has tits.... and Break is staring at them!" I made sure that I could get the image as a thumbnail. I forgot who started spamming the edits, but the rest, as they say, is history.

CL: Yeah, I figured that the idea of tits came into motion for that video. Anyways, one thing that I remember in particular about you is the BROS. videos you had. I mean, if "DRAGONFORCE" used to be the king of YouTube Poop views at one point, then "BROS." was the king of video responses before YouTube destroyed that feature! Could you describe what had gotten into your mind when making the first "BROS." video?

RAK: "BROS." was a joke that everyone took seriously. I pushed Future's Passed to use the source before I did mine. His video's title was "SEND THIS VIDEO TO 5 PEOPLE OR YOU ARE NOT A BRO". When I made "BROS.," the description there was "post 5 video responses or you are not a bro".

With that said, so people started posting video responses. After a little while, somehow it was like the 20th most responded to (with videos) video on YouTube. When "DRAGONFORCE" got removed, I offered up "BROS." as the go-to spam response video, reasoning that the copyright on the source "BROS." is not something we'll ever have to worry about being enforced.

As to what i was thinking when I made it, as it is an old bootleg Atari game, not a whole lot is visually happening in the source, so I concentrated on the sound design. After the audio became hilarious to me, I edited the visuals.

CL: Ah. Well did you ever expect it to have the reputation it had during that time?

RAK: I never expect anything I do to go on to earn any kind of reputation. My goal and philosophy has always been to make what I like. As long as I'm making something that I enjoy watching, that's all I really care about. I do like it when things that I like and have shared with everybody catches on a little bit. Kind of like Godfrey Ho. I love watching other people use that source.

Responses may be gone, but BROS. are eternal.


CL: I can understand that sentiment. If you really do enjoy a video you make, you'll have no regrets on it moving forward. However, keeping that in mind, do you have videos that you personally view above any others you made as some of the best material you've ever made? If there are any videos like that, why are they like that in particular?

RAK: "NS2 IS MY NINJA BRO" is the best video I ever have created for several reasons. Firstly, it is the most technically complex video I have ever edited. Secondly, it was a part of a tennis match with NS2. Despite my love of tennis, and how active I've been in it, I've only rarely have had the opportunity to play a match with the people I most want to play personally.

Oh, and that video actually had some effects that MycroProcessor couldn't decipher right off the bat, and confounding Mycro had long been a goal of mine.

Pretty much everything else I made I have a roughly equal level of pride in, but "NS2 IS MY NINJA BRO" stands head and shoulders above the rest. I seriously doubt I'll ever make anything to match it.

CL: That's pretty interesting to know about. Since I asked what looks like a fair amount of questions relating to your YouTube Poops and your styles with them, let's a bit more about you in general. What kinds of things in particular help shape you into being who you are today?

RAK: I am more than the sum of my interests. Unlike many, I do not attempt to define myself from some singular aspect of my life. You could call me a Transfan (Transformers fan), a Homestuck fan, or even a Juggalo, yet I am most likely not much like the majority that apply those labels to themselves.

Who I am today is more a product of my past. From growing up in a military family, to the small but closely knit circle of friends of my adolescence and young adulthood, to my own military service: these are the things that had the biggest impact on my personality.

If you want to get really specific, I'm set for interactions with a now defunct group of friends. A lot of the things that I do that no one gets are very analogous to an amputee attempting to move the fingers of his missing hand.

CL: Cool. I noticed that one of the biggest highlights that came out of your response is the fact that you grew up with a military family. Could you care to describe what your family was like there?

RAK: My mother and father divorced slightly before my ability to remember began. The man I always knew as "dad" was actually my first stepfather. He was known to be an airborne ranger. When I was four, we first moved to Hawaii. I don't really recall having too many friends back then. Afterwards, we moved to North Carolina when I was 8. A couple of years later, I went from the near upper-middle class to abject poverty as my parents divorced.

That's about when I started getting beat up because I was white (even though I technically am not. Remember, appearance is everything). I was an easy target; being one of the few "white kids" in the neighborhood, I was more interested in reading and video games than basketball and "hanging out." I was also more into soft rock than rap in those days.

We ended up moving around a bit more, and then ended up in Tennessee by the age of 11. My mom married another solder. That's when I met the guy who was my best friend for most of my life. By 17, we had a very insular group of 6-7 core people, and another 10 or so associates. We discovered the Insane Clown Posse together, and realized we were all Juggalos.


However, prior to that bit, I had stopped being an Army brat. My step-dad was also medically discharged because the same car wreck that took my teeth shattered his femur.

I can't compare growing up in the Army to not, as I have never done that. You for sure learn discipline, though. Despite how caustic I can get on the Internet, in real life you'll be hard pressed to find someone more courteous. Unless I'm given a reason to not be, of course.

It's definitely given me a diverse background. After all, how many computer techs do you know of that can survive (and well) in just about any given wilderness with just a utility knife? How many that only know how to kill and maim in hand to hand combat? (That's a reason I don't fight these days, by the way. I am unsure in my ability to not cause permanent damage). How many that are skilled in the maintenance, service, and use of every conventional firearm the Army fields?

CL: You do bring up a good point on that combined with an interesting aspect of how racism could work the other way as well. Not to mention you answered at least one question I probably would have asked later on altogether. Getting back to what I was going to ask now, though, you said that in spite of no longer being a military brat, you ended up going to the military anyways. Was that partially because of the influence of your past? In addition, what was your time in the military like?

RAK: I never wanted to serve, myself. When I was 19 or so, I did some shitty things to my parents, and they gave me an ultimatum. I had 2 weeks to either find a job or join the military... or else I would end up homeless for a second time. After a week, I had no leads on a job, so I said fuck it, take me to the recruiter.

Because of my criminal and education history, I could not join the Air Force. I damn sure was not going to be a sailor, and I am nowhere near crazy enough to be a Marine. So in the end, into the Army it was. Because of the aforementioned criminal and educational past, I didn't get to pick my job, or first duty station, nor did I even get a bonus. In fact, I had to write an essay on why I would never smoke pot again. So unlike most people, I joined the Army for three square meals a day.

Did you know that even if you are aware that you are being "brainwashed," this does not make you any less susceptible to it? I went into basic knowing all about "being broken down and then rebuilt." I was lucky. "My" drill sergeant was not only a cavalryman, but also a ranger. He took the oaths he swore upon very seriously. You wouldn't know from casual observation, but thinking back and thinking of the words of not just the Drill Sergeant's Creed, but also the Ranger's Oath... he was upholding both to the best of his ability.

He made sure we understood what it was we had sworn our own lives to defend, and prepared us as best he could for committing murder on an industrial scale. It kind of makes me sad, thinking back. Especially because statistically, half of everyone that graduated basic training with me is dead.

I got shipped off to Korea, and it was there I managed to permanently injure myself on my first field exercise. They stuffed me into the personnel office. I worked in there for a year, got to where literally everyone on our two bases knew me. Then they put me back into a "line troop." Said troop tried putting me into their HQ office, but I was a fifth wheel there, so they placed me where I should have been at that rank: the gunner on a Bradley fighting vehicle.

I did very well there, and my vehicle commander just so happened to be the drill sergeant of another platoon in my basic training troop. We were a great team, and shot about second best in the entire squadron on our first gunnery together.


Still, things are always changing in the Army. My sergeant came down on orders, so I was paired with a different commander. He was good, but we didn't have the same kind of rapport as before. It was after my first gunnery with him that I broke my kneecap.

That effectively ended my military career. I had vague plans of becoming a drill sergeant. I was raised by three different combat arms soldiers. Yet it is not for me to be in the Army and not be combat arms. Since I was so close to the agreed upon end of my term of service, rather than pushing for a medical discharge (which would have kept me in longer), I just rode out my time and got out "normally."

CL: Well that certainly sounded like quite the ride you had there in the Army. It also sounded like you ended up losing some fingers during that time as well, based off of an earlier response you made. Is my assumption on that true? How did that even come to happen anyways?

RAK: No, I still have all my fingers and toes. I just have a broken kneecap and something wrong in the ankle of the same leg. The ankle is the first and less serious injury. A buddy of mine asked me to turn his Bradley off, so I climbed up on top of the side-skirt and leaned into the driver's hole to shut the thing off. I then tried to push myself back and jump off, as I was only standing 3 feet or so off the ground. However, my boot got caught in the side-skirt, and I went down hard, with a pointy rock impacting my ankle as I fell.

That one was not so bad, as it just destroys my ability to distance run. Only if the ankle is aggravated by heavy impacts will it affect me at all. The knee however...

As I said, we had just come out of gunnery. Basically, the part of coming in from a field exercise as "services." Part of this is pulling the engine from the Bradley, and cleaning out the engine hole. To do this, you must remove the section of armor analogous to a car's hood.

I was always either tasked out, or assigned a different duty in previous gunneries. So it came to pass that as I was sitting on the "hood," happily turning bolts, the whole thing fell down. I was never told you have to have a crane hooked up to the "hood" to prevent what ended up happening to me.

As the "hood" was in two pieces, a very short piece past the hinge and the longer "hood" proper, it looks kind of like an L when open and viewed from the side. I was sitting on the shorter piece, so when it fell, it acted like a catapult. It launched me a few feet into the air (peaked at a total height ~13 feet) where I did a kind of backflip. I distinctly remember looking up at the ground rushing to me and realizing, "this is going to fucking suck."

My right knee was the first thing to impact the super-dense concrete of the repair bay. It broke into two pieces. The pieces fused together at an offset of 0.25mm. Please note, you need an offset of 0.5mm to get surgery from the military for this kind of thing.

Thus began the pain that never leaves me. After it healed as well as it was going to, it only gets worse. During the winter, especially, it gets so bad that I sometimes must use a cane.

CL: Damn, that really does sound terrible! Glad to hear you still got all of your fingers intact and all, but still! I hope this doesn't come off as hurtful or anything like that for continuing the subject for just one last question, but you did mention that you ended up losing some teeth to a car accident. Could you care to tell us what happened there?

RAK: Now that is a simple story. I was 13 or so, and had actually just grown the last of my adult teeth. My parents took me to a lake one summer day. I fell asleep on the way back, and woke up on the side of the road less some teeth.

I learned soon thereafter that we were making a left hand turn into a store to get some matches or something like that, and some asshole came flying down the highway at roughly 90 mph, and hit the side of our car. The passenger door ended up around the area of the exact middle of the car. As a result, my step-dad's femur was shattered, and I lost some teeth.

I was not wearing a seat belt, and in a way, it was a good thing i wasn't. If I had been, I would be less some feet, not just teeth.


CL: Wow, that does sound scary! Even though I haven't been victim to one (yet), I can understand the problem there just fine. Now to not make this sound like a completely depressing second-half of questions, many members noticed that when you came back this year, you had Homestuck characters as your avatar and signatures. Care to tell me when you got into that fandom?

RAK: Hrm... it was about two or three years ago. I blame Crash2991 for this one. I'm actually going one step beyond, and am currently making a Homestuck fangame. I don't know if it still holds true, but I have made more progress than any other fangame of its type so far.


Homestuck was what made me realize that I was a "natural troll". If you didn't know, a bunch of characters in Homestuck are literal trolls, based on Internet troll archetypes. This is why I often say I am the best troll. It's because I manage to provoke such an extreme reaction by just sharing my honest thoughts and opinions.
Also of note: I fit in there as well as I fit in with any fandom, Which is to say not at all.

Oh yeah, I also discovered one of my favorite pieces of fiction ever: a "fanventure" called Deep Rise. I made a thread about that here, I think on the Internet board with a link somewhere. Everyone should read that thread.

CL: Guess that fangame stuff could come into account with your experience with computer programming, huh? By the way, what kind of computer experience did you have over the years?

RAK: I got my first computer at 3 or 4. It was some sort of Tandy computer. All I remember about it was playing some kind of 1st person wireframe RPG. I think it was called the "Eye of the Beholder."

Then at 5-6, I got a Commodore 64. It had a lot of great games like Airborne Ranger, Ultimate Wizard, Wizball, Phantasy, and an RPG maker type thing that included the first Wolfenstien game. I learned some BASIC back then, with my crowning achievements being making a sprite bounce abound the screen and a "snare drum" sound.

I've always been a "power user" in Windows. After I got out of the Army, I went to school for computer operations technology... being a hardware and software repair tech, as well as going the extra mile and leaning how to set up and admin networks.

I only have a basic education in web development stuff. I decided to learn Python, as I wanted to write "Lucha Manager," a text based manager simulator. Python is really similar to scripting for Elder Scrolls, and I had already learned that in order to mod Morrowind.

I am by no means a master. IQ is only my second program, and the first to use a GUI. The GUI toolkit is very hard for me to use. Oh how I wish I could find a dedicated GUI guy so I can focus on the programming tasks I enjoy!

CL: I could understand that. Well anyways, I think I might have asked a good assortment of questions for everyone to look at here. Care to give any newcomers some advice on YouTube Poops or life in general before signing out?

RAK: On the matter of YouTube Poop: always make what you like. Don't make something just to be popular or to fit in. Just make whatever it is that you want to see. Also, never forget that no one wins at tennis. Ever...

On the subject of life: always be yourself, and never let something external define yourself. Your self is the one thing that can never be truly taken from you, unless you allow it to.

You didn't think we'd end it without this, would you?


The Demise of SweetFrog

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The world is constantly changing; they’ve even stopped making frozen yogurt near where I work. Fresh out of college last year, I found myself in need of a job in a market already saturated with people exactly like me, and ended up working for a major retail chain until further notice. With barely more money than before and a creeping sense of doom, there were days I needed something to look forward to during my lunch break. Little did I know that there was a neon green frozen yogurt shop within walking distance of my job- nobody seemed to notice, despite the place’s uncanny appearance. This place was just another meaningless storefront with no history. That’s probably why it’s closed now.

There was nothing particularly special about SweetFrog. The frozen yogurt (or “frogurt”) stand was one of a rapidly spreading chain, which simply did not work for that location; haphazardly shelved between sports equipment and jewelry in a medium-size town’s shopping complex, unnoticed despite gaudy decorations and banners, fiberglass statues of grinning mascots. There is another frozen yogurt stand two blocks away from where the old one once stood, with a disturbingly similar paint job, with distressingly similar menu items. This SweetFrog hardly ever had customers inside, attracting either parent-nagging children (only ever seen once) or jaded teenagers (again, only seen once). The only signs this restaurant was ever present are some novelty t-shirts and a few neon-pink paper cups left sailing on a landlocked town’s trade winds. The knee-high snow of winter 2013 was simply too much for this little froggie to handle.

SweetFrog was not without its merits, or it would have lasted far less than the year I knew it. No other frogurt stand I knew would offer mochi as a topping; a sort of gumdrop made from pulverized rice and sugar, notable for staying soft at low temperatures which would make corn syrup gummies turn to stone in mere seconds. Along with normal fruit chunks were jelly-like “popper” spheres, fruit juice in a compact package. The frozen yogurt itself came in a small variety of flavors, with four flavors of the month at any given time, pumpkin for October and mint for December. Certain adjacent flavors had a swirl nozzle allowing the two streams to blend into one, showing some foresight into what customers would want to combine in the first place. It was perfectly feasible to build a semi-healthy fruit salad on top of unsweetened plain yogurt one day, and completely splurge on cookie crumbles and Nutella sauce the next, a paradox that was both curious and delicious.

This store was no two-bit café, offering nothing special then wondering why no money enters their coffers. Even in the short time I knew it, SweetFrog was constantly evolving, or possibly metamorphosizing if one insists on puns. Within the first few months they introduced loyalty cards, the same as Starbucks; buy ten orders and the eleventh is free. Their merch soon followed, stuffed animal frogs and t-shirts with designs both benign and...

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Questionable. I never saw anyone buying one, nor did I see a single doll leave the shelves- though this may have been a combination of overstock and very fast employees. Even right before the store closed they still put out a banner advertising their new smoothies, none of which I ever got to try. My loyalty card has two stamps on it, and it will only ever have two stamps on it.

To Western eyes, SweetFrog’s design might be garish. The pinks and neon greens and cyan blues are an aesthetic somewhere between a yoga studio and the hunger-inducing reds and yellows of late 20th century McDonald’s, before they installed faux wood paneling in an attempt to be classy. The boy and girl frog mascots (named Scoop and Cookie) seem to be from another world entirely, un-ironic compared to the plastic-headed kings and businesslike jack-in-the-boxes mocking themselves in adverts, choosing instead to hold a spoon and offer frogurt in earnest. The truth is, SweetFrog truly is from another world, if South Korea is that different from North America. SweetFrog’s founder Derek Cha emigrated from South Korea at the age of 12, and opened the first stand in Richmond, VA in the year 2009. Everything about SweetFrog’s presentation is a synthesis between Korean and American values.

The Christian values inherent in SweetFrog are also alien in a mostly religion-free space such as the fast food industry. The “frog” part of the name apparently stands for “Fully Rely On God”, an acronym proudly displayed on the dispensers and trash bins. These messages don’t seem to be an order to convert so much as a symbol of all the good things a Christian is supposed to be doing; SweetFrog has no apparent agenda beyond making money through frogurt, and being a nice place to eat. The restaurants offer free wi-fi, always have a television running on Food Network, and allow people to use their restrooms regardless of whether they buy anything. SweetFrog doesn’t embrace religion through its iconography or its surrounding culture, but by doing what any good book tells you and being kind.

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But one town’s SweetFrog is gone, and it is only a symptom of an underlying problem. As far as I can tell, this restaurant was open for around a year; their doors opened in early 2013, they closed for the winter, celebrated a “Re-Grand Opening” the following spring, and then quietly folded in summer a few months later. A store came and went from that place, and was replaced with a bar and grill so quietly that few people noticed. How long will this new establishment last? One year, six months? Perhaps the bar and grill will gain popularity and become a permanent fixture in the town, and perhaps I will fly my SUV to the moon and back on a single tank of gasoline, without even requiring a permit from NASA first. A study by Ohio University concluded that approximately 60% of all restaurants fail within the first year, whether due to poor placement, poor service or just poor fortune. The chances of this new place staying in business are quite literally worse than a coin flip.

At the very least, SweetFrog had the grace to be replaced immediately after it went under. There are plenty of storefronts out there that remain empty until further notice, their next act to be announced, abandoned like a Geocities page rotating low-resolution image files for an audience of ghosts. What was once a spoke in the town’s hub of commerce is now an eyesore, a wound on the earth that not even nature can reclaim except with desperate weeds and heather. To know these abandoned buildings is to know the meaning of the term “urban decay”.

The definition of frustration is seeing a town die because of a lack of budget. There’s a reason I have a 22-minute commute to a job about 50 cents above minimum wage; this is a phenomenon happening all across the United States. There is no money because there are no careers because there is nobody hiring workers, because there is no money, and so few people know how to fix it that we continue to train our next generation for the conditions that might have existed three generations ago. I am far from the first person to notice this, and if this is news to anyone at all I would be shocked. We currently live in a world where the absolute minimum required to succeed at living comfortably is an overpriced house, an overpriced car that costs as much as the house, a college degree that will take a decade to pay off, enough money to pay for your children’s educations, not to mention feeding said dependents, and some way to have insurance on it all in case things go bad. It didn’t used to be this way, either.

Perhaps past generations used to have far less freedom in where their life would take them, but at least a person could be guaranteed a purpose. The “family business” used to be a common sight, and farms were often directly connected to their communities; if a kid could do nothing else, they could do what their parents once did. We didn’t want this, and in some ways our current lack of guidance is a blessing. Despite the United State’s school system’s best attempts at denying resources to teachers and ignoring students for being different than the standard, once a student graduates they are free to try their hand at anything that sparks their passion. The troubles come in when we don’t encourage passion at all, since it is so much simpler to work for the cash machine. There are no communities anymore, no neighbors working together, so few people with practical skills, no encouragement to seek practical skills. We are taught to sell products, maybe taught to assemble products, but so few of us remember how to make something for ourselves. With nobody left to offer anything, our towns shrink as we march on a pilgrimage from whatever distant star will pay us, small businesses hollowed out from starvation, town centers reduced to sand and grit. The most these empty stores can offer is my reflection in the front window, appropriately enough.

One of these storefronts used to be a children’s bookstore.

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The shelves are still there, stretching off into distances further than a child could count; each shelf once held storybooks, each of which had their own simple depth and promise of purpose. Hanging above is a silly paper border depicting the alphabet, the same as you might see in a grade school classroom that was never meant to be empty. The carpet is a rubber mat over supermarket-style linoleum tile, holding up a vast collection of empty air that even Atlas would have trouble lifting. Somehow, the two potted plastic bushes right behind the windows are the most humbling feature, a half-hearted attempt at classiness thrown up in the same way one might shield their body with a shower curtain. This bookstore is so long gone that I don’t remember its name- and yet I remember being taken there once, when I was young enough to be its target audience. Seeing this place empty does not invoke nostalgia so much as disappointment.

I use these places as examples because they didn't make any obvious mistakes. SweetFrog was situated right next to a supermarket, ready to attract people who were likely already hungry. The road it was on also happens to run right through the middle of the town, in between the industrial zone and the suburbs, so everyone could make it in time for lunch. The children's bookstore was right next to a women's clothing shop, a video game outlet, and a major retail store, all places a family with children might go and notice the place. Neither of these locations became a permanent fixture. These days, it takes more than a theoretically good business practice to stay afloat- it takes being a meaningful addition to a community.

The ridiculous part is, the town I’m getting these photographs from prides itself on projecting an air of wealth. Their suburbs are about as quiet and picturesque as they can get, and there are whole sections of town dedicated to housing rich folk on summer vacation, swathes of oceanfront property that are occupied for perhaps three or five months of the year. Meanwhile, their commercial district is falling apart at a rapid rate. Even businesses that would cater to high-income citizens suffer, such as this boating shop.

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It makes perfect sense that such a store would fail, given its expensive, rarely-bought product and distance from actual water, but when a town is flooded with the kinds of people who want to buy boats every summer and a boat store still can’t stay extant, there is a problem with how American communities work. Rather than do something to change this, we have allowed this building to stand here and be sad for years.

I’m not asking for SweetFrog back, or even the bookstore back. SweetFrog is a perfectly healthy chain that will survive without my business, and the Internet is replacing bookstores more every year. My only request is that an empty building needs to be filled by something instead of nothing. If a town cannot find a buyer for property in the commercial district, bulldoze it and replace it with something that has meaning. If poverty is a problem, construct a soup kitchen or a consignment store. If the town’s council considers a soup kitchen to be too ugly, remind them that keeping people in poverty is even uglier. Perhaps instead of another building, the wasted space could go towards a park or playground for the public to use, adding some beauty to a street that needs it. Even a pawn shop is better than leaving a store blank; a pawn shop is an earnest show of running a business, albeit one that directly benefits from the desperation of nearby people. We are in an age where we are learning just how hard our ancestors worked to give us what we take for granted. It’s up to us to build the towns we want instead of watching them crumble.

Hiring New Writing Staff Members

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Hello my fellow users; on behalf of the YouChew Writing Staff, it's become that time again. You know the one, the time where we seek new members for our group to help regularly contribute articles. If you are interested, detailed below will be the process and requirements for application. We are especially looking for members who will be active in both writing articles and giving feedback to other's articles, and we currently have a special interest in anyone who would write YouTube Poop related articles, though all applications will be considered. While we do not have an extremely strict minimum article requirement for members, it is with our greatest of hopes that they will contribute at least once a month, so keep this in mind.

The Process of Applying:
- Send a sample article to one of the Editors of the Writing Staff (Nozdordomu, Crazy Luigi, HerrVarden, or SkyBlueFox). This article may be of any subject and any length, though you should be reasonable about the size (you can use previous articles from any given period of time as a guideline). Don't worry too much about images, though a good demonstration of your formatting can help (again, you may look upon previous articles). Typically these sample articles will not be published, although we can look into exceptions if they do get presented well enough for such an occasion.
- If a majority of editors and staff approve of your article, you will be contacted for a brief interview. The questions asked may include your availability, experience, subjects of articles you may write, and so on.
- After this, the staff will decide among the potential candidates which to accept and you if you are still interested you will be hired to the Writing Staff! Keep in mind that we may not have many spaces open.

We are currently looking to hire 4+ new members to the staff, and to have all applications in by August 31st with interviews being conducted soon after. We look forward to your applications!

Game Design 101: Random Generation

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Random generation has seen a rise in prominence in recent years. Many games are implementing it in both small and large ways; Minecraft randomly generated an entire map to explore, Skyrim has a system to take generic quests and randomly chooses a dungeon to set them in, and other games, like Dungeon Crawl Stone Soup, Faster Than Light, and Rogue Legacy, are all roguelikes that revolve around randomly generated maps, events, upgrades, and content. It shows up elsewhere in smaller, subtler, more unseen ways – a flickering torch sprite in a dungeon may change the chances of an encounter with every frame.

However, despite the usefulness of random number generation, it is important, once again, to know when to use it and when not to use it. An over-reliance on RNG can hurt a game in a number of ways, and though it is rarely ever enough to cause the game to become bad outright, it can cause a player to spend less time playing it than it would have seen otherwise. Like most pieces of game design, it is a fine balancing act that needs to be used carefully and tested rigorously.

Terraria is a good example of both RNG done well and also RNG done poorly.

Terraria could be described as a side-scrolling version of Minecraft, and it also implements elements of a Metroid- or Castlevania-style game, emphasizing exploration and finding equipment and item upgrades more than Minecraft's slower-paced micromanagement. The world is randomly generated, as are the items found inside chests and other things. Unlike Minecraft, the random generation is more controlled: maps can be small, medium or large in size, and all biomes in the game will be generated in a map, no matter what size. There will always be a jungle and underground jungle, there will always be snowfields and ice caves, there will always be patches of Corruption or Crimson that you need to purify. And there will always be a dungeon.

This sort of controlled, yet still random, generation, is a perfect fit for Terraria's exploration-heavy gameplay, as it always means that you will be able to get every material you might want or need, as well as always having chests in every biome so the chances of finding special items are always there. You will never need to make a new map just to find ice caverns, since there will always be some. And since the biomes, even on a small map, are still fairly large, the possibility of chests not containing an item you might want is low as well. And even if, say, a dungeon chest doesn't contain the Muramasa, it is entirely possible just to create another quick map, go to the new dungeon and look through it instead, since it will always be there.

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With dungeons that are normally this big, you're more likely to find at least one of every dungeon drop than not!

Where the game drops the ball is when a player fulfills the conditions to enable a map's Hardmode. In Hardmode, new ores can be found and used to craft weapons and armor that are stronger than the endgame equipment in non-Hardmode, but the majority of useful items must be made using other items that are randomly obtained from killed enemies. Many of these items are uncommon or rarely dropped, which means that a player may have to grind specific enemies over and over until they obtain the item.

This is where the luck aspect of RNG really comes into play, and that luck is the reason Terraria somewhat falls flat at this point. Map generation is always semi-controlled, and finding items is fairly forgiving; it's unlikely to have a map that doesn't contain even one Enchanted Boomerang. With drops from enemies, it becomes a matter of pure chance; a player might obtain a Beam Sword after killing ten or fifteen skeletons, or they might spend hours and hours in the underground caves, smashing skeleton after skeleton, and still won't have gotten one. This is already bad, but it can become much worse since the enemies themselves are randomly generated. Sharks are a random spawn in the ocean biome, and have a rare, 1% drop used to craft a water accessory, for example.

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You'd better be ready to take a nice, long dip in the drink if you really want that diving helmet.

The ironic thing about this is that while a player's equipment strength becomes tied to random enemy drops during Hardmode, both the normal and Hardmode bosses provide a nice example of a compromise. All three Hardmode bosses, for example, have a guaranteed drop: souls of some type (Fright, Might and Sight), Hallowed ingots to craft mid-to-endgame equipment, and healing potions. The random generation comes in when it comes to the amount of each. The Twins, for example, drop anywhere from 20 to 40 Souls of Sight, 5 to 15 healing potions, and 15 to 30 ingots.

This means that collecting enough souls or ingots to craft everything you might want simply becomes a matter of preparation for the boss battle and getting more skilled at dodging their attacks and patterns. Since you'll be able to collect enough items to upgrade a little bit with each battle, it also becomes easier to fight the bosses the more you fight them. 15 Hallowed ingots is enough to create a Hallowed sword, spear, or bow, and still have some leftovers, meaning a single boss fight provides enough to make any of the three weapons. There is still randomness involved, you may need to fight the bosses more than a couple times to be able to get enough souls or ingots to craft everything you want, but there's never a point where you won't get at least some items from the boss, which means you'll always make some progress.

Other games do benefit more from a completely randomized setup of RNG, though, which is important to note. Dungeon Crawl, for example, randomizes the layout of all its dungeon floors with each new game, randomizes the loot, the shops, so on and so forth, and the reason this works well is because most games are going to be very short. It's a roguelike, and it's very easy to end up dying before even getting to the fifth or tenth floor, even moreso if you run into one of the miniboss-style enemies roaming around, like the infamous Sigmund.

Crawl's sense of progression is tied to the RNG, like Terraria's Hardmode progression, but Crawl's is a bit more subtle. With Crawl, anytime a character dies, your game immediately ends and you have to start from scratch, but only the character starts from scratch. Any new experiences, information, items, or enemies the player encountered with the previous character, the player themselves remembers, helping them to learn the ins and outs of the game and grow more accustomed to what it has going on and what it can do.

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Crawl also limits the enemies that can follow you up or down stairs, so getting in over your head isn't quite as potentially game-ending.

Let's say that you're on floor six, a demon pops up in a corridor, and you try to fight it, only to find out that you barely do any damage, and it just teleports you to the Abyss after a few attempts, leading to your character's death. Your character dies and the game ends, but you yourself have learned to avoid demons until you're a much higher level, a lesson you'd never have learned had the RNG not decided to spawn a demon. This sort of RNG only works because the game was so short, you only reached floor six. If that sort of RNG was used in Terraria, then the game would be much more frustrating. Randomly running into a demon on the surface and dying, possibly losing money or all your items in the process, would discourage players from exploring for fear of running into an overpowered demon again.

With all this said, here are some things to keep in mind when it comes to implementing random generation in a videogame:
  • What is your game going to be built around? If you want to create a multiplayer game focused around players competing against each other, what kind of RNG will work best with your plans, if at all?
  • When you've found an area of a game where you want to implement RNG, will it work better under a set of parameters, or under a more freeform system? What are the benefits and faults of each option?
  • If the game you're developing is going to use random generation to create terrain, how will you design the terrain to keep things fresh for players? Little details are often lost in the usage of RNG due to its nature, especially in certain genres, so how will you work around or past the limitations it brings?

The Recommended YouTube Poops of July 2014

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So if you've read the title for this article, you'll notice that we has some videos set up for this July, yet none from this June. You might be asking yourself why it's like that? The truth is we kind of got a bit too busy with other things in our lives to really find some YouTube Poops that helped stand out from others there. The fact that we're looking for some more members after seeing good people like Tofucakecan and zacheatscrackers leave for personal reasons should tell you all you need to know in that regard! However, just because we had a slow start in the past there doesn't mean that we're considered done just yet! In fact, we hope to recover stronger than ever with some better explanations showcasing why we feel these videos are the best of the best throughout the months (and years), as well as seeing what our newest recruiters have for their favorites throughout this timeline. With that said, we hope you enjoy what we thought were the best YouTube Poops released this past month!
 
Crazy Luigi's Pick: "205- How to not Draw Pikachu with Pokémon Character Art Director Ken Sugimori" by Combuskenisawesome



Sometimes the biggest fun you could make for videos are to manipulate actual film into something that provides very different results, much to your advantage. While many of us love doing that in either visual or audio motives, one of the more underrated effects on a video is manipulating writing on paper into whatever you want there. However, not too many YouTube Poops really do this because not too many people really use sources with people drawing on paper in the first place. In that sense, it is perfectly understandable to not use it under a proper sense; it even takes greater courage to go ahead and use such a source as a means to create some great entertainment out of it. Still, for a guy like Combuskenisawesome (someone that has the proper skills needed to take on such a challenge), he really hits the mark in some very special ways here.

In this video, some of the comedic aspects come from the writing on a picture that shows Pikachu holding a paintbrush that somehow holds the colors that represent the U.S.A. on the brush. Seeing the picture used to represent the video is one example on how it would be used properly, but there's also the beginning part where it tries to play its motives straight... only to then lose itself a bit due to Ken Sugimori being a bit inactive at first. When he does end up starting out drawing the Pikachu, he ends up being more mischievous with his efforts by first drawing an underdeveloped ass and then a small Digimon character that's trying to pretend to be Pikachu here. After that, it continues with the aforementioned Pikachu picture wondering if his problem involves the thousands, if not millions of Pokémon porn pictures that can be found on the Internet, with Ken writing down the payoff that truly makes you want to laugh under a great fashion! It then becomes even more glorious when Ken does decide to draw a Pikachu and almost finishes it up in the process.

However, as much as I like talking about the stuff done on that piece of paper and that Pikachu paintbrush picture saying stuff, some of the things that really make this one of the best YouTube Poops from this July came from the shifts of musical tones done throughout the video. After the fun looking introduction with some comedy involved (which involves an explosion, Pikachu sliding too far, and some sentence mixing stuff), we have some musical cues helping set the tone of the video up. It starts out innocuous enough, but the shifts in tone help showcase how screwy some things appear to be. The primary music highlight comes from when Ken goes from drawing what he was supposed to draw to the aforementioned Digimon character, but the tone really helped set itself apart from other videos this month. In the world of YouTube Poop, it can be pretty easy to set up effects and sentence mixing abilities to help make a YouTube Poop shine, but it truly takes a master to make something work with limited resources at hand. For Combuskenisawesome, he has had the skills over the years to truly make his videos more noticeable than almost a good majority of other YouTube Poop makers; for that, I salute you, my good friend!

HerrVarden's Pick: "Robotnik, in victor stupri" by Nineroe



A long long time ago when I was an inexperienced Internet-goer, I stumbled upon the world of YouTube Poop. The first YouTube Poop I can vividly remember was a Captain Planet episode with handle-bar mustache Hitler fucking the Captain to the tune of Ludacris's verse on Unpredicatable. Then came Igiulamam and then finally was the trifecta of Robotnik Poopers (Boggidyboo, Wikiwow and Stegblob). Once I came across them, I soon understood not only the appeal of the source but how well one could use it to bring tons of laughs. It has been a while since I've seen something reminiscent of that style, and I can't say that there aren't lot of good Robotnik Poops out there that have come after the early days. There just aren't as many that take a similar approach. This particular entry though manages to be both a classic return to that and at the same time a giant leap in the other direction.

Most of the editing is kept simple (slow downs, speed up, stutters, repetition, random audio clips added in with the proper visuals, etc.) and relies on a lot of repetition, but the editing picks up quite fast and the repetition is treated a lot more like a running gag as opposed to an element that the video has to rely on. Nineroe makes good to focus on certain parts of the show that few people constantly mock and edit them in a way that brings the same amount of laughs as the older jokes involving the source material (see 0:24 - 0:41 as a critical example of this). The running gags, mainly that of Robotnik getting on his Egg-O-Matic as well as him saying the word egg works wonderfully throughout the video and the occasional inclusion of a more extravagant effect (such as the wheel of insult, as well as the celebration afterwards) is timed perfectly. It was also nice that there is a part of a video dedicated to the voice of Sonic, Jaleel White and that all the mannerisms that are exploited are mangled in just the right way to provide the most entertainment. Yet by far the best part is having Robotnik don the voice of Joe Pesci because now it makes me want to imagine the good doctor in Goodfellas. What this video does in the end is add a jolt to the classic way and adds a few new techniques to spice it up further. I'm just glad that this was not only a great YouTube Poop but also reminded me of how I came along such a wonderful pastime.

thebluespectre's Pick: "CD-i: Gwonam Screws with Link's Perception of Reality" by DinnerWarrior



There is always more fun to squeeze out of the Zelda CD-i games, as long as you can mix sentences- and mixing sentences in CD-i is incredibly easy. The music stops whenever anyone speaks, the audio is the right blend of clear and fuzzy to splice into anything you want, and everyone is so wonderfully hammy. Sentence mixing is an unusual editing technique to use for art, since its most common use is to make reality television contestants seem more like asshats than they actually are, but this banality is what makes sentence mixing such a powerful tool of comedy. By making a mockery out of the very techniques used to appeal to and patronize television viewers, mashups like these have a universal connection to all of us, even if we've never played or even heard of Link: The Faces of Evil or Zelda: The Wand of Gamelon.

In this case, the magical courier and game hint supplier Gwonam suddenly changes from a flamboyant fortune teller to a philosophical solipsist dedicated to tearing your perception of reality a new one. Almost no new words are created; everything he says is in the game in one form or another, with few exceptions. Few new animations are added, instead letting the theatrical movements of the characters speak for themselves, every frame picked apart for exactly what the artist needed. It is a strangely elegant Poop (a rare sentence indeed), minimalist in an artistic genre dedicated to embracing noise. Plus, CD-i Link kind of had this coming for a while now, he's not exactly the sharpest sword in the armory so to speak.
 
And with that, we conclude another personal recommendations we had throughout this past month. If a favorite YouTube Poop that you had released this past month didn't make the cut, feel free to showcase why that might be the case there. Beyond that, if you feel you have the motivation to find some great YouTube Poops under a particular time period (i.e., months or years) that you want to talk about, we are always ready to hear from you and find out if you have the chops to join us under what we do best. If YouTube Poops help make you strive for greatness here, then it might very be your time to shine with us soon enough.

First Impressions: The Crew Closed Beta

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The racing genre is one that really doesn't receive enough love in the video game community. Games maintaining any sense of reality are often full-blown simulators like SPINTIRES and Assetto Corsa, while those outside that category are dominated by the quintessential Need for Speed series. Seeing this, Ubisoft decided to tackle the genre with their own The Crew, a game that mixes the extensive customization of Gran Turismo with the ease of use of most arcade racing games. Taking it a step further, the game boasts its massive map spanning the size of the US, each region filled with races and challenges and stuff to explore. Excited about this, I was pleased to find out that Ubisoft was holding a closed beta for the game in the summer, and even more pleased to later find out that I was accepted into it. I deemed it a unique enough chance to record my experience with the game and give a first-hand look at the hyped game.

Despite my enthusiasm, my initial interaction with the game was met with ordeal, like waiting six hours for the game to download, and waiting another four hours for the game to connect to Ubisoft's servers. At this point, I was beginning to draw flashbacks of my initial appreciation for EA's infamous SimCity, and my massive disappointment come launch day.

Soon, the game finally launched without trouble. I was divided whether or not to feel angry for the game taking this long to work, or relieved that it was actually working for once, but I eventually settled on the latter. After booting, you're taken to a cutscene of the main protagonist Alex, outrunning the cops and making his way to his brother. Alex follows him along with a deal that he makes with a gang member in a fancy sports car, but the gang member shoots him and drives away, framing him by leaving his gun. Speed up five years after Alex is sent to jail, where an FBI agent proposes that he joins her undercover in attempting to find the supposed killer of Alex's brother. He's told the in-and-outs of the street racing world, and commanded to rise up the ranks to gain more potential info.

It should be mentioned at this point that the emotional intensity of the story is pretty unexpected. I went into the game thinking it was going to be set up similar to a silly action film like most racing games, but the game makes a genuine effort to be heavy-minded and dramatic, even if its results are ludicrously unrealistic.

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Starring Gordon Freeman, sponsored by Gamespot-watermarked screenshots.



After this introduction, you're taken to a car dealer in Detroit, where you choose from four cars to start off with. Unfortunately, the selection it gives you is pretty limited, not necessarily in number but rather style. Three of them are outright Dodge Charger-like muscle cars, while the fourth one is a more nimble Nissan. I ended up picking the Nissan, as I'm usually partial to smaller cars in racing games.

You're then allowed to test out the car you chose with a few laps around a test drive track. The driving mechanics themselves aren't too bad, but they can be really inconsistent at times. For example, if you hit an object dead-on, there's a 50-50 chance that your car will either stop dead in its tracks, or just totally ignore the object as it clips past the edge of your car. This can be a pretty major pain when you're driving in more urban areas due to the mass of traffic you'll often be facing.

Another thing that's annoying about it is that while Ubisoft did make an effort to make the game both semi-realistic and arcadey, it's pretty clear while driving when these two extremes collide. You can turn your car pretty effortlessly, but try drifting and your car just understeers. I'm assuming that this is set up to lead to upgrades to make your car more responsive, but it ends up being more of a nuisance rather than a genuine difficulty to overcome.

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I don't remember the Rockies being so, uh, prominent.


After you select your car, the game then sets you up with a series of story missions. They're pretty much what you'd expect, ranging from your typical racing scenario, to "takedown" missions that have you chase and disable a car. The takedown missions in particular, however, are pretty poorly made; for some reason, I found it extremely hard actually managing to get myself to ram into the pursued. The odd thing is that the person you're chasing literally goes in a straight line for most of the mission, so I'm really confused to why it's so difficult. Maybe I'm just bad at video games.

The game also features a police system. Police activity is triggered when you cause enough mayhem, like running over streetlights or ramming into cars. However, the police is laughably bad, and it took barely any effort in escaping them in the very few times they got on me. The police system also features a star rating similar to that of GTA's, but even on higher ratings there simply wasn't any difficulty getting myself out.

Yet another feature of the game that simply doesn't work is the damage system. Car damage is a fairly standard component in racing games, but The Crew screws it up by implementing regenerative health set up in bars, very similar to Far Cry 3's health system. Because of this, damage is very insignificant and I rarely if ever had to worry about my car being totaled.

Despite these rather failed mechanics, however, what the game does do well is its free roam exploration. In a mission that gets you going to St. Louis, I passed on by the general location of my hometown in central Illinois. While the game obviously doesn't hold every little town in the US, the overall “feel” of it did resemble it pretty well, to the point where I almost starting feeling a little nostalgic driving around the sunset-tinted countryside, what with all its corn.

I made my way into St. Louis, and while the scale is off, the tone of the downtown area feels pretty spot-on. The game also features the classic Gateway Arch, towering over the city, and generally just being there. Sadly, you cannot drive under the Arch, which totally doesn't ruin my completely nonexistent dream of systematically running over row after row of innocent pedestrians basking under a major metropolitan landmark with a $200,000 sports car.

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*sniff*


Speaking of landmarks, one weird feature the game holds is its Landmark Collection, where you get a neat little camera-pan over of multiple places around the country. However, in order to initiate it, you have to stop what you're doing, brake, and back up into a circle barely larger than your car. It really breaks the flow of the game, and I ended up ignoring it, as it really feels like another Ubisoft Approved™ useless collectable.

It's also worth mentioning the graphical quality and performance of the game, critiquing Ubisoft's boasting of it being “next-gen”, and it's really not too bad. While nothing particularly pops out technically speaking (outside some admittingly good shading), it's quite impressive considering the scope of the game. It's made even more impressive by the game's interactive map, which you can zoom to any point of the world in real-time and with no loading screens. Despite this, I did notice the occasional low-res texture and graphical glitch, which I guess is expected considering it's a beta.

Another feature The Crew totes is its player connectivity, ensuring that all players within a certain session will drive and race around each other. I didn't even know this feature existed until about two hours into the game, when a bunch of little UI elements randomly showed up on screen, indicating where each of the players were. It didn't take me too long to mentally figure out what it was before it switched off again. It does that constantly. For a game whose main gimmick is “Never Drive Alone”, it's a bit odd that 95% of my time playing the game was, indeed, spent driving alone.

In the brief moments that player connectivity worked, it was severely disappointing to say the least. Players were miles away from me, and whenever I initiated a server-wide invite to a race I was about to start, I got nothing but the occasional relapse back into connection failure. To make it worse, there was always at least one guy who had his mic on constantly, making a loud droning static sound. You have the option to mute players, but that's the thing; you can only mute all players, rather than individually picking them. Honestly, I don't think I missed out that much since it seemed like everyone was disinterested in participating anyway.

Overall, though, I have to say that I had a fair amount of fun playing The Crew. The game plays pretty nicely, and it's hard to deny how enjoyable it is to just freely drive around the US. Despite this, however, I can't recommend preordering it. My first experience with the game makes me worry about Ubi's capabilities for launch. I mean, this is a closed beta. Imagine the actual full release. This is stacked on top of the fact that the game can get boring after a while; its sense of progression doesn't do much to hook me on other than the occasional car part to unlock. However, if the game launches without worry and undergoes some touching up (both gameplay and technically-wise), then sure, I happily recommend giving it a go.


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'Das a pretty car.



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I Still Love YouChew: the History of Poop Colla...

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If there’s anything that best shows the diversity and the affinity of the pooping community, it’s the Youtube poop collaboration. On and off the forum, collabs have been the go-to method for exhibiting multiple poops and poopers at once. Not only has the collab section taught us cavemen organization and teamwork, but it's also spawned a great deal of entertaining and eye-opening videos, as well as introduced poopers who might not have watched each others’ work otherwise. I’m going to trace the development of the poop collaboration, from the earliest days of poop to the first projects on YouChew and other notable events after that.

You might be surprised to learn that Youtube poops collabs are almost as old as Youtube poop itself. As SuperYoshi remembers, “This was the first collab, in a technical sense:



About the first half of the video is mine; the other is Retrojape's. Basically everything from 0:01 to 2:24 was my editing; everything after was Retro's, but we made it together and suggested jokes throughout the process. We both made it at my house back in 2005. a few months after I had made I'd Say He's Hot On Our Tail. The idea of making a Mega Man video was Retro's idea after we watched the first episode off of the Mega Man Anniversary Collection on PS2 and it pretty much stemmed from the Protoman pelvic thrust, which was his idea. Fun fact: This was the first poop that had actual effects. The edition of WMM I used to make Hot On Our Tail only allowed you to splice clips; there was no slowdown, speed up, nothing.”

It figures that the first collaborative poop and the first effects poop would coincide. Both imply that poop was changing creatively – from a clip show to a video in its own right, and from one editor’s vision to two visions. After the Megaman video, SuperYoshi and RetroJape continued to collaborate on poops, trading ideas and jokes in different ways. For example, Super started this AoStH poop (third poop overall) and showed a 15-second clip to Retro; he later came over and helped to finish it, building the rest of the video around that clip and dropping jokes here and there (like Sonic saying “this bitchslap” while hitting Scratch). This link leads to the first “Mama Luigi” poop ever made, which also happened to be a collaboration. Not long after, around late 2006, DukeOfFortuneMan and Yaminomalex also worked together on a series of collaborative videos, apparently creating with a similar method; however, lost accounts, destroyed hard drives, and inactivity have made them all virtually impossible to find.

In a way, Super and Retro’s videos (along with Duke and Yamino’s) were actually much more “collaborative” than any poop collaborations that followed them. Being in the same room probably helped, but the videos still reflect a unified vision lacking in most collabs. The two would make one poop together as a team, complementing each other’s ideas, rather than making separate poops and combining them into one video. The former method’s idea-tossing would partly find its place in poop tennis. The latter method, for better or worse, is how we understand “poop collab” today.

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And what was the very first collab to use that method? According to the Chewiki, Calculate900’s “Poopers Unite” was the first Youtube poop collaboration to be organized on YouChew. This monumental work spanned three videos and involved the talents of 65 poopers, including PapaGonzales, 1upclock, UncleChuckTH, BMATF, SeductiveBaz, Deepercutt, TantricNferno, Steg, MrDrunkenFox, GirlaPH, Miss10, pimpsahoy, GameCubeHero, and the host himself. I’ve seen all of “Poopers Unite” at least once, and if I recall correctly, there was a scene in Christoph’s entry where a Boondocks character said “IT ONLY TAKES ONE NIGHT TO GET ANALLY RAPED!” Strange what you remember as a boy. Unfortunately, all three parts of “Poopers Unite” have been taken down from Youtube, making it difficult to remember when it exactly happened or what the initial response was. The collab’s legacy definitely lives on, though, in both its organization and its scope.

In all honesty, “Poopers Unite” had no real theme. “We were instructed to simply create a short segment, 20-30 seconds tops,” LuigiGodzillaGirl says, “using any sources and methods we desired and send the finished file to Calculate900 by a certain deadline.” As a result of the loose guidelines, no one source or pooping style ties the collection together. “Poopers Unite” was more like an occasion for all different kinds of poopers to get together and share what they liked to make. Sentence-mixing parodies and vanilla poops knocked shoulders with psychedelic collages and even some "spadinner" moments. Think of it as a panorama portrait of poop at the time, or maybe a potluck meal, where everyone brings something different to the table. From this point on, poop collabs would become a little less sprawling but somehow even longer.

GameBop’s entry, one of the only surviving parts of “Poopers Unite.”

You can see Entamrik's entry here, starting at 1:29.


"Poopers Unite" must have been popular enough to inspire further collaborations; at some point or other, the YouChew forum opened a special section, monitored by the Tennis Staff, to facilitate the organization and completion of collaborative videos. Eventually, collabs began to have "themes." The inspirations for these themes are broad and varied, ranging from beloved community figures, like Robotnik and Hulk Hogan, to obscure phenomena, like TV color bars or the “Party Time” segment in Titanic. I’ve found, though, that poop collaborations generally fall into two categories:

1) Celebrations – Meant to celebrate (or ridicule) certain poop sources, certain poop characters, events in the pooping community, events outside the community, and so on.


2) Experiments – Meant to experiment with the pooping process, using limitations like poop length, video software, specific techniques, and whatnot.

Celebratory collabs tend to be more common, since they don't demand so much creativity from the participants (not to say that they aren't creative). And we've definitely found a lot of things to celebrate – just try to count all the I.M. Meen, CD-i revival, and Christmas collabs floating around Youtube.

“I Still Love YouChew” deserves special mention as a series of celebratory collabs. RAKninja hosted them in appreciation of two big events in the poop community: “I remember the first collab was to celebrate our arrival after the exodus from Vanilla; I think the second was to commemorate RabbitSnore deciding to keep paying for the site, despite being inactive/stepping down from general adminship." It seemed fitting to take advantage of the forum's collab section to pay tribute. Similarly to "Poopers Unite," these videos weren't totally united in style or concept. “That collab was a free-for-all,” UncleChuckTH says. “Everybody contributed something drastically different, because the only limitations were on time.” Also similarly (and unfortunately), "I Still Love YouChew" has disappeared from Youtube; neither RAK nor Chuck can remember their entries, or even who the other participants were besides Emperor Ing. It must've been a fun video to watch, you'll just have to take our word for it.


When it comes to the celebration of a source, almost nothing tops the series of Robotnik collabs organized by AoStH aficionado BigMarioAndTailsFan. One of the most memorable and exploitable cartoon characters of the 90s, AoStH's Robotnik had already inspired too many great poops to count before BMATF decided to organize a special video tribute to him in 2009. That two sequels followed it just goes to show how the character's stayed fresh after all these years. What's more, each Robotnik collab outdid the last in both size and participation. The first one lasted 20 minutes and employed 16 YouChew stalwarts, including NegroTed, seanvol, Wikiwow, Whelt, and vvaluigi. The second one neared 31 minutes and involved the talents of 25, with some poopers returning from the first and some newer blood (HotFriedSkadoosh, AmiralMachin) joining the fun. Most impressively, "Robotnik Collab III: Revenge of the Sonic" - this time hosted by dewmann - somehow managed to get 53 poopers on board and swell to an hour and 18 minutes in length.

Of course, not every collaboration is a lighthearted occasion…but it sure seems like it. Take the Lou Albano Memorial collab, for example. In late 2009, the beloved wrestler and Mario portrayer from the Super Show had recently passed away, and a collab was almost immediately announced to pay tribute to his legacy. Just as every pooper had a different way to fill 30 seconds of poop, each one also has a different method of eulogizing the dead, as this memorial proves. In one segment, the King and Link would be chilling in heaven, and Link would ask what the f*** Captain Lou was doing there. In another, Lou would be looking back on his sex life, saying things like “I broke my dick twice” and “would you like to do LSD?” (I have to thank Jamesdeth for that one.) To an outsider, it seems irreverent to treat a dead man like this. Still, coming from a community that’s done nothing but exploit Albano’s incredible talent and good humor for wacky edits, this must’ve been the most reverential thing we could’ve done.

Also worth mentioning is the Grand Galloping Collab and its interesting editing style. This collab capitalized on the growing popularity of My Little Pony as a poop source and on the Internet in general. Neither event has been completely well received on the forum, so this collab got made outside of YouChew. I’ve never been a fan of MLP poops myself, but the video makes a fairly strong argument for them, and for the “cut-up” collab. The organizer took the poopers’ entries and cut them into different parts, matching these parts where they fit together – i.e. poops of the same episode, with the same character, etc. This gave the video the feel of one long poop rather than twenty or so poops strung together. Smonge used this style for the first Simplicity Collab, though he came to regret it; Orpheusftw has had some success with it as well.


All three One Second collabs in one; you can spot me in the second and third.


As for the experimental kind of collab, the first video that comes to mind is McMangos’ One Second series. Like “Poopers Unite” and “I Still Love YouChew,” the One Second collabs didn’t put any restrictions on pooping styles or sources. The entry had to be one second long, and that was the only rule. How would the pooper distill his or her entire pooping style into such a short time frame? Some poopers would cram that second with as many swirly effects and loud sounds as possible, while others would go for a more minimalist approach. This variety led to a collab that changed gears faster than "Poopers Unite" ever did, in which MycroProcessor's ear-rapey explosion of color rubbed up against 3inchhorse's simple picture of an apple man. (And of course, there’s always room for one “morning!” And "arcade!") I like videos like this because they introduce the viewer to so many poopers in such short time; if one of those seconds catches their attention, they can visit the channel and watch all the videos from there.

An experimental collab can put a cap on video length, or on a pooping technique (like XBR4D's Stutter Collab or the Sentence Mixing Collab), or on a piece of pooping software (like our famous WMM tournament videos). I've been amazed at how poopers can still display so much variety with added limitations. Even in the Stutter Collab, you've got classic vanilla stuttering, the pitch-shifting variety, the colorful kind, one or multiple frames on repeat, and a host of different sources, from Arthur to Cookie Monster to pornography. I’ve always been fond of unique experiments, as well as videos that play on the very format of a collab. Take ButtonsTheDragon’s 1-Second Split Collab, in which nine poopers each made a one-minute-long poop. The host chopped each minute into 60 second-long clips, and then played them one after the other, resulting in an interesting (and frustrating) watch. Also see BigFatPooperScoop's "Name Game," which challenged poopers to sentence mix their own usernames from scratch.


"See, I got this friend named KOOPA HOTELS"


Better yet is the experiment with a certain philosophy behind it, like the Simplicity Collab series. “My philosophy with the Simplicity collabs,” Smonge explains, “was purely about minimalism. You made the most of a source with as few techniques as possible. The formula clearly worked – I still love videos by Steg, Matt, and all those old foagies.” You could think of the series as a sort of reactionary movement, if poop even has movements. “This was back during a time when things like masking, After Effects and effect laden visuals were becoming en-vogue, and rather than having ‘progress for the sake of progress,’ we could prove the classic style still had a lot to bring to the table in 2011.” In his own words, the series wasn’t completely successful. The first collab had great entries arranged in a scattershot way. The second collab (hosted by Chemistryguy) was visually stunning, but cheated the concept a little by including layering and keyframing, methods unfit for a back-to-basics approach. Smonge feels that the third collab ("Simply Simple") probably reflected his vision the best, but by that time, the idea had run its course. Still, he had managed to show that minimalist editing techniques could still be funny and entertaining, so he’s glad to have made the three collabs.

I wish I could write about more recent collabs, but the sad fact is they don’t happen much anymore…at least, not on this forum. The collab section is frequented by the same users on repeat, and our older members rarely participate in them. Chalk it up to our declining interest in poop in general, or a lack of motivation to go through the process of creating a collab, or a lack of interesting sources to mine for ideas. As an organizer, I won't deny that the process can be frustrating, what with deadlines to make and long videos to render and poopers dropping out (the My Life Me collab started with 13 members and ended with 4). I wouldn’t be surprised if other poopers aren’t willing to go to that trouble. However, you will find plenty of willing poopers on Youtube, where poop collaborations are still being organized and previous collab ideas are kept alive by our "followers." Even the One Second series eventually jumped ship from YouChew to Youtube.

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The forum at least managed a Danny Wells Memorial – and a 45-minute-long memorial at that! If the inspiration is strong, the poopers will come, no doubt. That's just not usually the case nowadays.Still, as long as the Poop Collaboration section stays open on YouChew, we'll always have the chance to slap something else together.

Nobody can deny the collaboration's place in poop history (if you can call it that), and few can deny the collab's appeal. It's hard to put into words, but there's something about a collab that brings out the best in everyone - something that makes people want to try new ways of pooping, find new things in their favorite sources, or simply have fun with friends. Me, I've just enjoyed being a part of something bigger and better. Of all the poops I’ve made, I’ve definitely had the most fun with my collabs. I wonder if the same is true for other poopers, and I have a feeling it is.

For helpful information and research, I owe a huge thanks to the Chewiki contributors, and to SuperYoshi, RAKninja, tabull, UncleChuckTH, Smonge, LuigiGodzillaGirl, and Dr. Strangebutts.


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Let's Talk About Crossovers

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So, I watched the trailer for the long-awaited-yet-who-really-demanded-it Simpsons/Family Guy crossover. Naturally you can tell that because of that, it led me to talk about the whole crossovers thing, and you probably think that I'm going to say something about the thought of the two being together as a whole. Well, I could but it's only a trailer, it only displays a portion. Praising it makes no sense because I haven't seen it in its entirety and ranting about it serves less of a point not only because the episode is already done but they wouldn't care about what I had to say on the matter if it was about to be made. There certainly are a few things about it that I could certainly address in relation to the elements that are present in a crossover, but I'd rather not make it much of the focus of this piece. Because unlike animation/live-action films and gritty fairy tales movies, there is a lot more that can be taken in from the crossover. There's also a lot more notable examples, and it expands to much more than movies and television. It's really quite the beautiful subject to get into, and I'm glad that these two animated sitcoms have sparked my inspiration to jump in.

For those of you unaware of what a crossover is, it's when two or more entities, environments or universes, be it fictional, fabricated or real, collide with one another. Most of the time it's kept to an episode or a two part special or very few entries, nothing more beyond that. Now, what is the point of a crossover? Some might say it's to have fun. Others might say it's to keep things interesting. A few might even say it's to combine these two creations and use each of their aspects in an engaging and thought-provoking story dynamic that can say a lot with the comparisons and contrast that both face. While those are all fine reasons, the real one comes down to cold, hard cash. I'm not simply saying that to be the cynic that says that everything the entertainment industry is all about the money (even though it kind of is) but a crossover is something whose major intent comes from that reason and sometimes that reason only. A crossover is the equivalent of a concert as you able to witness all these popular artists together in a single place, figuratively blowing your mind apart. The simple idea of taking two properties and having them join forces is able to bring so much out of a person. So much that a plethora of artworks out there that pretty much go crazy mixing and matching franchises together.

Whether a crossover is serious or not, there are certain points that each crossover hits. For one, there is always a conflict that brings one series into another series's world. It may be archenemies, a detour or simply that the plumbing's busted. Introductions are had between the two entities, one entity tries to get used to the other one, and they either have to find a way back to their own world or stop someone who entered into the new world or the problem needs to be fixed. Sometimes the series end up in each others worlds for some time and continue to deal with their conflicts. Much of the comedy expressed above occurs or the conflict starts to become a bigger concern with either the antagonists meddling or the mere fact that the two of them are together. Characters from one series will get chummy with characters from another series and then be enemies or vice versa. Eventually the conflict gets resolved and everyone parts their own ways, the end. And then you rake in the money.

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One of the most notable examples of the crossover phenomenon is in our old friend, the comic book. In the world of comic books, you can find crossovers as far as the eye can see. There are crossovers between series owned by the same creator, owned by the same company, owned by different companies, series that take place in the same city, in the same country, in the same planet, in the same universe and even in different universes. You have the relatively straightforward ones, others are a little more complex, some are serious, while others go for a more energetic and "fun" route, some are intentionally funny, some are unintentionally funny and then there's just the painful ones. Serious crossovers are usually the likes of Batman and Superman, as they take the stakes and raise them with the protagonists and antagonists of those two series combating with one another. More lighthearted or humorous crossovers either stem from properties that are known for their comedic or fun elements and try to have each of them bouncing off each other. And then we have ones that take two entities that don't really deserve to be alongside each other. There the ones that people joke about with their buddies, hoping that someone from the industry was listening. Some of these involve celebrities who encapsulate their own world which somehow ends up colliding with a superhero and others are Archie Meets The Punisher. Now I'm going to get to the former later on, but the latter is something important to consider because it deals with a thing I call Crossover Juxtaposition Humor.

CJH is self-explanatory. It's humor that comes from the juxtaposition of the entities in the crossover. The dissonance between the two worlds, whether subtle or blatant is going to be addressed. And since it's going to be addressed, it's possible that the creators will want to get a few laughs at how characters react to each others' customs or quirks. That kind of humor is usually what works for the comedic crossover akin to how the intensifying of the conflicts is what makes the serious crossover so great. The thing about CJH is that it also can come from what the entities represent and who they are marketed towards. When the shift becomes so jarring, the amount of humor that stems from it goes from just the way that the characters bounce off each other but rather the fact that the two are in the same place. Hence, Archie Meets The Punisher. Now that's not to say that a crossover can't be serious if an innocent, innocuous series meshes with a gritty, hardcore series, but when such a difference is made it becomes a lot harder to take it as seriously. And when a crossover like that takes advantage of such immense differences, it's when CJH reaches its finest level.

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That's where TV crossovers come along. The thing about TV is that there aren't that many serious crossovers to speak of. And if they are, they are either using comic book entities or become greatly overshadowed by their more comedic counterparts. Another thing is that the ones that usually end up being more memorable come from animation shows. That's not to say that live-action crossovers can't happen nor do they not exist, but they tend to respect each others worlds and only make references or cameos when its convenient for them. When it comes to the sort of humor that a TV crossover displays, there really are only two categories. The aforementioned CJH and meta humor. CJH in TV crossovers is very strong, especially in animated shows as they can show better the contrast of visual styles that the two shows have with the addition of animation. Sometimes it's taken even further by converting the characters from one show into the art style of the other, like the Jimmy Timmy Power Hour. That can be funny, but it can also be weird, as it could prove the point that the series is more fitting in its original form than going out of its boundaries. Along with that are the more jarring kind of CJH like in the Green Loontern where Duck Dodgers teamed up with the Green Lantern of all things. And as for the meta humor, you need to look no further than A Star Is Burns when the Simpsons get a visit from Jay Sherman.

Now when I said that a crossover is usually made simply for the purpose of making money, that doesn't necessarily make all the crossovers in the world terrible. A lot of what the mainstream entertainment industry makes is for some sort of financial gain. But whether that is the main purpose or not, its always best to hide that fact at all costs and instead do your damn best to entertain. A good crossover does that as well as take the opportunities that the crossover can offer and makes exceptional use of CJH if it needs it. One of my favorite shows, Harvey Birdman: Attorney At Law can be considered a crossover as it takes various Hanna Barbara properties and revolves episodes around one of them meeting Harvey Birdman and delving into ways to make them relevant for the show. In Green Loontern, Duck Dodgers was not only able to use the power of the Green Lantern rings to hilarious effect, but the way that the characters responded to his antics allowed for a lot of funny moments to flourish because they're not used to that kind of tomfoolery. In A Star Is Burns, not only are there some funny moments that come from the similarities between Homer and Jay Sherman and how Homer feels that Sherman may be seen as the better version of himself around his own house but there is a lot of jokes poked at how begrudgingly the crossover had to come to fruition as well as making fun of crossovers in general. In more action-packed, dramatic crossovers, the greatness comes from the various conflicts. The characters not getting along, their enemies causing tons of ruckus and chaos, the gravitas of the event itself as it tears into the fabric of the world. A handful of comic books relish in how destructive and intense the situation can get. Furthermore, a good crossover can use the ideas that each entity represents and play with them to express an interesting message that maybe couldn't be dealt with by simply having the two of them separate.

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Having that all said, let's not deny that since crossovers are usually just made for money that there will be some that just whore themselves out for your cash. You know the old saying that "if you made a movie with X and Y and all they did was drink coffee, I'd go see it?". Well, as funny as that may be, some people do take that sentence seriously and change drinking coffee to fighting. Yes, in the world of film, crossover is just another synonym for easy cash cow. Why try to do more with two established characters when you could just show them off in the same room and have them fight? It certainly does give the public what they want. And it may be a fun idea but the novelty ends up wearing off because they just use it as a way to show off these two characters together at last and nothing else. Had they cared more about the entities, that energy would show more in the product and the product could become something more than a subpar smackdown of the century of the week. Worse than that is when one entity ends up overpowering the other rather than letting the two work better in harmony. What's worse than that is when a crossover gets too meta. A Star Is Burns did well to keep the 4th wall breaking in check, but in another work, that wall could be broken with poor execution or it could be broken so much that what ends up happening is that you have a Panzer IV of mediocre meta-humor that steamrolls you out of any enjoyment for the product. When it's overly emphasizes it proves to the viewer just how much of a gimmick the crossover is much more than if you just had a pointless fight between them break out.

As you're reading this, I'm going to assume that you have two questions. One may be "why are crossovers usually between two entities and not more?" and another may be "what about video game crossovers?". Let's take the first one. I'm going to remind you once again about the superficial nature that crossovers are made because it is that reason that crossovers are limited to two. One of the things that makes the crossover marketable is that it's for a brief moment. It is a once-in-a-lifetime parade that must be seen by all. The thing is that like parades, crossovers can be costly. For them to be done, either well or sloppily, you need to put a lot of money and time into making it. Along with that, there may be some legal disputes here and there that will have to be addressed. It could take a very long time for the two to finally come together and be released out to the world. In that case, adding one or two or three more is starts to become a larger problem because you have to dedicate not only more time, money and maybe legal disputes but you also have to make it more episodes or movies or comics to develop it properly. It may not be all that bad to make more entries to better the effect of the crossover, but the wonder of the crossover is lost when more of them occur either because of the fear of audiences rolling their eyes at how trite the display is or fear that they'll have to put more effort into it. The restrictions is the reason that there aren't too many longer crossover series whether they be of two entities or more. Which is a shame because one could experiment a lot more with crossovers.

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Video game crossovers, on the other hand, are along the lines of movie crossovers but more fun. Most of them really just involve characters from various different places being together in one place and either fighting, racing or being faces in a puzzle game like Tetris or Puyo Puyo. It's no doubt awesome to play a game in which you can beat up Sonic as Mario or vice versa, but they're just in the same room together and nothing else. It may be a stretch to call them crossovers as they're more like a collection of cameos. Other times the crossover has entities that aren't related to video games like when Marvel goes to fight Capcom or how Nicktoons Unite takes four different shows and throws them together in a boring action platformer. Sometimes it's the two of them together in a place for no reason like when Mario and Sonic were in the Olympics. What would make an interesting crossover is something along the likes of Professor Layton vs Pheonix Wright: Ace Attorney as it combines the gameplay mechanics that the two of them have to offer as well as making the story and confrontations between the two characters fun. Those sort of crossovers are rare in video game, but it would be great to see more of those. Considering that Mario and Sonic have become more chummy around each other lately I wouldn't be surprised if there was one between them any time. At least I hope so because that would be awesome.

Despite what I've said about crossovers being mainly about the money, there is no denying that crossovers are a wonderful thing. They make the imagination soar to incredible heights and they can be some really fun experiences. Even bad crossovers have interesting ideas to them, even if it's only because of that what if being explored a bit. It's a shame that in order for crossovers to happen they have to occur for a sense of relevance or to rile people up to spend whatever money they have to witness it or waste their time for what could be a poor payoff. Certainly if there was more integrity that came to the practice of crossovers, they could explore some greater territory and expand themselves from being a one-shot fireworks display if they so wished to tackle the crossover further. And if the universes that come together increase, it would be even better to see what could come out of it. As they stand though, they're relatively good. Sure, there's some flops here and soulless cash grabs there but there are still some that can capture the beauty behind the process and capture a lot more of the brilliance behind the concept. If they go the extra step, good for them, but if not, I'm sure they could do just fine.

Mark of Darkness: Another Symptom

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Newgrounds was never meant to be a bastion of quality, and that is not an insult to Newgrounds. Sites like that or its competitors (Armor Games, Kongregate, etc.) do not host media for profit; they make money from advertisement clicks, they sell t-shirts on occasion,but the average user spends not a single penny on the games and animations hosted within. Whether this is a stable buisness model is not at question here, but it does explain how a game can be popular on Newgrounds even when it is not perfectly polished- when a game is free, and made by someone who clearly took joy in the act of creation, it means more than a mass-produced cash grab. Even if only subconciously, a player can sense that earnest honesty in a small, shoddy Flash game.

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Which brings us to Mark of Darkness. Mar​k of Darkness is not the creation of some faceless marketing group, but its façade bears those same birth marks. Everything about this side-scrolling action RPG is seemingly designed to be as generic and flavorless as possible, down to the very roots of its game mechanics. WASD to move and click to attack is perfectly fine, being a sane control scheme hammered out over generations of games. There's an inventory and status screen that pauses everything and makes using healing items trivial, and a block button that is less efficient than just jumping out of the way, with a perfect-timing parry mechanic that computer-controlled opponents will always be better at than you- except when you jump and the AI decides to jump after you. No new ground was broken here.

Where the controls fall apart is at selecting special moves. To activate a passive status boost, first the you would go into the status screen to place the ability onto your quick-select bar, then point and click at the icon on your bar when you want the effect to activate. World of War​​​craft popularized the "hotbar" for special moves in MMOs, but Wo​​​rld of Warcraft was designed this way because it was, at the time, the best interface for a 3-D real-time RPG; when a player character encounters an enemy, they immediately drop into a fighting stance and auto-attack when the player makes no other choice. All a player has to do is choose the right ability at the right time to help their band of warriors slay the monsters. Mark of Darkness, however, is not a 3-D game, is not a multiplayer game, and expects the player to manually click to attack or backpedal to dodge. Requiring the player to break their mouse aim to click a little button should never be a problem in an action-oriented game. The only reason Mark of Darkness has this function at all is because a more popular game used it first.

The game's aesthetic is similarly derivative. Mark of Darkness aims for a low fantasy, dirt-caked European fantasy flavor where nobody is flawless and the only magic known to mankind is actively malicious. The tutorial stage ends with your player character's friend being executed by brigands, a turn of events which would have meant more if you had seen said friend for more than a few seconds before his death. There is rarely any interaction with a given NPC beyond "kill x number of orcs and report back to me", and no way to give a damn about anyone's problems beyond getting paid. Walk-pound-walk, march right and click (perhaps jumping once in a while) until the enemies fall over. Don't mourn, they re-spawn as soon as you walk off-screen.

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Low fantasy has been popular as of late, with stories such as A Song of Ice and Fire finding large audiences, so it is no surprise that Mark of Darkness was built to capitalize upon this trend. Fantasy tales in this vein are not popular because they are grim, nor because they are about manly men hitting brigands with axes. The Game of Thrones series has found popularity because of the tangled romantic and political drama (of which the game has little of note), and the tension of any given character facing death at any point in the narrative, marketability be damned. Mark of Darkness offers a plot thin enough to use as a window pane, no dialogue besides having orders barked at you, and of course all the NPCs are invulnerable outside of story events.

The graphics and sound go out of their way to be as forgettable as possible. Mark of Darkness is rendered in a style resembling digitally inked artwork come to life, which in this case means that it looks best when it is not moving. You are offered a stab at character customization in the beginning, where you get to choose between one gender (male), two body types (muscles or more muscles), and a variety of haircuts that are always hidden behind a helmet. Characters talk in large speech bubbles, complete with written emoticons to avoid animating the one humanoid model more than needed. Enemies and allies alike do little more than pace around waiting for the player character.

Meanwhile, the music is passable as long as you are not in combat, which is all the time. The town and field music ranges from pleasant to haunting, and while not memorable, the BGM does a passable job of setting the scene. When you enter combat, the ambiance is replaced with a generic marching drumbeat. The most commonly heard track in the game is nothing more than pattering taps on a digital snare drum, with no interesting flourish to make it stand out; even letting the calm field music continue would add some interesting dissonance. This track, like the game itself, is paint by numbers and rote to a depressing degree.

The question may be, what does Mark of Darkness bring to action RPGs that is unique and interesting? What about this game shows what the designer was dreaming of when they coded it? No designer goes into a game without some sort of vision, even if it is only admiration for ideas that another dev had first.

In the case of Mark of Darkness, that dream was free-to-play mechanics.

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It is not my place to say that F2P mechanics are bad, or that they ruin a game. In some cases, real money trades are only for bragging rights; fancy hats or invisible helmets aren't cheats, just harmless vanity in exacange for supporting a project you like, a mark that shows you are a super fan. But with this game, the only premium features on offer are more powerful equipment, cheats to accelerate a player through the game. Selling power is the absolute worst use of real-money trade, because it the opposite of vanity items. While a goofy hat on your character is a way of showing that you supported the game developers, powering up with money only proves that you want to play the game less by skipping boring parts... which suggests that the game is boring and that you don't want to be playing it. All Mark of Darkness has to offer for gameplay is clicking increasingly heavily padded walls of hit points until you give up and buy a more powerful weapon or tougher armor, or more magical jewelry. Real-money trades in this game are not out of love, but out of bitter rivalry with a hostile and indifferent world.

The delivery system for these purchases of power are downright asinine. The first instance you are likely to find are the Premium Keys. Scattered all across the game map are blue chests, each requesting that the player kindly donate a few dollars to open them. These chests most closely resemble a pre-order bonus, one or two extra items to sweeten the deal for players who show faith in a game before it is even released. Rather than rewarding a player for helping the developers, these keys are blatantly grifting players for deigning to assume that a game hosted on a site for free time wastes would actually be free. This is not adding content, this is locking content away and slapping your hand when you assume you have earned it. The word "premium" has also lost all meaning as of late, but that is a completely unrelated rant.

For those who want more than the chests offer, this game also offers a randomized prize wheel. Very early on, a gold-armored man appears next to a quest NPC and gives you a free voucher for the wheel, one precious prize as temptation. While the chests at least tried to maintain the appearance of an in-world phenomenon, this wheel has no connection to anything else, a non-sequitur at best. However, the wheel and the chests have one thing in common; there is no way of knowing the real dollars you spend are worth investing until after they have been frittered and wasted away in an off-hand way. While this resembles the reward for faith which pre-release bonus content offers, this is not rewarding faith so much as taking advantage of it. These features simply assume that the player base will wire the developers money as a matter of course, regardless of what the product actually is or whether it is something of worth.

What is most disturbing about the free-to-play elements in Mark of Darkness is that the entire experience is single-player. For all the abuses real-money trade represent in MMO games, the barest of justifications would be that you can share or show off your shiny goods to friends and strangers alike. Even if it is the hostile connection between haves and have-nots, or even the scorn of players who consider your investment to be cheating, it still represents some form of connection to another person. Mark of Darkness is an absolute single-player experience. There are no team-mates egging you on to level up faster, no audience for your golden dragon hatchling. Buying new equipment for a Mark of Darkness save file is purely mastrubatory- and if you really wanted that, there are reams of free pornography of much higher quality out there in cyberspace.

And yet Mark of Darkness gets plenty of good reviews on Newgrounds. These do not appear to be paid advertisement on the developer's part; a significant number of people seem to have enjoyed this game, and that is okay. There is nothing wrong with having tastes that differ with an irate voice on the internet, no matter who that voice belongs to. There is always an audience to be found. However, issues pop up when problems with a given media are ignored until it is too late. It bears repeating, Mark of Darkness was created only to make money for the developer. There is no love for the design, no creativity was indulged, no greater meaning beyond dollars was imagined. Newgrounds is supposedly a place of free creativity, where entertainment can be presented as practice for a fledgling creator, or as a demo for a game worth selling, or even only something built out of a desire to impress. Newgrounds games are rarely of high quality, and they don't have to be; either you enjoy it or you walk away and lose nothing. Bringing banal marketing practices into a site like Newgrounds and making the front page is only a symptom of a much greater problem.

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Small, independent game designers should not be behaving as if they are a marketing-led buisness that cares more about quick money than gaining the customer's trust. Granted, marketing-led businesses should not be acting like that either, for the same reason that farmers should not be slashing and burning rainforest, but in this case a certain humility is expected from game designers who have not yet proven that their creation is worth money. If all a developer can think of is walking to the right and stabbing wild boars for two EXP each, then they should not expect money to fall into their coffers for imitating much better games. There is more to the game industry than fat stacks, and anyone who has forgotten that has lost something essential to the human condition.

Harvest Moon 64: Fact, Opinion, Recollection

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I dedicate this article to Robin Williams, who passed during its creation.



Harvest Moon 64: Fact, Opinion, Recollection


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First, a little background in case you aren't familiar. Harvest Moon 64 is the second game in the Harvest Moon series. It was released on the Nintendo 64 platform in February of 1999 for Japan and December of that same year for North America. It was published and translated by Natsume but mostly the work of Victor Entertainment Software (before they merged with numerous companies and ended up somewhere in Marvelous Entertainment). It's described as a farming simulator, but I see it more as a “slice of life” game with farming elements. The basic story is that Jack inherits the farm of his grandfather who recently died. Instead of selling his grandfather's property, Jack wants to revive the farm and make a life for himself there.

Before we dive in I want to make clear my intentions. This is the abridged version what that doesn't go over the whole game with a fine tooth comb. I could go over the entire game, but almost everything has been covered by Walkthroughs and FAQs on the internet. The goal of this article is to share a little overview of the game and its mechanics, a little bit of criticism so the article doesn't feel biased and one sided toward the positive aspects, and I'll also share some personal experiences.


Chapter 1: The Game Who Wasn't There


Those old enough to remember the late 1990's may wonder why they can't recall any commercials or advertisements for the game. Well you can cancel that CT scan, there's nothing wrong with your brain. The problem is that the game had no television advertisements and very little in the way of magazine coverage outside of Japan. The only English magazine spread I was able to find is this. So you were not the only one who may have missed it. On the off chance you caught a glimpse, you probably weren't impressed anyway. When I first heard of a “farming simulator” I thought it was some sort of joke. I had no idea it even existed until a good friend of mine told me how great it was. Even the savviest gamers I knew at the time (disregarding the fact they were all mostly 10 years old) also hadn't heard of it. Natsume probably assumed the game would be hard to pitch given the subject matter so they sold the game in small quantities and kept advertisement expenses to a minimum to try and squeeze out some profit. Honestly, I'm surprised it was released outside of Japan but they must have felt confident it was worth the risk. The success of its predecessor in North America probably helped, being very well received. So perhaps Natsume were gambling on fans of the first game would latch on to another title. Whatever their strategy had been, it has helped to create a cult following as the series is still very much alive:

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Every Harvest Moon game released after Harvest Moon 64. Yeah, the series doesn’t seem to be dying soon.



Chapter 2: “Farming Simulator”


At the time of its release there were few games centered on farming. Compounded by the fact the Nintendo 64 had a small library to begin with, it's pretty safe to say Harvest Moon 64 does hold the monopoly on raising animals and growing crops in a rural setting on the N64. You can choose from many crops to grow, a handful of animals to raise, and many upgrades for your farm are obtainable if you have the money and materials required. At your disposal are a plethora of tools. There’s a hoe for tilling, an axe for chopping wood, a watering can for watering your plants, and much more. Indeed, you have many things to do in regards to farming, and you'll be spending much time doing that if you so desire. You can also forage for flora growing in the wild and this is especially important during the early game to get the materials and money I mentioned earlier.

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“The Lady of the Lake, her arm clad in the purest shimmering samite, held aloft Excalibur from the bosom of the water, signifying by divine providence that I, Arthur, was to carry Excalibur. That is why I am your king.”

This sure does sound like a lot of work to keep you busy huh? Well it is, but it becomes tedious. Much like real farm work, it becomes boring if there is no break in-between. This is where the human element comes into play. You will usually have enough time to get all your work done and spend the rest of your time getting to know your neighbors. This, to me, is where the game truly shines. You'll find that most everyone here is very friendly toward the main character, Jack, because his grandfather was liked and well respected. It's also very important you get these people to like you, because if they don't like you after 2 and 1/4 years Jack won’t get to stay and the game is over. Seems like a lot of pressure huh? Well don't worry. Unless you go out of your way to talk to no one and ignore festival activities you're almost guaranteed the right to stay. My first play through I messed up A LOT and I was still given a pass. In fact, the game itself isn't very hard to beat. Jack literally cannot die under any circumstances. Getting a perfect ending, however, is probably one of the most difficult things I've succeeded in doing in a video game. Basically, the game is easy to pick up but difficult to perfect. All of this is the reason I hesitate to really consider the game a “farming simulator”. There is way, way too much to do in regards to socializing with the townspeople and other activities. Later on, unless you really enjoy the tediousness of farm work, you will be focusing much more on these other activities. This leads into the meat of the game...


Chapter 3: The Love of Your Life


That's right! What would any slice of life be without romantic relationships? There are 5 available spinsters for Jack to swoon and eventually marry:

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(From left to right) – Anne, Elli, Karen, Maria, and Popuri.


So as you can see, we have a wide variety of hair colors to choose from! Seriously though, each girl is fairly different and varies in both interests and personality. They all have certain favorite foods, events, and birthdays that are unique to each. Anne is very outgoing while Elli is shy and reserved. Karen hates when you show her bugs, but Maria loves those tiny creatures. So as you experiment, or simply read up on a guide like the cheater you are, you figure out what she's into and Jack can focus his efforts in order to attract her. It also helps to get in good with her family. For example, Karen's father is kind of a grumpy guy who is in a bad mood most of the time worrying about his vineyard's success. If you warm him up to you, Karen will notice. Then you'll get a small boost to the affection mechanic. Normally, you can get all the girls up to a friendly level, but you have to eventually choose a single girl to marry. There's no pressure to get married but it opens up a lot more dialogue options and some special events. Part of the beauty of this mechanic is that it adds a lot of re playability. In truth, marriage is mostly the same among the girls with dialogue making the big difference. Oh, and you can have a kid, though to be honest that's one of the more disappointing aspects I'll get into later. The point is, 5 girls to marry means you'll have to play 5 different game files in order to experience all of their special dialogue and stories in that alone.

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What a gripping revelation!


It's interesting to note that each girl has a possible suitor who can be considered a rival love interest. These guys will often marry the girl if you don't, but only if you are friends with the girl in question. Now before I spiral into an eternally growing wall of text about all the details of how people in the game are affected by Jack's actions, let's just say there is a lot to do in this area alone. There’s so much to do that not every event and conversation seems to be documented. I myself have witnessed seemingly random conversations that aren't documented anywhere on the internet (that I've found).


Chapter 4: Crop Failure


The game is not without its flaws. I've not found one game that has zero flaws and due to that funny little thing called “opinion” I don't think there is or ever will ever be a perfect game. Harvest Moon 64 is no exception to this rule. There are some things that are definitely not opinion and are objectively wrong. Take for example an infamous example for Natsume games:

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Good old “Natume”.


The game is riddled with spelling mistakes and awful grammar. Some sentences read very awkwardly, like Yoda was the translator. This is a minor flaw and it didn't make the game unplayable, if anything it just made me laugh most of the time. Though I remember one of the girls you can marry has a piece of dialogue at night with a glaring spelling mistake. That means you'll see it every single time you talk to her at the end of the day. So that was kind of annoying. I don't believe there is an official reason given by Natsume for all the translation issues, but given the release date is December it can be surmised they were in a rush to release the game for the gifting holidays. It doesn't excuse them but it seems the most likely reason the polish was missing.

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Oh, okay then.


So you're wife has been feeling funny for awhile now and suddenly you get news of a child. Congratulations! It's a boy! Not only that, but he will remain a toddler for the rest of time. He will never grow past roughly 4 years of physical age. Yes, when you have a child in Harvest Moon 64 it's always a boy and there really isn't much to him. He has a few stages, starting as a baby in a crib. You can carry him around and let people see your offspring. Then he becomes a crawling baby who... crawls around and starts spouting some basic words. Finally, he becomes a walking toddler who has about the same vocabulary. It takes 1 year to get to the 3rd stage and there he remains for eternity. He's got some special little events, but ultimately his biggest role to play is making your wife change her dialogue to more motherly topics. She'll ask Jack to not feed his son sweets, use real words to boost his vocabulary, and she'll ask if Jack thinks she's raising him right. So yeah, the first time Jack had a child in the game I was so excited about Jack's son maybe growing up and having him help out on the farm or whatever else could have happened. It was not to be, however. The most years I've hit in a single file was 10, and after 7 years of no development I became very disappointed in the baby mechanic. I guess it's better than having no child options, but it's kind of a big part of most people's lives that becomes irrelevant rather quickly. They could and should have done more in my opinion. Maybe they planned more but didn't have the time or budget for it. So in the long run it's not detracting from the game's quality, it just felt like a potentially great mechanic that was squandered. It's also worth noting the game is built around 3 really solid years of content, and everything after is pretty superfluous. I still think it's irking that your son never becomes someone looking for advice from his dad or anything more than a conversation piece.


Chapter 5: It's The Little Things


There are so many little things that make this game special to me. Take for example a completely unexplained and somewhat cryptic element that serves no purpose other than being a cool extra feature. This feature is called, drinking tolerance. I know, it sounds crazy but bear with me. During a certain festival you can drink with the townspeople to see who can out-drink who. Well normally you will lose pretty much every year. However, you can “practice” by drinking a bunch at the bar, or take the super cheap option of drinking at the Vineyard for free. Either way, you drink enough and soon you'll be drinking everyone under the table at the festival. There's no tutorial to tell you about this, there's no stats to signify it either, it's just completely hidden from view but there to discover. This is really what makes the game special to me. There is so much to find and though most things are small and insignificant overall, they make the game deeper and worth exploring.

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You mean that's not an apple?


Now as I said earlier, Jack can never die. Without spoiling who it is, there's only one person who will (unless you take certain precautions) die as intended. So obviously I wasn't really concerned about the mortality of things in the game and this lead to a disaster when I first started playing and didn't understand how to feed animals. I just figured the livestock might put out mediocre milk, eggs, wool, etc. Well, I was severely mistaken. I went and bought a calf because I wanted to get out of the crop game for a bit. The game allows you to name the animals so I called her “CHOCO” for a reason I can't recall. So as I said, I was confused but not very worried about feeding CHOCO. After a few days I got a visit from Anne's father who sold me the calf. He said my animal was getting sick and I needed to feed it more. Still not worried and preoccupied by other things I just let it go. After a week I had Jack go to bed as usual and instead of waking up in his house I get an event where it was Jack, Anne’s father, and the pastor at the graveyard. The pastor said some nice words about CHOCO. Anne's father said, “It's an animal, so it can't escape from death. But was it a death that could have been avoided? Think about it well. Never forget that you're in charge of the animals' lives.” So when this happened I was dumfounded and rife with guilt. My animals got fed every day after that little event. Anytime they got sick I rushed to buy medicine at the store. I never lost another animal after that and it always sort of stuck with me how fragile and important life is. It may seem silly in that some digital cow died in a video game as being very important, but as a kid it gave me a taste of failure to be responsible that resulted in an irreversible consequence. I still remember it some 15 years later, so the fact it left this lasting impression on me says something. There are a few instances where the game hit me with things like this, but that was the strongest example.


Finale



This game is very special to me. As I said previously, it's not difficult to play through but I got a lot out of it. You meet people and places in the game that at first seem very simple and quaint, but as you get to know the NPC's and the in-game world you start to discover how much there is to this niche title. I'm not going to give this game a numbered rating because that's not the point of the article. However, if you have even the slightest interest of playing it then I implore you to give the game a try sometime. I cannot personally comment on the newer titles in the Harvest Moon series, but I hear good things about the Rune Factory titles if you don't have access to a Nintendo 64 or have trouble with emulation.

Recommended YouTube Poops of August 2014

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Crazy Luigi's Pick: "Robotnik prefers Google Video.wmv" by Nineroe



Throughout the 10 years of YouTube Poop's history, the one type of media background that most beginners at the time had was Windows Movie Maker on Windows XP. Sure it might have had some very easily simplistic effects for people to use, but there was a special charm to them that most other software that allows you to edit videos on don't have. While the time YouTube Poops had were under a climatic point with many newbies trying to create their own charming YouTube Poops to help garner views under YouTube back in 2007 (myself included, believe it or not), most people were forced to use Windows Movie Maker because of the fact that it was the only thing that came pre-installed with Windows XP (and Vista) at the time that allowed you to create such a thing in the process. Of course, over time we had ended up growing out of Windows Movie Maker to the point where future versions of Windows with 7 and 8(.1, maybe even 9 as well) don't even come with that installed onto their systems anymore. Nowadays if you wanted to create YouTube Poops, you have to buy expensive software that, while they produce much greater effects than Windows Movie Maker did (such as actually reversing clips instead of creating something really choppy to simulate it for starters), didn't necessarily have that special charm to them that made them what they were in the first place. That's why when I saw this video come out, I just knew I had to mention it no matter what happened next.

When looking at this video at first glance, you might not think much of anything about this video. In fact, you might be thinking of me with awkward motives right now since it almost looks like to be one of those "Spadinner" YouTube Poops we not only despise, but also make fun of under a regular basis. However, there's something that has to be said about the context of the overall picture that makes it more effective in what it's trying to say (or at least, do) here. Under the video maker's description, he had decided to crack out the likes of Windows Movie Maker to help make something out with it; based off of some of the effects at hand (such as the "disco" effect Windows Movie Maker had), they appear to come from the Windows XP version of it as opposed to the Windows Vista version that past members like Pimpsahoy had beforehand. That meant that some of the video methods you see here have a motive of taking you back to the past... the past of 2007 to be more precise, when YouTube wasn't being stingy with its copyright laws.

While some methods of editing might resemble the likes of a "Spadinner" YouTube Poop, others do have a bit of hilariousness to it that really can make you laugh no matter who you are (such as Dr. Robotnik telling Coconuts to "GET OUT OF MY LIFE!!!!!!!!!!!!!!!!!" or the "Sonic Sez" ending that has the timing just about right there). Many of the more awkwardness of the Adventures of Sonic the Hedgehog beyond some of the more obvious examples (oh hi pingas) have a greater highlight showcasing how truly awkward they are out of context in the first place, such as how Dr. Robotnik, Scratch, and Grounder are trying to get out of giant ice cubes in a dream for some odd reason. Not only that, but Nineroe was smart enough to not be completely reliant on using the Adventures of Sonic the Hedgehog to fill out the rest of his work; using not only quick old-school sources like the Super Mario World cartoon (from YoshiArt.com) and Hotel Mario (from QuebecGamers.com), but also "newer" footage for YouTube Poops like a live airing of Cher & Sonny's "I Got You Babe" to help round out his video. In all honesty, sometimes a YouTube Poop has to be recommended not necessarily because it's the best it has to offer, but because it ends up filling a special role that not many other videos in its field today have to offer beforehand. Really, in an area where YouTube Poops of Windows Movie Maker fields feel more like they're dying faster by the minute (thanks partially to Windows XP ending its support this year), having a reminder of what the past was like to help newcomers of the field out, if only as a means of figuring out what earlier YouTube Poops were like, can provide you with a better understanding of what a certain era was like and help make you strive for better things to come because of it.

thebluespectre's Pick: "(YTP) LGR Stumbles Upon The Internet Recycling Culture" by MangoFandangoTango



Let me tell you about Lazy Game Reviews. LGR is a YouTube gaming channel which discusses mostly old PC games, things other gaming channels don't always get. Some of their recent episodes have been on the original Jump Start edutainment games and the Encarta CD "mind maze" mini-game. They have an aesthetic reminiscent of Brutalmoose, but with a slower pace; there are many static images thrown in between game clips, and the narrator is always in his sweet game room full of everything they own. Their production values and budget are not so high, but the LGR has heart and that's what matters.

No, Lazy Game Reviews is not the creator of this YouTube Poop, only the subject. Yet that's the reason we're here, since MangoFandangoTango's YouTube Poop was interesting enough that I wanted to check out the source material! While he definitely hacked up the video to make it sillier, he left enough of it recognizable that you can still tell what exactly it is. There's a certain purity of form at work, with no laziness and only the important edits added. You can really tell that MangoFandangoTango enjoys the subject matter, and wanted to share it in their own strange way. That's something important about YouTube Poop that is easily forgotten; while it can be about making fun of the subject matter, it's just as powerful when we loves the subject, possibly even more.

ParappaTheRapper's Pick: "Robin" by WalrusGuy



The sudden passing of Robin Williams was shocking to say the least. What also caught me off guard was that WalrusGuy returned with this video after nearly 6 months of no videos being uploaded. It was created as an entry for the Robin Williams Collab that has yet to be completed as of my typing this.

Right off the bat, I was very impressed with the fact there was no Genie from Aladdin used anywhere in the video. I like Genie very much, but he is absurdly overused. The video uses One Hour Photo, which happens to be one of my favorite psychological thriller movies. On top of this you have the Zelda: Four Swords commercial, Flubber, Neon Genesis Evengelion, and the To Love-Ru game play all in just over 1 minute.

The initial battle of Robin Williams' daughter Zelda defeating him in To Love-Ru: Darkness Battle Ecstasy is so absurdly funny. I needn't really explain this one in detail, it's pretty obvious where the humor lies. I liked The Neon Genesis jokes because it really stuck out in the film One Hour Photo when he mentions to the young boy that he too enjoys the show. It's just one of those little in-jokes that people who've seen the movie and also known the anime are able to laugh at. Not to mention his sudden outburst about "anime breasts" as he loses his mind and transitions into how your testicles run out of semen and demand blood, urine, and Flubber.

The video spends a good 12 seconds displaying Shooter McGavin getting ass raped by Flubber repeatedly as Robin Williams and Marcia Gay Harden watch on in horror until finally exiting. It's honestly just one of those simple things that begged to be done yet went undone until now, and I'm a better person for finally witnessing it. What I also found funny was that, intentional or not, WalrusGuy showed Flubber fly into a display cabinet and breaking the glass in the process. This means that Flubber probably had some glass embedded inside of it as it entered and exited his body repeatedly.

What I like most is that the video is short and sweet. It never overstays it's welcome and it's packed with lots of things to laugh at but it's not too frantic either. Easily the best YouTube Poop of August and the best Poop in awhile for me.


HerrVarden's Pick: "oh yeah mr krabs the movie" by MountainDewMaNN



While I certainly appreciate the great choice in running gag, there's a certain feeling to this video that gets to me a lot more than the joke. Perhaps it has something to do that it uses the SpongeBob source in a classical style as opposed to SpingeBilling it to the point of pure annoyance. Perhaps it has something to do with the Deacon at 1:15 or the REV UP THOSE FRYERS fish spouting a Hotel Mario quote at 1:55 which both stand out from the usual flow of the poop, but still add a lot of humor to it. Perhaps it may even have to do with how the most effective stutters are the ones where what is repeated is mid-sentence nonsense. All the speeding up and slowing down, as well as the zooms, do their job of emphasizing the joke superbly as well. It certainly was clear that DewMaNN was doing all he could to get Mr. Krabs slamming on that table as hard as he could, but what sustained the joke was the foundation that the rest created altogether. I very much like the approach since it's able to capture mannerisms that are often overlooked in the show and puts them up front as jokes. Better still is that the timing of each effect and joke is done superbly. It's surprising that he didn't use the OH YEAH MR. KRABS sound effect as it could have worked well with the style he was creating, but it's not like you miss anything by not having it there either. There's quite a lot in this video that works that it's really hard to say which one was the best. I just know I was laughing my ass off.

 
Under the guise of the Writing Staff, we would seriously like to welcome ParappaTheRapper to the staff with a new video to talk about. Seriously, he really put in some nice work here for us this month. Now with that said, even though we figured that these selections of YouTube Poops would be good enough to talk about in their own, unique ways, we still figure that it could be possible that something from this past month might have been missed out in part of the chaos that might have come out of it. If there was a YouTube Poop that you felt was good enough to be on this list, we would love to hear it and maybe talk about how it was worthwhile to you. Otherwise, we hope you've enjoyed this month's selection of YouTube Poops and are ready for some more videos for this September!

Interview With Geibuchan

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Geibuchan. A pooper nearly 7000 subscribers strong, whose well known for his artistic skills which create a slew of special effects in his videos as well as also being able to maintain the simpler elements in check. His ongoing series of The King's Epic Adventure cements his abilities as a flash pooper as it both boggles the mind but keeps a cohesive story in check. His most utilized sources consist of Azumanga Daioh, the old Pac-Man cartoon, a plethora of the AIDS sources (most notably the Zelda CDi and AoTSH), Kirby Right Back At Ya! and in a series of his, Disney's Alice In Wonderland. Wanting to obtain further information, I stole a horse from the RCMP and rode to the south to find out about Geibuchan-sama.

Tell us a little about yourself.

Alrighty, well, if I can just say anything, I'm just sitting here in Texas at age 20, I've spent almost my whole life drawing as a hobby and I've attended advanced art classes throughout my whole highschool life. I've been playing video games since age 4 as an avid Mario/Sonic fan, and I've been watching poops ever since late '06. Beforehand, I spent a good lot of my time dicking around with MS Paint and WMM, making shitty custom sprite animations that I never considered releasing to the public, and watching Blackarms dubs. I have a lot to say here, so forgive me if I begin to ramble.

How did you first get into YTP?

If I remember correctly, it was about a few months after my folks and I were first getting into YouTube. I was thirteen at the time, alone on an old piece of crap HP machine that didn't have a lot of space on it. I'm not even entirely sure what I was watching before my discovery, but I'm leaning towards the possibility of perhaps, a bunch of Eggman related videos. I think I was looking for his Sonic Adventure 2 theme song or something, when I noticed a video thumbnail in the related section, adorned with the Adventures of Sonic the Hedgehog incarnation of Dr. Robotnik yelling on the phone while upside down. It was a video titled “Robotnik on the Toilet” by Super Yoshi, to be specific.
Now THIS video sparked my curiosity since I've always wondered what AoSTH had to offer aside from the rental tapes they had of it at my local Blockbuster. I never even knew when and where the show aired before I started using the internet regularly, so those rental tapes were pretty much the only window I had where I could see it. I figured from the unrecognizable screenshot through the thumbnail that I’d at least get a taste of what the other episodes of the series were like from watching it. And keeping the title and thumbnail in mind, I just knew that even if I didn't, I still would've enjoyed my experience.

*deep breath* I was right. I remember losing my shit the moment Robotnik went:


It's amazing to think how hearing him suddenly slow down in mid sentence was enough to just change my whole life. Suddenly, the footage cuts to sonic, the music changes to a melodramatic creepy tone as he glares at a wall covered in what appears to be semen. He scoops it from the wall, tastes it, and begins to express disapproval of it, claiming that it’s “not even his favorite flavor”! Then we get a perfect loop of Robotnik hitting sonic with a wrench. Then it cuts to Grounder laughing, slowed down, while scratch falls on the ground bleeding with pancakes smooshed all over his face, Robotnik responds to this by telling them to shut up in there, THEN he jumps up and down at mach speed while upside down, for only a split second before he spontaneously explodes. By the time Scratch and Grounder’s heads began to catch fire in different speeds, I was hooked. Watching poops from that point on became one of my favorite, no, our favorite past times, I showed it to all my brothers and got them watching poops too! We’d watch these all the time together, gathering around each time someone found something new!

Who would you say is a great influence of yours in YTP?

I’m scrunching to find an answer, I’ve built my whole poopstyle off of everyone I’ve ever enjoyed growing up, but I guess if I’d have to pick between them…

MrSimon – Directly influenced my passion for context construction. This guy just knew how to make recurring jokes and how to have them just come around full circle. Literally everything he did just had such a polished flair too. I’ve been watching him ever since I first got into YouTube Poops and I can pretty much say that everything he does is fantastic.

Cantflyman and Konanarian – These are fine examples of modern day classic poopers. They work to exploit the sources they work with of its idiocy or comedic value, they make recurring jokes, achieve most everything with just the simplest of edits, throw newer effects into the mix if need be, they don’t work they don’t play they’ve turned into phone junkies, and of course, they started the whole trend of yuletide pooping through “We Wish You a Turtle Christmas”. Once every Christmas season, should they be able to, they get their jingle shells on and spread all their Christmas joy down every sewer into the streets they can find. They got taste, and it shines through as they just show off just how ridiculous they can make an already ridiculous source look. That alone takes skill, even in this day and age.

DinnerWarrior – I wasn’t always good at sentence mixing. In fact, there was a time when I kept doing a piss-poor job at it, and for some reason I just kept doing it, never really thinking I had room to improve. At the time, Allison 4 and the King’s Epic Adventure 4 act 1 were my crowning achievements when I was on the verge of finding the key to my true potential …held back only by crappy sentence mixing, in the latter video’s case with the King, Link, Zelda, and Gwonam’s dialogue. Shortly afterwards, I spent some time with DinnerWarrior on skype. I was already a fan of his works, and he always shared a bunch of ideas he had for projects, often sharing tips for methods he had that would occasionally involve sentence mixing in between. He’d often have transcripts ready for the sources he used, he’d write entire ideas down in a notebook, he even taught me his approach to sentence mixing when I finally came to realization that the whole time I’ve been going at it the wrong way. I may not be at the point where I write my ideas down to save them for later, but in the sentence mixing department I’ve definitely learned from the master.

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Chaofanatic – A former flash pooper. Even if he’s not pooping anymore, his delightfully abrasive sense of humor still remains in his SFM videos. Essentially, his work consists of the kind of humor where everything’s brought to such extremes, where everything happens just to point out the incompetence of a character, everything’s exceedingly loud at some point, and at the same time, all these little touches are daintily sprinkled everywhere and everything just as fun as possible, even if he’s doing something small. Even if he used to have a habit of jumping into something with no real thought on how he’s gonna finish it, (which he’s currently breaking by the way) whatever he does or doesn’t finish just oozes with so much class it doesn’t even matter. He’s like the raw essence of Treasure games rolled into a pooper; everything he does is awesome even if it’s just a short test video, it all looks nice and shiny, and it’s all adorned with rapid explosions everywhere. Of course, I’ve directly inspired HIM in how his style came out too, and when I look at his stuff it’s like looking in a mirror and seeing a jazzed up version of myself, if that makes sense, which inspires me to just keep doing what I do. A faithful reminder of everything I am and hope to be. He and I pass around resources to each other, ever willing to lend each other a hand.

Spaghettibicycle – He held last year’s Turtle Christmas collab and encouraged that the entries would be less than five minutes, inadvertently helping me realize how I could finally fix my pacing. It’s something I’ve been working at for a while until then, see, from looking back at some of my poops, like Allison 3.5 and Genie Shares a Bountiful Unbirthday Banquet at Aladdin’s Restaurant, I figured if I was going to make these things this long, they shouldn’t feel so horribly drawn out. Unless making an overly drawn out joke is the entire point of the video, but anyway, I was ecstatic about this collab being a reality. I normally make short poops specifically for collabs anyway, no more than three minutes, but the five minute limit was enough to let me let loose with this project, AND provide an incentive to shorten what I was doing to fit. Of course, this didn’t involve omitting entire jokes or moments, but just looking for all kinds of places where I could trim the fat so there’s always something happening, there’s never a dull moment, and overall just make the pacing faster and more consistent. Despite my efforts, the resulting video was half a minute over the limit, but in the end Spaghettibycicle lied about setting a real limit, he was just honored enough that I showed up to his collab and he’d let me make it as long as I wanted to. I was really proud of what I got done, so I kept the Turtle segment as it was, sent him the link to my unlisted entry (meaning he got to see a poop from me before anyone else), and proceeded to work on the compulsory Azumanga segment to complete a full version to upload publically; which I got done JUST in time for Christmas. I follow the same method I used in the turtles poop to this day. So pretty much, he was responsible for granting my Turtle Christmas Miracle.

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Stuart K. Reilly – I’m more than grateful he and I are best friends now *chuckles loudly* There are so many people who dream of getting close to this guy, and I still can’t believe I’ve made it to where I’ve become his biggest hero in the realm of Youtube Poop!
And I don’t care how many times he’s been on the verge of quitting poop forever just to turn right around the next moment, this guy just keeps inspiring me to keep going in everything I do, with everything he does, and vice-versa. Whether it’s through making poops on our own, or sharing something over skype, we essentially grant eachother a mutual amount of emotional support. Oh, and he gave me a spare PS1 he had lying around as a thank-you gift for everything I’ve done for him, so now I can experience all these sweet games I never got to enjoy when I was growing up.


Avojaifnot – There’s nothing not to like about his style. Anyone who says he’s a knock-off of Imaperson can fock-off cuz it’s rock-em sock-em robots that like PLAYING THIS STUPID GAME WITH YOUR STUPID GAME WITH YOUR—ahem. As far as I’m concerned, the two have simply mastered the fast paced visual genre, and I’m glad they’re good friends too. Now, I can’t even hope to try to do the things Avo does, but it’s enough to get me pretty damn inspired. He’s responsible for quite a few things I’ve done in the past, be it injokes between us that still work without the context, or the input he’s had in the King’s Epic Adventure series, But aside from that, he’s actually the first pooper friend I’ve ever made since I started buffing my skills in Premiere, and provided a great introduction to using skype. We’re gonna have all kinds of fun when Super Smash Bros for 3DS comes out, I just know it!

What are some of your favorite YTPs?



Robotnik Wants KFC – by Mrsimon Everyone’s favorite, and for a good reason too! The epitome of everything 06-07 pooping stood for and more, rolled in a deluxe burrito. A timeless classic.
Dr. Wily is a Filthy Old Man – by TimAHJ There’s nothing quite like a good ol’ Mega Man Poop, and this is a fine example of just how fun the series is to work with… aside from MrSimon’s Mega Man poops and Ninero’s legacy collab entry, anyway.
Zira Throws Pride Rock Into A Black Hole And Exiles The Entire Universe – by Avojaifnot Essentially, his Magnum Opus. This one was pretty much a return poop he did to get himself out of a rut, and I stood with him as he made this one, providing emotional support. It’s good to know my efforts worked, ‘cuz the final product is simply magnificent.
The Ultimate Hoip of Hoips: Fern's Christmas Party – by Imaperson Never fails to put a smile on my face. It’s just so off the wall and silly, anyone who watches it will likely lose their shit ten times over.
Rudolph's nose serves no flight navigation purposes by CommanderGwonam I’ve owned a video tape of the very same cartoon he used since I was three, you should’ve seen the look on my face when I found this one during the holidays.
YOUTUBE POOP: THE EPIC MOVIE – by Guysafari The ultimate fruit flavor in this side of the galaxy. It was often when Guysafari repooped other poops or his own, and this one was no exception to the latter, but there was three months lot of raw sweat and blood that went in the making of this, and it really shows. We get a funky phat beat provided by Peewee’s playhouse, Dexter combusts from breathing in the GOOD sun, and a visit from Santa Christ coming through the door to save the Nostalgia Critic from Princess Leia, among other stunning displays of sheer effort.
Mama Luigi’s Cave Christmas Spectacular – by Dvariano Boasting of Super Mario World, Adventures of Sonic the Hedgehog, Yogi Bear’s first Christmas, and Home Alone 2, this was a fine example of multisource poops. Sadly, it’s been blocked forever, but I was all over it when it was around. Since Dvariano was the first pooper I actually followed and kept track of, I just have the fondest memories of all my brothers sitting together with our cousin on Christmas Eve, huddling over a computer and watching this poop.


What YTP techniques do you find the most fascinating/enjoyable to do?

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Ear rape – When I was first getting started with Premiere Elements 4, it was essentially the easiest thing to experiment with. It has multiple uses. You could use it to emphasize a joke you’re doing, or just how ridiculous the source you’re using is; it does a great job as a topping for context construction; you can take the piss out of the expectations of the viewer with it; hell, you could just ear rape every impact that ever happens in a poop you’re making, shake the entire screen each time, and it’ll be the best thing ever. I don’t care what some of my viewers think, I love it that much. I always make sure there is at least a satisfactory level of ear rape in every video I do, and if there’s ever an occurrence where that PowerPup kid comes along and tells me I need to lower it on the ear rape, or if he’s actually congratulating me for not using it as much, it serves as nothing more than a good indication to add more of it next time.

Sentence Mixing – Whether or not there’s even a plot involved, it’s always a sure way to keep the flow along, or just make things happen. You can just toy around with the characters you’re using, make them have fluent conversations, or just use it in a short spurt for an off-hand gag. It’s a great way to test your wits in the field of pooping.

Masking – A lot of possibilities unfold from masking. You could make your own scenes, you can take a character from one source and plop him in another, or just use it as an offhand gag. My method of masking consists of taking all these screencaps in premiere and going around each one in Photoshop with a polygonal lasso. All the frames are saved as numbered pngs in a folder to use whenever I need them. It’s a monotonous method if you’re not using a tablet, but being as analog as you can possibly get with masking, the payoff is tremendous if you know what you’re doing. It always looks nice, you’ll only have to mask something once to use again and again if need be, you can skip interlaced frames if the source has a problem with those, and it allows for better control when handling individual frames so you can synch it better with sentence mixing, dialogue, or just everything that’s happening around the masked character. Plus, it’s especially forgiving if you’re doing it with a source where the animation already takes a lot of shortcuts; say an anime show or a DiC cartoon. Though, if you’re working with something of a higher framerate, say a live action film, I’d recommend doing it with after effects. That method’s already faster and easier to manage, and if you already have After Effects then by all means, just use that for everything. Of course, you don’t absolutely have to mask everything; Combuskenisawesome is proof enough that you can just make wonders happen even with simple still images.

Context construction – One of the finest poop elements ever devised. Whether it’s in the form of recurring jokes or just spamming the same clip or quote over and over, to where it “becomes a thing” for lack of better wording; it’s just a technique that can make anything funny, and it never fails to amuse me.

Are there some aspects of YTP that you don't like?

Aside from the tasteless meme-pandering of pre-2013 and today’s hamfisted creepypastas and spingebills, no, not really.

What do you think about your old work versus your new work?

I honestly feel that my WMM years were just me dicking around with the little I had, limited by my poor pre-teen taste, understanding, and powers of comprehension. Things didn’t really start until I discovered Premiere on my mom’s work laptop, but most of everything before Allison 4 was just testing the waters and making some gems in between. There was even a rock bottom moment after Allison 2, when I began to question if it was even alright that I was making all these flash oriented poopisms. Taking the low reputation that surrounded flash poops in general at the time into account was almost my undoing, as I started making all these mixed bag projects from worrying about it. These were videos where you could barely understand any of the sentence mixing, stutters and ear rapes just weren’t executed right, and it seemed evident that those three poopisms were all I had left as I began to shy away from visual jokes.

Thankfully, I threw these worries out the window with Allison 4; by then I figured making visual jokes just felt right, and I could just blend all the different approaches I’ve been making at this point. And since the warm reception of that title, I’ve been working at finding ways to build upon my style to buff out whatever flaws that still remained.

How long does it take you to make a video?

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Roughly 2-3 weeks if nothing goes wrong, that may or may not count breaks. I tend to focus on just one project at a time before moving on to another one next one. My ongoing projects used to be a monthly thing around the time of The King’s Epic Adventure 3, but as time passed, standards were raised for them. I’m sort of left with the dilemma of not only taking longer to continue these plot oriented projects, but also preparing a bunch of plot-less poops in between. My most recent plot oriented poop, The King’s Epic Adventure 4 act 2, took almost two years to complete, procrastination included; and as implied with how it ended with Kaorin hyperventilating over how exhausted she was, it took a lot out of me. I mean, it was still worth it and all, but the whole thing just felt really hard to get through with how needlessly drawn out the development process was, coupled with how high I set the bar.
I think I’ve had, like; three YouTube commenters just come up and ask me why I don’t just make flashpoops all the time. Making plot-less poops not only helps me save energy for when I get to work on plot-oriented titles, but it also just keeps my spirits up. If I didn’t take breaks from flashpooping, I’d collapse every now and then. …But, that’s not to say I don’t enjoy making plot poops nearly as much as my standard poops, in fact, I’ve fully enjoyed making the eleven minutes I’ve finished with Allison Won Derland 5 so far. It’s a far more mellow process than I had with earlier titles, a much lighter workload somehow, and yet it doesn’t sacrifice any form of quality whatsoever. My I.M. Meen collab entry was a smooth ride too, now that I’m thinking about it.
…Huh. Maybe I’ve already fixed my methods of flash pooping at this point and I’m just dwelling on how tired I was when I finished King’s Epic Adventure 4. At this point I’d have nothing to lose if I just got my shit together with Allison 5.

What made you want to do The King's Epic Adventure?



People were making flashpoops around the time when I first started the series. I got a little happy from bringing home an animation I finished at my 8th grade multimedia class, made with WMM and Paint, no less. With the warm reception it got in the last few minutes of school, I figured I could attempt to make a flashpoop myself the same way. That was it, really.

Getting started with premiere was pretty much the point when the series got better. At that point I knew damn well that flashpoops were kinda frowned upon by higher-ups due to how predictably juvenile they were getting if they weren’t already; how they’d often lower to Cd-I characters with guns, censor bleeps, meme-spewing, or just MS-Paint sex scenes. I figured if I was going to continue the King’s Epic Adventure with the new tools I had, I’d at least have to deviate from everything that made these flashpoops so grating to begin with and create something that no one could look down upon, something nearly everyone can watch no matter which end of the table they saw it from, and something that could only impress... …or something. From episode 3 and onward, I figured things could only go right if I just attempted to make something cool, even from just a trivial sense.

It’s kinda off topic, really, but each installment of the King’s Epic Adventure seemed to have a different ambition as the series carried on.
Episode 1’s ambition was to make a CD-I related flashpoop,
Episode 2’s was the realization that eventually I’d have to continue the flashpoop I started since it ended on a cliffhanger, as well as a lackluster attempt of doing so with the little resources I had.
Episode 3 was an understanding of the flaws the first two episodes had, and an attempt to improve the series as a whole and make it more watchable in general; especially since I had the tools to make it happen.
Episode 4’s ambition was to blow everything before it out of the water. And I believe there was more of an emphasis on moving the story along by the second part.



The fifth installment will probably trim whatever traces of fat that Episode 4 had, utilizing everything I learned since then, to allow for a more eventful experience.

What are some of the greatest and/or most frustrating moments you've had while editing the videos?

I think I got a moment that applies to both, actually. I think I was a sophomore when I was making the King’s Epic Adventure 3, back when I was still using mom’s work computer and promising new episodes of the series every summer. I started on it sometime around Christmas break, but because mom was pushing me through some advanced classes that took up a lot of my free time, it took about the rest of the school year to make it. The project was just about finished when I decided to use a Froot Loops commercial. I couldn’t find any in decent quality on Youtube at the time, so for whatever reason I figured I’d have better luck somewhere else. One result led me to a pornographic site that instantly infected the computer real bad. Just eight seconds of the page being opened caused a fatal error in the Direct3D driver. I didn’t know shit about dealing with viruses at the time, nor did the antivirus actively protect the laptop unless it was taken to work or something, so from what I could tell the buttload of malware disabled everything so I couldn’t even run a scan. I shut the machine down in a state of panic which wound up bricking the system.

I lost everything. Everything seemed hopeless once summer break began, when they just gave mom a new laptop to replace the old one, but a sudden ray of hope lit up inside. I immediately remembered that I archived not only the first scene, but all the sprite assets I used for everything up to the commercial segment I planned. And since I still remembered how I did everything, I knew that getting it done by the end of the month was still a possibility. Though it probably won’t mean much right now, I spent two weeks of raw man-hours recreate the flash poop I lost from scratch. I remember feeling so uplifted from this accomplishment that it gave me this drive to keep the pace for the whole summer, as every segment in that episode took only a month each to make, back-to-back. It was the fastest I ever worked on an episode, and to this day, I wish I was still as fast as I was back then.

How do you feel about the current state of YTP?

I’ve stated earlier I don’t particularly care for spingebill poops, sus-heavy poops, and creepypasta-ness within them, but everything else seems just fine. I’m really glad that some of my favorite poopstyles I’ve grown up on are still being fleshed out to this day, even if not many people are watching them over spingebill and sus-heavy poops. Aside from that, I tend to keep to myself as far as what the outside world is doing and just do whatever I find fun, and now that the whole spadinner jizz is all dried up, it somehow feels as if there’s more room to go about doing it. I also still implement older poopstyles in my works from time to time, either that or drop a few references to them, so I’m hoping I can leave my viewers with an open mind to pooping fashions old and new.

You have a great deal of different talents outside of YTP which you integrate into your craft, how did you manage to get into them and what made you want to pursue them and combine them to YTP?

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I’m really grateful for all the years of art and drawing classes I’ve been taking. I’ve always loved drawing growing up and anything related to it, and I’ve even gone with advanced classes for it to hone my skills. I’ve been known for this gift since first grade, and the notion that I could use it for a lot of things made me feel all the more welcome wherever I went. Be it for assignments in school, just hanging out with friends, drawing things for friends, making pixel-stamps in Mario paint…
Yes, I think it was my experience with Mario Paint that founded my desire to make those WMM sprite animations I did back before I had taste, and I guess that in turn founded my ability to make those flash poops from screenshots and paint edits. Everything just built up from there when I started with Premiere, especially with all the layers to work with and the much-needed introduction of transparent images. With those brought into the mix, it seemed that I was free to do whatever I wanted, and the concept of adding my own drawn work just leaned more and more within the realm of possibility. If you can draw well enough to emulate the look and feel of the original source in question, or better yet, exceed it or make it look cool, then going in and animating your own stuff should be a cakewalk.

What would you like to say to aspiring poopers?

Unless you're out to hurt someone or are only concerned with getting subscribers, there's no wrong way to go about pooping. You can do no wrong if you follow your ambitions to make something great, whether its something small, medium, large, or dinosaur sized. Get out there and do whatever makes you happy, and maybe brighten someone's day.

Before we end is there anything else you'd like to say?

I think I forgot to mention somewhere that a good lot of elements of my poopstyle pretty much started as leaps of faith, like with how I pretty much winged my idea of flash poops and hoped for the best. I'm more than glad that everything turned out just right, with that considered.

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A Meditation on Nostalgia (Editorial)

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It puzzles me that creative people so often seem to be making the same things.

We like to think that we are progressive, always looking ahead to new frontiers, but in fact the opposite is true. We are constantly looking backwards: at bands our parents grew up with, at books that are hundreds of years old, at movies we remember seeing when we were four years old. Nostalgia is the source of this behavior. It drives us into repeating feedback loops.

I can point to several media events from the last few months that support this notion. Disney revived a 1959 property with Maleficient, Godzilla came back for the 30th time, the Spider Man series got a second number two, lost properties Peabody and Sherman returned to the screen, the X Men chugged on, Apes took over the planet once again, and the Ninja Turtles came back for yet another iteration. Meanwhile, the Monty Python guys are pocketing their reunion cash, King Crimson is scheduling new concerts for an 8th lineup, and CN is announcing plans for a new version of the Powerpuff Girls.

This list barely breaks the surface. Why is there so much renewal of old property, and why we don’t get tired of it?

Nostalgia’s effects on culture are difficult to grasp because they are diffusive. Nonetheless, this is a worthy question. Entertainment blatantly demonstrates our cultural fixation with the past, and in a world where reboots, remakes, sequels, and prequels rule supreme, we should be asking why we’re getting what we’re getting, and why there is so much of it.

I’ll begin with a definition of nostalgia. For me, nostalgia is a warm, sentimental feeling that causes us to crave re-experiencing earlier moments of our lives. It explains why middle-aged men are obsessed with vintage cars, and why LA’s Venice Beach continues to provide sanctuary to tie-dye wearing hipsters. It pulls us into our memories, and sometimes even immerses us in experiences we have never actually had. Nostalgia is something that all of us love and treasure, because it gives our pasts meaning and feels overwhelmingly positive. However, there are reasons to be wary of it, for it is also seductive and misleading.

In particular, nostalgia tends to be problematic where creativity is concerned. Artists draw upon their experiences when they work, and this leads many of them to attempt to recapture products they remember from their youth. The sheer fact that an idea is familiar or that it represents a certain time of a person's life can make it appealing, and this means that a great deal of ingenuity is not required (or, perhaps, important) when today’s artists decide to revisit what was done twenty, or even as little as ten years ago. Influence is a natural and healthy phenomenon that evolves traditions, but culturally we seem to be at a point where influence is so dominant in the creative process that we reward those who create things that stir nostalgia. Why else would anybody be watching Scooby Doo or Alvin and the Chipmunks in the 2010s? It isn’t as though those shows were so impressive when they debuted that the whole world awarded them permanent staying power.


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He's back, in POG form!


Nostalgia is a creative inhibitor - it pushes people towards what they've seen or done before, and away from doing something new. I believe this happens because of a desire to participate in what I call “the cultural conversation.” This conversation is an abstract forum where different groups of people present their takes on similar ideas, all in hope of responding to an earlier statement with something meaningful or insightful. Each generation wants to add their voice to that conversation, but for some elusive reason a larger number of people prefer to contribute responses instead of new statements, and that is why we so frequently see people presenting new versions of things that inspired them when they were younger.

So what are the fresh components of reboots? It would be foolish to assume that the original idea is what's interesting about them. If the cultural conversation is of any interest to us, we'll have to take a look at the modern elements that are added when a new group of people takes a stab at reproducing something they grew up with.

Here I’m going to use examples from the world of animation (as I always do): Frozen and Tangled. These films are “modern fairy tales” that have sought to include contemporary audiences in age-old stories, and they are red-hot hits. I believe that the films are popular because Rapunzel and Anna, the main characters, are not plastic royalty. They are like members of the audience—they speak plainly, carry themselves without an air of sophistication, and show the rebellion and spunk of American teenagers. Their quests to deal with true love, conflict, and living happily ever after are underscored by a subtext, an understanding that they can handle themselves. However, these characters still belong to worlds full of princes, castles, magic, and other conventional devices, and the films depend on the clichés they are subverting to tell their stories, so there can be no mistake that they stem from a classic premise. There are new themes at play in Frozen and Tangled, but the films are clearly additions to the tradition of princess stories with feel-good endings.

The runaway success of Frozen proves to me that most of us will scarf down old ideas that have been revised. We are interested in spins on familiar formulas, so we support sequels and retellings expecting to be surprised. Personally, I think that the most interesting reboots/continuations are revisionist pieces that do exactly that (hence why a few of my favorite movies are Empire Strikes Back, A Shot in the Dark, A Fistful of Dollars, etc.). Reworking concepts does create exciting results, but there is also clever repackaging of material that comes with it, and we do not always recognize that.

It is our responsibility as consumers to be aware of nostalgia as a business model. Appealing to memory is a persuasive advertising tactic, and it has a powerful effect on all of us. So when we hand our money to production companies and distributors, it’s important to ask ourselves if we are choosing to see sequels/reboots because of our own judgment, or because of irrationally positive feelings based on our recollections.


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An improvement? Who knows?


I had an experience recently that made the nature of this seductive business more explicit to me. I’d heard that Sailor Moon had been uploaded to Hulu, so I brought it up on my browser and decided to sit through the first episode again. I can hear some of you sighing, “There he goes again about that damn oriental cartoon with the glittery 8th graders in tutus,” but take comfort; this time I won’t be spilling my many pedantic thoughts about magical girls. Instead, I’ll explain what went through my mind when I returned to the starting point of a show I hadn’t looked at for years.

When I was watching that episode I tried to distance myself from the experience I had the first time. I wanted to be a little skeptical, wanted to see if I could discover any faults that I hadn’t noticed before. I hadn’t thought about Sailor Moon often since I finished it, but I had been aware that the franchise was starting to resurface with a new series on the way, so I wanted to look at it critically. That plan failed. Ultimately, my viewing was so colored by nostalgia that I couldn’t feel anything but a dumb, general positivity as I sat through those twenty-four minutes of a cat teaching a thirteen-year-old girl how to throw a tiara at an evil jeweler. I’d hoped for a new perspective, but when the episode ended my critical thinking was impaired, and I only found myself thinking how great it was to see that animation again.

About a week after that the reboot series premiered, and I balked. The first episode was precisely the same deal, albeit with slightly different pacing and cheaper animation. I thought it was terrible. This point, I thought, raised an interesting question. Why should I readily accept the first episode of an old anime and just as easily reject the same in a reworked, modern style? I think the reboot fell short for me because I had seen the original too recently. With the first first episode fresh in my mind, the reboot’s appeal to fuzzy, half-faded memory was ineffective, and I was keen to draw comparisons. Clearly then, nostalgia is not a flawless marketing tactic, because it takes a fair amount of time for it to incubate and grow strong enough to affect judgment.

Although nostalgia is strange and impossible to avoid, I’ve accepted that culture is a self-duplicating system. As a part of growth, it is necessary for ideas to be resurrected, reexamined, and tested to see if they are actually of any merit in the long run. Some prosper while others are referenced less often, but they all return and function in cycles, floating in and out of the “conversation” and helping to build our view of the world.

The process reminds me of The Heavenly Music Corporation, a piece of ambient music by Brian Eno and Robert Fripp. The song begins with a few simple notes, which repeat endlessly as Fripp’s guitar gradually adds phrases. Each sequence echoes and lingers as the backdrop for the next phrase, and this continues until the end. None of the ideas presented over the course of the piece go away, and all of them seem to be quite similar, leaving the listener with an impression of circular motion.

This is how I see culture. It is inventive and forward-looking, and it is homogenous and boring. And we cannot do without it. For creative people, however, I issue the following warning – do not be easily swayed by nostalgia. It is not always a friend.


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Harvest Moon 64: Fact, Opinion, Recollection

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I dedicate this article to Robin Williams, who passed during its creation.



Harvest Moon 64: Fact, Opinion, Recollection


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First, a little background in case you aren't familiar. Harvest Moon 64 is the second game in the Harvest Moon series. It was released on the Nintendo 64 platform in February of 1999 for Japan and December of that same year for North America. It was published and translated by Natsume but mostly the work of Victor Entertainment Software (before they merged with numerous companies and ended up somewhere in Marvelous Entertainment). It's described as a farming simulator, but I see it more as a “slice of life” game with farming elements. The basic story is that Jack inherits the farm of his grandfather who recently died. Instead of selling his grandfather's property, Jack wants to revive the farm and make a life for himself there.

Before we dive in I want to make clear my intentions. This is the abridged version what that doesn't go over the whole game with a fine tooth comb. I could go over the entire game, but almost everything has been covered by Walkthroughs and FAQs on the internet. The goal of this article is to share a little overview of the game and its mechanics, a little bit of criticism so the article doesn't feel biased and one sided toward the positive aspects, and I'll also share some personal experiences.


Chapter 1: The Game Who Wasn't There


Those old enough to remember the late 1990's may wonder why they can't recall any commercials or advertisements for the game. Well you can cancel that CT scan, there's nothing wrong with your brain. The problem is that the game had no television advertisements and very little in the way of magazine coverage outside of Japan. The only English magazine spread I was able to find is this. So you were not the only one who may have missed it. On the off chance you caught a glimpse, you probably weren't impressed anyway. When I first heard of a “farming simulator” I thought it was some sort of joke. I had no idea it even existed until a good friend of mine told me how great it was. Even the savviest gamers I knew at the time (disregarding the fact they were all mostly 10 years old) also hadn't heard of it. Natsume probably assumed the game would be hard to pitch given the subject matter so they sold the game in small quantities and kept advertisement expenses to a minimum to try and squeeze out some profit. Honestly, I'm surprised it was released outside of Japan but they must have felt confident it was worth the risk. The success of its predecessor in North America probably helped, being very well received. So perhaps Natsume were gambling on fans of the first game would latch on to another title. Whatever their strategy had been, it has helped to create a cult following as the series is still very much alive:

Spoiler

Every Harvest Moon game released after Harvest Moon 64. Yeah, the series doesn’t seem to be dying soon.



Chapter 2: “Farming Simulator”


At the time of its release there were few games centered on farming. Compounded by the fact the Nintendo 64 had a small library to begin with, it's pretty safe to say Harvest Moon 64 does hold the monopoly on raising animals and growing crops in a rural setting on the N64. You can choose from many crops to grow, a handful of animals to raise, and many upgrades for your farm are obtainable if you have the money and materials required. At your disposal are a plethora of tools. There’s a hoe for tilling, an axe for chopping wood, a watering can for watering your plants, and much more. Indeed, you have many things to do in regards to farming, and you'll be spending much time doing that if you so desire. You can also forage for flora growing in the wild and this is especially important during the early game to get the materials and money I mentioned earlier.

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“The Lady of the Lake, her arm clad in the purest shimmering samite, held aloft Excalibur from the bosom of the water, signifying by divine providence that I, Arthur, was to carry Excalibur. That is why I am your king.”

This sure does sound like a lot of work to keep you busy huh? Well it is, but it becomes tedious. Much like real farm work, it becomes boring if there is no break in-between. This is where the human element comes into play. You will usually have enough time to get all your work done and spend the rest of your time getting to know your neighbors. This, to me, is where the game truly shines. You'll find that most everyone here is very friendly toward the main character, Jack, because his grandfather was liked and well respected. It's also very important you get these people to like you, because if they don't like you after 2 and 1/4 years Jack won’t get to stay and the game is over. Seems like a lot of pressure huh? Well don't worry. Unless you go out of your way to talk to no one and ignore festival activities you're almost guaranteed the right to stay. My first play through I messed up A LOT and I was still given a pass. In fact, the game itself isn't very hard to beat. Jack literally cannot die under any circumstances. Getting a perfect ending, however, is probably one of the most difficult things I've succeeded in doing in a video game. Basically, the game is easy to pick up but difficult to perfect. All of this is the reason I hesitate to really consider the game a “farming simulator”. There is way, way too much to do in regards to socializing with the townspeople and other activities. Later on, unless you really enjoy the tediousness of farm work, you will be focusing much more on these other activities. This leads into the meat of the game...


Chapter 3: The Love of Your Life


That's right! What would any slice of life be without romantic relationships? There are 5 available spinsters for Jack to swoon and eventually marry:

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(From left to right) – Anne, Elli, Karen, Maria, and Popuri.


So as you can see, we have a wide variety of hair colors to choose from! Seriously though, each girl is fairly different and varies in both interests and personality. They all have certain favorite foods, events, and birthdays that are unique to each. Anne is very outgoing while Elli is shy and reserved. Karen hates when you show her bugs, but Maria loves those tiny creatures. So as you experiment, or simply read up on a guide like the cheater you are, you figure out what she's into and Jack can focus his efforts in order to attract her. It also helps to get in good with her family. For example, Karen's father is kind of a grumpy guy who is in a bad mood most of the time worrying about his vineyard's success. If you warm him up to you, Karen will notice. Then you'll get a small boost to the affection mechanic. Normally, you can get all the girls up to a friendly level, but you have to eventually choose a single girl to marry. There's no pressure to get married but it opens up a lot more dialogue options and some special events. Part of the beauty of this mechanic is that it adds a lot of re playability. In truth, marriage is mostly the same among the girls with dialogue making the big difference. Oh, and you can have a kid, though to be honest that's one of the more disappointing aspects I'll get into later. The point is, 5 girls to marry means you'll have to play 5 different game files in order to experience all of their special dialogue and stories in that alone.

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What a gripping revelation!


It's interesting to note that each girl has a possible suitor who can be considered a rival love interest. These guys will often marry the girl if you don't, but only if you are friends with the girl in question. Now before I spiral into an eternally growing wall of text about all the details of how people in the game are affected by Jack's actions, let's just say there is a lot to do in this area alone. There’s so much to do that not every event and conversation seems to be documented. I myself have witnessed seemingly random conversations that aren't documented anywhere on the internet (that I've found).


Chapter 4: Crop Failure


The game is not without its flaws. I've not found one game that has zero flaws and due to that funny little thing called “opinion” I don't think there is or ever will ever be a perfect game. Harvest Moon 64 is no exception to this rule. There are some things that are definitely not opinion and are objectively wrong. Take for example an infamous example for Natsume games:

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Good old “Natume”.


The game is riddled with spelling mistakes and awful grammar. Some sentences read very awkwardly, like Yoda was the translator. This is a minor flaw and it didn't make the game unplayable, if anything it just made me laugh most of the time. Though I remember one of the girls you can marry has a piece of dialogue at night with a glaring spelling mistake. That means you'll see it every single time you talk to her at the end of the day. So that was kind of annoying. I don't believe there is an official reason given by Natsume for all the translation issues, but given the release date is December it can be surmised they were in a rush to release the game for the gifting holidays. It doesn't excuse them but it seems the most likely reason the polish was missing.

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Oh, okay then.


So you're wife has been feeling funny for awhile now and suddenly you get news of a child. Congratulations! It's a boy! Not only that, but he will remain a toddler for the rest of time. He will never grow past roughly 4 years of physical age. Yes, when you have a child in Harvest Moon 64 it's always a boy and there really isn't much to him. He has a few stages, starting as a baby in a crib. You can carry him around and let people see your offspring. Then he becomes a crawling baby who... crawls around and starts spouting some basic words. Finally, he becomes a walking toddler who has about the same vocabulary. It takes 1 year to get to the 3rd stage and there he remains for eternity. He's got some special little events, but ultimately his biggest role to play is making your wife change her dialogue to more motherly topics. She'll ask Jack to not feed his son sweets, use real words to boost his vocabulary, and she'll ask if Jack thinks she's raising him right. So yeah, the first time Jack had a child in the game I was so excited about Jack's son maybe growing up and having him help out on the farm or whatever else could have happened. It was not to be, however. The most years I've hit in a single file was 10, and after 7 years of no development I became very disappointed in the baby mechanic. I guess it's better than having no child options, but it's kind of a big part of most people's lives that becomes irrelevant rather quickly. They could and should have done more in my opinion. Maybe they planned more but didn't have the time or budget for it. So in the long run it's not detracting from the game's quality, it just felt like a potentially great mechanic that was squandered. It's also worth noting the game is built around 3 really solid years of content, and everything after is pretty superfluous. I still think it's irking that your son never becomes someone looking for advice from his dad or anything more than a conversation piece.


Chapter 5: It's The Little Things


There are so many little things that make this game special to me. Take for example a completely unexplained and somewhat cryptic element that serves no purpose other than being a cool extra feature. This feature is called, drinking tolerance. I know, it sounds crazy but bear with me. During a certain festival you can drink with the townspeople to see who can out-drink who. Well normally you will lose pretty much every year. However, you can “practice” by drinking a bunch at the bar, or take the super cheap option of drinking at the Vineyard for free. Either way, you drink enough and soon you'll be drinking everyone under the table at the festival. There's no tutorial to tell you about this, there's no stats to signify it either, it's just completely hidden from view but there to discover. This is really what makes the game special to me. There is so much to find and though most things are small and insignificant overall, they make the game deeper and worth exploring.

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You mean that's not an apple?


Now as I said earlier, Jack can never die. Without spoiling who it is, there's only one person who will (unless you take certain precautions) die as intended. So obviously I wasn't really concerned about the mortality of things in the game and this lead to a disaster when I first started playing and didn't understand how to feed animals. I just figured the livestock might put out mediocre milk, eggs, wool, etc. Well, I was severely mistaken. I went and bought a calf because I wanted to get out of the crop game for a bit. The game allows you to name the animals so I called her “CHOCO” for a reason I can't recall. So as I said, I was confused but not very worried about feeding CHOCO. After a few days I got a visit from Anne's father who sold me the calf. He said my animal was getting sick and I needed to feed it more. Still not worried and preoccupied by other things I just let it go. After a week I had Jack go to bed as usual and instead of waking up in his house I get an event where it was Jack, Anne’s father, and the pastor at the graveyard. The pastor said some nice words about CHOCO. Anne's father said, “It's an animal, so it can't escape from death. But was it a death that could have been avoided? Think about it well. Never forget that you're in charge of the animals' lives.” So when this happened I was dumfounded and rife with guilt. My animals got fed every day after that little event. Anytime they got sick I rushed to buy medicine at the store. I never lost another animal after that and it always sort of stuck with me how fragile and important life is. It may seem silly in that some digital cow died in a video game as being very important, but as a kid it gave me a taste of failure to be responsible that resulted in an irreversible consequence. I still remember it some 15 years later, so the fact it left this lasting impression on me says something. There are a few instances where the game hit me with things like this, but that was the strongest example.


Finale



This game is very special to me. As I said previously, it's not difficult to play through but I got a lot out of it. You meet people and places in the game that at first seem very simple and quaint, but as you get to know the NPC's and the in-game world you start to discover how much there is to this niche title. I'm not going to give this game a numbered rating because that's not the point of the article. However, if you have even the slightest interest of playing it then I implore you to give the game a try sometime. I cannot personally comment on the newer titles in the Harvest Moon series, but I hear good things about the Rune Factory titles if you don't have access to a Nintendo 64 or have trouble with emulation.

Harvest Moon 64: Fact, Opinion, Recollection

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I dedicate this article to Robin Williams, who passed during its creation.



Harvest Moon 64: Fact, Opinion, Recollection


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First, a little background in case you aren't familiar. Harvest Moon 64 is the second game in the Harvest Moon series. It was released on the Nintendo 64 platform in February of 1999 for Japan and December of that same year for North America. It was published and translated by Natsume but mostly the work of Victor Entertainment Software (before they merged with numerous companies and ended up somewhere in Marvelous Entertainment). It's described as a farming simulator, but I see it more as a “slice of life” game with farming elements. The basic story is that Jack inherits the farm of his grandfather who recently died. Instead of selling his grandfather's property, Jack wants to revive the farm and make a life for himself there.

Before we dive in I want to make clear my intentions. This is the abridged version what that doesn't go over the whole game with a fine tooth comb. I could go over the entire game, but almost everything has been covered by Walkthroughs and FAQs on the internet. The goal of this article is to share a little overview of the game and its mechanics, a little bit of criticism so the article doesn't feel biased and one sided toward the positive aspects, and I'll also share some personal experiences.


Chapter 1: The Game Who Wasn't There


Those old enough to remember the late 1990's may wonder why they can't recall any commercials or advertisements for the game. Well you can cancel that CT scan, there's nothing wrong with your brain. The problem is that the game had no television advertisements and very little in the way of magazine coverage outside of Japan. The only English magazine spread I was able to find is this. So you were not the only one who may have missed it. On the off chance you caught a glimpse, you probably weren't impressed anyway. When I first heard of a “farming simulator” I thought it was some sort of joke. I had no idea it even existed until a good friend of mine told me how great it was. Even the savviest gamers I knew at the time (disregarding the fact they were all mostly 10 years old) also hadn't heard of it. Natsume probably assumed the game would be hard to pitch given the subject matter so they sold the game in small quantities and kept advertisement expenses to a minimum to try and squeeze out some profit. Honestly, I'm surprised it was released outside of Japan but they must have felt confident it was worth the risk. The success of its predecessor in North America probably helped, being very well received. So perhaps Natsume were gambling on fans of the first game would latch on to another title. Whatever their strategy had been, it has helped to create a cult following as the series is still very much alive:

Spoiler

Every Harvest Moon game released after Harvest Moon 64. Yeah, the series doesn’t seem to be dying soon.



Chapter 2: “Farming Simulator”


At the time of its release there were few games centered on farming. Compounded by the fact the Nintendo 64 had a small library to begin with, it's pretty safe to say Harvest Moon 64 does hold the monopoly on raising animals and growing crops in a rural setting on the N64. You can choose from many crops to grow, a handful of animals to raise, and many upgrades for your farm are obtainable if you have the money and materials required. At your disposal are a plethora of tools. There’s a hoe for tilling, an axe for chopping wood, a watering can for watering your plants, and much more. Indeed, you have many things to do in regards to farming, and you'll be spending much time doing that if you so desire. You can also forage for flora growing in the wild and this is especially important during the early game to get the materials and money I mentioned earlier.

Posted Image

“The Lady of the Lake, her arm clad in the purest shimmering samite, held aloft Excalibur from the bosom of the water, signifying by divine providence that I, Arthur, was to carry Excalibur. That is why I am your king.”

This sure does sound like a lot of work to keep you busy huh? Well it is, but it becomes tedious. Much like real farm work, it becomes boring if there is no break in-between. This is where the human element comes into play. You will usually have enough time to get all your work done and spend the rest of your time getting to know your neighbors. This, to me, is where the game truly shines. You'll find that most everyone here is very friendly toward the main character, Jack, because his grandfather was liked and well respected. It's also very important you get these people to like you, because if they don't like you after 2 and 1/4 years Jack won’t get to stay and the game is over. Seems like a lot of pressure huh? Well don't worry. Unless you go out of your way to talk to no one and ignore festival activities you're almost guaranteed the right to stay. My first play through I messed up A LOT and I was still given a pass. In fact, the game itself isn't very hard to beat. Jack literally cannot die under any circumstances. Getting a perfect ending, however, is probably one of the most difficult things I've succeeded in doing in a video game. Basically, the game is easy to pick up but difficult to perfect. All of this is the reason I hesitate to really consider the game a “farming simulator”. There is way, way too much to do in regards to socializing with the townspeople and other activities. Later on, unless you really enjoy the tediousness of farm work, you will be focusing much more on these other activities. This leads into the meat of the game...


Chapter 3: The Love of Your Life


That's right! What would any slice of life be without romantic relationships? There are 5 available spinsters for Jack to swoon and eventually marry:

Posted Image

(From left to right) – Anne, Elli, Karen, Maria, and Popuri.


So as you can see, we have a wide variety of hair colors to choose from! Seriously though, each girl is fairly different and varies in both interests and personality. They all have certain favorite foods, events, and birthdays that are unique to each. Anne is very outgoing while Elli is shy and reserved. Karen hates when you show her bugs, but Maria loves those tiny creatures. So as you experiment, or simply read up on a guide like the cheater you are, you figure out what she's into and Jack can focus his efforts in order to attract her. It also helps to get in good with her family. For example, Karen's father is kind of a grumpy guy who is in a bad mood most of the time worrying about his vineyard's success. If you warm him up to you, Karen will notice. Then you'll get a small boost to the affection mechanic. Normally, you can get all the girls up to a friendly level, but you have to eventually choose a single girl to marry. There's no pressure to get married but it opens up a lot more dialogue options and some special events. Part of the beauty of this mechanic is that it adds a lot of re playability. In truth, marriage is mostly the same among the girls with dialogue making the big difference. Oh, and you can have a kid, though to be honest that's one of the more disappointing aspects I'll get into later. The point is, 5 girls to marry means you'll have to play 5 different game files in order to experience all of their special dialogue and stories in that alone.

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What a gripping revelation!


It's interesting to note that each girl has a possible suitor who can be considered a rival love interest. These guys will often marry the girl if you don't, but only if you are friends with the girl in question. Now before I spiral into an eternally growing wall of text about all the details of how people in the game are affected by Jack's actions, let's just say there is a lot to do in this area alone. There’s so much to do that not every event and conversation seems to be documented. I myself have witnessed seemingly random conversations that aren't documented anywhere on the internet (that I've found).


Chapter 4: Crop Failure


The game is not without its flaws. I've not found one game that has zero flaws and due to that funny little thing called “opinion” I don't think there is or ever will ever be a perfect game. Harvest Moon 64 is no exception to this rule. There are some things that are definitely not opinion and are objectively wrong. Take for example an infamous example for Natsume games:

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Good old “Natume”.


The game is riddled with spelling mistakes and awful grammar. Some sentences read very awkwardly, like Yoda was the translator. This is a minor flaw and it didn't make the game unplayable, if anything it just made me laugh most of the time. Though I remember one of the girls you can marry has a piece of dialogue at night with a glaring spelling mistake. That means you'll see it every single time you talk to her at the end of the day. So that was kind of annoying. I don't believe there is an official reason given by Natsume for all the translation issues, but given the release date is December it can be surmised they were in a rush to release the game for the gifting holidays. It doesn't excuse them but it seems the most likely reason the polish was missing.

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Oh, okay then.


So you're wife has been feeling funny for awhile now and suddenly you get news of a child. Congratulations! It's a boy! Not only that, but he will remain a toddler for the rest of time. He will never grow past roughly 4 years of physical age. Yes, when you have a child in Harvest Moon 64 it's always a boy and there really isn't much to him. He has a few stages, starting as a baby in a crib. You can carry him around and let people see your offspring. Then he becomes a crawling baby who... crawls around and starts spouting some basic words. Finally, he becomes a walking toddler who has about the same vocabulary. It takes 1 year to get to the 3rd stage and there he remains for eternity. He's got some special little events, but ultimately his biggest role to play is making your wife change her dialogue to more motherly topics. She'll ask Jack to not feed his son sweets, use real words to boost his vocabulary, and she'll ask if Jack thinks she's raising him right. So yeah, the first time Jack had a child in the game I was so excited about Jack's son maybe growing up and having him help out on the farm or whatever else could have happened. It was not to be, however. The most years I've hit in a single file was 10, and after 7 years of no development I became very disappointed in the baby mechanic. I guess it's better than having no child options, but it's kind of a big part of most people's lives that becomes irrelevant rather quickly. They could and should have done more in my opinion. Maybe they planned more but didn't have the time or budget for it. So in the long run it's not detracting from the game's quality, it just felt like a potentially great mechanic that was squandered. It's also worth noting the game is built around 3 really solid years of content, and everything after is pretty superfluous. I still think it's irking that your son never becomes someone looking for advice from his dad or anything more than a conversation piece.


Chapter 5: It's The Little Things


There are so many little things that make this game special to me. Take for example a completely unexplained and somewhat cryptic element that serves no purpose other than being a cool extra feature. This feature is called, drinking tolerance. I know, it sounds crazy but bear with me. During a certain festival you can drink with the townspeople to see who can out-drink who. Well normally you will lose pretty much every year. However, you can “practice” by drinking a bunch at the bar, or take the super cheap option of drinking at the Vineyard for free. Either way, you drink enough and soon you'll be drinking everyone under the table at the festival. There's no tutorial to tell you about this, there's no stats to signify it either, it's just completely hidden from view but there to discover. This is really what makes the game special to me. There is so much to find and though most things are small and insignificant overall, they make the game deeper and worth exploring.

Posted Image

You mean that's not an apple?


Now as I said earlier, Jack can never die. Without spoiling who it is, there's only one person who will (unless you take certain precautions) die as intended. So obviously I wasn't really concerned about the mortality of things in the game and this lead to a disaster when I first started playing and didn't understand how to feed animals. I just figured the livestock might put out mediocre milk, eggs, wool, etc. Well, I was severely mistaken. I went and bought a calf because I wanted to get out of the crop game for a bit. The game allows you to name the animals so I called her “CHOCO” for a reason I can't recall. So as I said, I was confused but not very worried about feeding CHOCO. After a few days I got a visit from Anne's father who sold me the calf. He said my animal was getting sick and I needed to feed it more. Still not worried and preoccupied by other things I just let it go. After a week I had Jack go to bed as usual and instead of waking up in his house I get an event where it was Jack, Anne’s father, and the pastor at the graveyard. The pastor said some nice words about CHOCO. Anne's father said, “It's an animal, so it can't escape from death. But was it a death that could have been avoided? Think about it well. Never forget that you're in charge of the animals' lives.” So when this happened I was dumfounded and rife with guilt. My animals got fed every day after that little event. Anytime they got sick I rushed to buy medicine at the store. I never lost another animal after that and it always sort of stuck with me how fragile and important life is. It may seem silly in that some digital cow died in a video game as being very important, but as a kid it gave me a taste of failure to be responsible that resulted in an irreversible consequence. I still remember it some 15 years later, so the fact it left this lasting impression on me says something. There are a few instances where the game hit me with things like this, but that was the strongest example.


Finale



This game is very special to me. As I said previously, it's not difficult to play through but I got a lot out of it. You meet people and places in the game that at first seem very simple and quaint, but as you get to know the NPC's and the in-game world you start to discover how much there is to this niche title. I'm not going to give this game a numbered rating because that's not the point of the article. However, if you have even the slightest interest of playing it then I implore you to give the game a try sometime. I cannot personally comment on the newer titles in the Harvest Moon series, but I hear good things about the Rune Factory titles if you don't have access to a Nintendo 64 or have trouble with emulation.

This post has been promoted to an article

Bob Hoskins - A Memorial

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HerrVarden

In this year, many famous deaths have impacted us all in various ways. While we may curse the year for robbing us of great talent, it's simply one of the inevitabilities of our world. It always feels bad that those with true ability will no longer continue to amaze us with their skills. Yet at the same time, that is not to say that all their work prior is in vain. To paraphrase Banksy, "we all die twice; once we let out our last breath, and again when our name is said for the very last time." Much of the greats' body of work lives on despite their actual bodies being buried in the ground. Their spirit reminds us of their greatness. In that regard, I would like to talk about an actor who, even though he's known to a great deal of us by two films, showed that there was a lot more to an actor than that. As you can imagine, that man is none other than Bob Hoskins.

To the commoner, Bob Hoskins wouldn't be much of a standout name, lest you were familiar with his Brooklyn accent in the two films that I've mentioned. Despite this, Hoskins was actually British, and worked in such films as The Long Good Friday, Ruby Blue, Mona Lisa, Hook, Pink Floyd's The Wall and countless others. Aside from playing a New Yorker, he was known to play Cockneys, gangsters and Cockney gangsters. But, he proved himself to be versatile enough to play J. Edgar Hoover and Nikita Khrushchev. Unfortunately, I have not looked at any of his other work, or at the very least his better work. Still, that's not to say that what little we do know isn't important in its own right. His roles as Eddie Valiant in Who Framed Roger Rabbit and Mario Mario in Super Mario Brothers shaped his career and put him into the minds of many more people than would've known.


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On my side, I can say that his work in Who Framed Roger Rabbit has been a great influence on me. While the film had a great variety of concepts that I enjoyed, as well as a plethora of memorable scenes, it was Hoskins's acting that got me so engrossed in the production. It took me a while to appreciate just how great his ability was in the project. Mainly, it was the fact that for the most part Hoskins had to imagine the characters he had to interact with. It is very tricky to act without something in front of you, let alone perform the proper actions to make them seem real. Yet Hoskins made sure to take into consideration any nudges or fidgeting that would occur from the toons moving in any which way when the special effects couldn't do so well enough. He made sure to focus in the right spots and treat that empty space as if it were a solid being. His preparation for the role is cute in its own right, as he would play with his daughter who had imaginary friends of her own. As he kept recognizing their existence, he was able to project that onto the toons he would act alongside. It really shows his dedication to finding any way to make his performance better.

Along with that, he makes Eddie Valiant a more interesting take on the hard-boiled detective sort. While there's various instances where the joke is played straight, Hoskins makes sure that the character still contains a more joking and light-hearted side. It's done in a very subtle way, which I think is great because it can still maintain the cynical attitude that stays with a man who's been through it all, as well as give him more humanity and connection with the audience. That and with this tone, the more goofy-sounding jokes still give believability to his character. At the end of it all, Eddie Valiant is simply looking for the answers and trying to do good for the world. Another thing I admire about Hoskins is just how he enjoyed himself in the role. It may not be incredibly obvious to a person seeing it as his role requires him to be more jaded, but he takes advantage of hitting all the notes necessary in a film-noir archetype. He's an alcoholic, a snarker, a gritty-talker, and a man who doesn't like to be pushed around by anyone. He finds himself seduced by a femme fatale and pushed around by a bunch of mooks, and confronts anyone who's played him like a sap in the harshest of manners. His reactions always told you what he was feeling, so much so that if the film was mute, you would follow him perefectly. It was a role that he embraced so much that you too could see how much he enjoyed being part of the film. Simply put, when Hoskins was on, you were in for a great ride.


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As far as I can tell, Bob Hoskins was a standard professional actor, being well-versed in his field and astute about a variety of other subjects but also sincere and easy-going. One of my favorite quotes of his was that when asked what he owed to his parents, he said "Confidence. My mum used to say to me, "If somebody doesn't like you, fuck 'em, they've got bad taste." In other times I've seen him in interviews, it was evident how down to earth and happy he was. Perhaps in some way it was fitting that he didn't become that large of a household name. The reasonable amount of fame he received was sufficient for him and he wouldn't properly fit into the greater mainstream scene. Still, it wouldn't have hurt him, as he certainly had enough talent to reach those heights. In the few years before his death, he had retired acting after Snow White And The Huntsman, mainly due to his Parkinsons becoming more prevalent. While that ruined the likelihood of him being in any further films, it still is a shame to see such a talented man go. In turn I feel bad, as I do with many actors who have died, for not knowing more about his work before his death. But I know that the one work that I do know him from will always stay with me, mostly because of the wonderful performance that he gave in it. Rest in peace, Mr. Hoskins.


Nozdordomu

Ah, Bob Hoskins. Where have you been all this time? Playing a gangster or a working-class type in all manners of character acting, for sure. Winning awards at Cannes, I can see. While I haven’t seen much of you until now, when you made the headlines, I know you’ve been getting steady work in Britain. I also know that you passed away less than a month ago, and now all I can do is apostrophize. I didn’t expect to meet you in my lifetime, but it’s still sad to see you go.

That said, I feel like the wrong person to write about Hoskins. I haven’t seen The Long Good Friday, though I’ve heard it’s really good. I haven’t seen Mona Lisa, which looks like the kind of film I’d love and is on my long “to watch” list. Hell, I haven’t even seen Who Framed Roger Rabbit?, which I really should have seen by now. That’s probably Hoskins’ most well-known picture, at least for Americans, but the only thing I know about Eddie Valiant is that Toon killed his brother. The only films for which I know Bob Hoskins are Hook, in which he played the thankless but memorable role of Smee, Hook’s underling; and, of course, the infamous cult sensation, the Super Mario Bros. movie.


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I have a long and complicated history with Super Mario Bros. My earliest memory of the film goes back to age four or five, when my brother and I crowded around the TV to watch the VCR. We were both crazy about Mario back then, and although I can’t remember what we initially thought of the film, it must have caught us off guard. I vividly remember the Yoshi puppet, the Bob-omb, the weird scene where Mario and Luigi walk the dinosaur at the club, the freaky Goombas, and the brothers in their “stompers” (the last one’s on the cover, so that helps). Everything else is fuzzy. I have to admit, though, that Bob Hoskins’ Mario Mario (canon!) was the only live-action Mario I knew about until I came to YouChew. The nostalgia was strong enough to convince me to see the film again, which I did about two years ago.

Maybe now isn’t the time to admit that I don’t really like the Super Mario Bros. movie. It’s just hard for me to appreciate a film that’s as much a mess onscreen as it is off screen. Super Mario Bros. had a very troubled production, to say the least, with conflict between the studio and the directors over the film’s tone, copious budget overruns and shooting delays, and a ton of bizarre story and character choices. Mario is a father figure to Luigi? Koopa has a dominatrix wife? Toad is a folk singer? “Trust the fungus?” Argh, just thinking about the movie makes my head hurt. All the conflicting elements at play make the conflict uneven and muddled, and the set design feels like a retread of Total Recall’s Mars. It’s an interesting failure, for sure, but a failure nonetheless. That said, I understand why so many people, especially on this forum, like it. It has the great virtue of never being boring. It makes the best use of “Walk the Dinosaur” in film. It has this unique oddball charm that makes it watchable throughout. And although he’s a bit of an unsung hero when the film’s discussed, I think Hoskins deserves a lot of the credit for that.

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Truth be told, Bob Hoskins gives the best performance in Super Mario Bros. It’s not the best performance of his career, but it is the most admirable. Dennis Hopper overacts a bit too much as Koopa and John Leguizamo seems miscast as Luigi, but Hoskins fits Mario better than you’d think, especially since Mario had little to no personality before the film came out. Before Nintendo made him a happy-go-lucky jumper, Hoskins had the good sense to take his working-class personality and apply it to the Italian plumber. His eye-rolling cynicism and everyman appeal make a nice contrast to Luigi’s idealism, and his professionalism ensures that Mario never seems self-aware. Some actors would play Mario if it meant a paycheck or pleasing their kids, and although Hoskins did take a big paycheck, that’s never evident in the final product. If nothing else, I have to admire Hoskins for committing so fully to his role. Hoskins went through more trouble for this film than most actors go through in their careers. Not everyone could survive a shoot like Super Mario Bros., which was apparently so painful for all the principal actors, Hoskins included, that they would frequently go off set during filming and get drunk.

Funnily enough, Hoskins never knew that the Mario film was based on a video game until he found his son Jack playing it. Bob later went on to call Super Mario Bros. the worst film he ever did, probably due the long bouts of drinking it inspired and the damage it did to his American career (though he kept making films in Britain). Jack, on the other hand, loves it and praises Bob's performance. Having grown up and read the negative reviews, he’s decided that he doesn’t care. “It’s no one's intention to ruin the classics,” he says; “if you remember your past enjoyments, then it would definitely keep your childhood memories alive and safely locked in your head forever." There you have it. Even though Bob suffered and drank a great deal to appear in Super Mario Bros., he gave enjoyment and many fond memories to all kinds of Mario- and movie-loving children. A lot of actors would love to achieve that, I bet, for children have all the influence. Several of those children, including James Rolfe, have grown up and continued to praise and defend the film online. Despite my disliking of the film, I say more power to them – especially if it keeps Bob Hoskins’ memory alive and locked in all our minds.

Although it’s tempting to lament Hoskins’ death at the unfair hands of Parkinson’s disease, or to complain that his swan song is a drippy Kristen Stewart film, I know it doesn’t really matter in the end. Bob Hoskins had a fulfilling career, a more fulfilling life than I can imagine, and a memorable role in a very memorable film based on a video game. Few video game films deserve that adjective. And, few actors deserve as much appreciation, admiration, and downright respect as Hoskin does. I know one thing: he’ll always be Mario for me.

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Retro Cinema Reviews: South Park: Bigger, Longe...

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South Park: Bigger, Longer, & Uncut (1999)
Paramount/Warner Brothers
Directed by Trey Parker
Rated R



It should come to no surprise when I say that my all-time favorite television show is South Park. With its clever writing and political satire, this is the show that would put Viacom affiliate Comedy Central on the map in terms of basic cable. To this day the show is still running, as creators Trey Parker and Matt Stone already signed a deal for three more seasons right after the 17th season ended.

For the two or so people that don’t know, and for those who’ve lived under a rock for god knows how long, I’ll give you the skinny. You see, in the early 1990s, Columbine students Trey Parker and Matt Stone made two short animated Christmas cards, both of which are called The Spirit of Christmas. The first one, which is also called Jesus Vs. Frosty involves four foul-mouthed boys who build a snowman only for it to come alive as a monster and wreak havoc upon the town, and the only person that could kill him is Jesus Christ himself. After the video went viral, Matt and Trey created another one entitled Jesus Vs. Santa, which involves the four boys encountering both Jesus Christ and Santa Clause, both of which begin to fight each other over who has control of the holiday. The latter became the official pilot for South Park. The animation was submitted to Comedy Central, and they loved it so much that they signed a deal with Matt and Trey for a 2 season animated series, leading to the premiere of the first episode entitled Cartman Gets an Anal Probe in 1997. The show would eventually become a mainstay for the network, and to this day, it is considered to be their most iconic program overall.

Fast-forward to early 1999, when the second season was about to end within months. Creators Trey Parker and Matt Stone had an idea to go out with a bang, so they signed a deal with Comedy Central’s film affiliate Paramount Pictures to make a feature-length motion picture based on their license. Paramount accepted the deal, and Trey Parker was set to direct the project. They also managed to get the help of Warner Brothers Pictures to assist with the production. The movie was finally released on June 30th, 1999, and it became a huge box office success. The movie also got some high praise from critics, with Lisa Schwarzbaum from Entertainment Weekly calling it “the funniest, most risk-taking, most incisive movie of the summer” and Stephen Holden from the New York Times calling it “the year’s funniest comedy and the best movie musical in years.” Yes. You read that right. It’s a movie musical. Before I get into that, let’s get to the plot, shall we?




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"Lemme have some candy, Cartman."
"Oh, well let's see...Hmmm...nope. I don't have any Jewish candy."


The movie focuses on the main four boys from the series: Stan, Kyle, Kenny, and Cartman (or Eric). They go to see an R-rated movie starring their two idols, Canadians Terrance & Phillip. They start swearing up a storm after seeing the movie, until their parents find out what they've been saying, and they become outraged. Eventually, the whole craze gets out of hand when other kids all over South Park start shouting obscenities to the point where the parents start to protest the movie. It gets even worse when Kenny re-enacts a scene from the movie that gets him killed. Terrance and Phillip are arrested, and the Canadians bomb the Baldwin residence in response. The United States declares war on Canada and Terrance and Phillip are sentenced to death. At the same time all this madness happens, we see that Satan himself is engaged in a relationship with former terrorist leader Saddam Hussein. Yes…a relationship. A literal gay relationship between Saddam Hussein and Satan, the prince of darkness himself (hush Ozzie Osbourne fans). This adds to the plot, as Satan reveals to Saddam a prophecy that states if the blood of Terrance and Phillip is spilled on the ground, he will rise and bring two million years of darkness to the world. Kenny would eventually warn Cartman of this as a ghost and he passes it onto Stan and Kyle. So it’s up to the kids of South Park to stop the war, free Terrance & Phillip, and prevent two million years of damnation from the rise of Satan and Saddam Hussein.

Now I myself have personally seen every single episode of the South Park television show, mainly thanks to the official website which allows visitors to watch episodes for free (though with commercials). However, I was not introduced to South Park through the show itself. No. I was introduced to it by watching the movie for the first time. I was 13, and I stayed up at midnight to watch the movie, with the only consequence having to sit through the movie Little Nicky (and that movie sucked ass). The movie is just downright hilarious from start to finish in my opinion, mainly due to what they were able to get away with. The main focus of the movie is the view on censorship and freedom of speech, so because this is South Park, what better way than to go to the extremes. The show is known to have a lot of profane language and some violent images and sexual references in a comedic manner, but this movie turns that up to eleven, knowing that the filmmakers don’t have to deal with FCC regulations breathing down their necks. It basically set the fine line as to what animated films were for families, and what animated films were solely for adults (i.e. this). After all, cartoons aren't just for kids.

As I mentioned earlier, the movie is a musical, which is a fact that took many moviegoers at the time by surprise. This, you can say, is making fun of the trend that almost every single animated movie production had to have songs in it, which to say was quite a popular trend, mainly thanks to the various Disney movies that were around at the time. The music alone is one thing that makes the film different from the show at the time, as they used a full orchestra instead of the usual acoustic guitar riffs you’d hear from time to time as a scene transitions or something composed on music software using a keyboard. The songs themselves are hilarious, with songs like “Uncle Fucka”, “What Would Brian Boitano Do?”, “I Can Change”, and “Blame Canada”, which got an Oscar nomination for best original song (losing to “You’ll Be In My Heart” from Tarzan). The funniest song, however, is the “Kyle’s Mom Is A Big Fat Bitch” number sung by Cartman, which is a throwback to the first time he sung it on the episode “Mr. Hankey the Christmas Poo”, which was the first Christmas episode from season 1 of the TV series (and no, Mr. Hankey is not in this movie). The songs were written by Trey Parker, and the musical score was done by veteran film composer Marc Shaiman, who is also known as composing the scores for movies like George of the Jungle, Sleepless in Seattle, A Few Good Men, The Addams Family , and City Slickers, to name a few.




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"Hey, fuck face, have you seen Gracie?"


Comparing the animation and presentation of the movie to the original TV series at the time, aside from several scenes, there’s actually little to no difference here. The use of green-screened fire instead of using construction paper to make flame-like shapes, and the use of CGI in some parts (i.e. the scene where Kenny is plunged into Hell) for example are what makes the movie's quality in animation differ, but that's it. However, the animation really shines during action scenes and, of course, the musical numbers that are sometimes parodies of segments from the renaissance Disney films like Beauty and the Beast or The Little Mermaid. Other than that, you can say that this is more of a musical episode of the show stretched out to motion picture length. This, sadly, dates the film a bit, as the quality of the animation in current seasons of the show have drastically improved with the uses of modern animation software such as Autodesk Maya and various Adobe programs, making the techniques used in the film look a bit primitive. Look at the Coon Trilogy or Imaginationland Trilogy episodes and you'll see what I mean.

Of course, I cannot forget that there are some voice cameos in the film. George Clooney, one of my personal favorite actors in Hollywood today, for example, does the voice of the head doctor during the scene where Kenny is getting surgery after being burned alive. Monty Python member Eric Idle also does a voice in this as the doctor who gives Cartman a V-chip, a device in his head that shocks him every time he says a swear word. This is the funniest scene in the entire movie next to the scenes with Saddam and Satan. I cannot tell you how hard I laughed the first time I watched this scene.

To conclude, unless you're easily offended by certain things or language (which I highly doubt on this site), if you're a die hard fan of South Park or are looking for a clever, raunchy comedy or animated film, this is a movie I most highly recommend. It is cheap-as-chips on DVD and Blu-Ray if you browse sites like Amazon or eBay. It's sad, though, that even though the movie made millions at the box office and was highly praised by audiences and critics, there have been no plans for a theatrical sequel or follow-up. Whether that's a good thing or a bad thing is up to you, though. Until then, the closest you're probably gonna get to that is the direct-to-video movie version of the three Imaginationland episodes.





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What's Up with Surf's Up? (besides Surf...

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It’s a strange feeling, being reminded that something exists. That’s the exact feeling I got when I logged onto YouChew one morning a week ago and found that several users had changed their avatars to pictures of Surf’s Up characters. Surf’s Up being the computer-animated, surfing-themed, penguin-starring, celebrity-voiced, Academy Award-nominated mockumentary that somehow managed to completely slip my mind until I saw Chicken Joe on cantfly’s head. (Hey, I remembered that much!)

Well, okay, that’s not completely true. I made a short post about seeing the film in that “Box office flops you saw in the theater” thread. As I remember, Surf’s Up constituted part of the mid-2000s wave (no pun intended) of animated penguin films, inspired either by Pebble and the Penguin or March of the Penguins, and including such classics as Madagascar and the Happy Feet movies. The fad clearly hasn’t died down yet, seeing as The Penguins of Madagascar is set to come out later this year. I don’t know why audiences were so hungry for cartoons about penguins, or why it had to happen then, but I actually think that Surf’s Up played a big part in quelling that hunger. It underperformed at the box office, not making back twice its budget (the bar for a blockbuster success) and seemingly disappearing from everyone’s minds the minute they left the theater.

As to why I saw this in the theater: when you’re 11, a “big kid,” any cartoon that looks a little more adult than the other ones has to be the coolest thing in the world. Surf’s Up did at least do that. It had a refreshingly new concept: an animated mockumentary, first attempted by the opening credits in The Incredibles and never attempted since. It had movie badbutt Shia Laboeuf as the main character and Jon Heder of Napoleon Dynamite fame in a supporting (and over-advertised) role. It had good animation, and it wasn’t just animation, like Bebe’s Kids. It had a soundtrack to appeal to hip 12-year-olds, although it lacked the Beach Boys song “Surf’s Up,” which I secretly wished they’d play in the closing credits.

Still, the real reason I wanted to see Surf’s Up so badly, taking my whole family with me, was that Jeff Bridges was in it. I don’t lie. I saw The Big Lebowski when I was 10 years old, and though I didn’t understand all of it, I remember thinking, “that bearded guy’s pretty cool.” I didn’t even know which character Jeff Bridges would play – in fact, his character wasn’t in any of the TV spots – but he was in it and that mattered. So, I convinced my brother and mother, also huge fans of Lebowski, that Bridges would play another ethos-defining role in this animated mockumentary, similar to Christopher Guest’s star-making role in This is Spinal Tap. Of course, I wasn’t expecting the animated Spinal Tap of surfing, but I thought the movie should be enjoyable enough.

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Not to be confused with Little D


And was it? Honestly, I’m not sure. I’ll have to defend the film from an 11-year-old’s viewpoint, since I last saw it at that age and don’t have any means (or desire, really) to see it again. Some would call the film completely forgettable, and it’s telling that I can’t remember any of the characters’ names except Chicken Joe – ironic, considering how minor he is. Still, I wouldn’t dismiss Surf’s Up completely. I can think of a good number of reasons to commend it.

I really like the concept of an animated mockumentary, which really hasn’t been done since this movie. It seems counterintuitive, what with documentaries better suited to a cheaper live-action format, but it’s still a novel idea, and it never hurts to try. The film fakes the interview process and the sports media coverage pretty well, and while it isn’t too heavy on surfing jargon, it doesn’t need to be, really. It helps that the filmmakers partially based Surf’s Up on real surfing documentaries, like The Endless Summer (1966) and Riding Giants (2004), so they kinda know where they’re coming from. Also, I’ve never been one to praise a movie’s special effects by themselves, but I do feel like saying that the Surf’s Up animators rendered the water especially well. It’s tough to make water look like water, especially in so many kinetic surfing scenes, but they succeed, and that deserves some mention.

I do like Jeff Bridges’ performance, and his character, to an extent; although the latter doesn’t extend far beyond the “mentor” stereotype, he does have a distinct personality – disillusioned, jokily cynical, but still compassionate. Protagonist Cody (I had to look his name up) isn’t the most specific cartoon character you’re going to find, but he’s likeable and somewhat flawed, which helps. And Shia Laboeuf isn’t a bad voice actor, either! Really! He seems more believable as a surfing-obsessed penguin than as Indiana Jones’ son, that’s for sure. Maybe his limitations as a physical actor aren’t on play, so he “works” for the film. I don’t have much praise for Zooey Deschanel’s character; the only thing I can say in her defense is that you don’t have to see Zooey’s face while she talks. That’s a little too harsh, though, because I don’t remember minding the “girl penguin” character, and I doubt I would nowadays. The only character I don't really like is Chicken Joe, actually, because he does absolutely nothing for the movie. At least the villain does something, although he doesn’t have much of a personality beyond being both good at surfing and a dick. (Oh, and the villain’s voiced by Diedrich Bader, from…Napoleon Dynamite? What’s going on here?)

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"'The Shredder'"? At least he doesn't have teeth...


If the movie’s only joke was “Riding Giants with penguins,” then I really could’ve slammed it for being unmemorable. I think it’s fairly funny, though. Sure, there are some Shadow the Hedgehog moments where the film tries to appear more edgy than it is, like using Pearl Jam and 311 (!) on the soundtrack, or having the villain say “bleh, tastes like sh–” right before the camera cuts away. Wow, so adult! Still, I’ll attest to some genuinely funny moments. In the film’s first half, cheesy sports channels are milked for all they're worth. There’s a nice bit of black humor when we see close-up pictures of Cody and Chicken Joe’s dads, and then the whole pictures; the first is deceased, and the second is a “six pack combo.” There’s also a scene where Jeff Bridges’ character heals Cody’s sting by peeing on it, and it’s funnier than it has any God-given right to be. People do that in real life, too!

Actually, I can only think of one real criticism of Surf’s Up, but unfortunately, it’s a pretty big one. The film drops its gimmick less than halfway through its running time. Immediately after the first surf race, when Cody has a nasty accident on the waves, we see the camera smoothly follow Zooey and Cody to Jeff Bridges’ cabin. At this point, the mockumentary stops, only to make way for a traditionally filmed, obviously scripted, and mostly by-the-numbers family cartoon. We get the stereotypical “character wins the game” and “character conquers their fears” plots, which, to be fair, were present in the mockumentary part, but not played so obviously. We get a sort-of love story that feels unnecessary and never would’ve made it into The Office. (Hey, The Office with penguins – that’s an idea.) We also get a typical animated blockbuster climax in the final race, complete with flashbacks, a fake death, and lots of special effects. Again, it’s all filmed traditionally, without even a TV sportscam. With this sudden change, the film gains some more narrative structure, but it also loses its novelty, its most entertaining and interesting part.

Ultimately, I’d blame Surf’s Up's relative failure on its pussyfooting. Some people will say that an animated mockumentary was too novel a concept for people to swallow, but I disagree. Audiences didn’t react negatively or forget the film entirely because it tried something they weren’t used to. They reacted the way they did because the film didn’t try hard enough. It seems like the filmmakers (or, more likely, the executives) didn’t think that people would watch a full-length cartoon-documentary hybrid. In a defeatist move, they only took the concept as far as it would go in a commercial, and then made the rest of the film in purely conventional ways. As a result, Surf's Up has two different identities that don’t add up. It reminds me of Pod People – yes, Pod People – a sci-fi horror film that got sidetracked by a cutesy E.T. rip-off. I don’t know who to blame for sidetracking Surf’s Up, but they did more harm to the film than if they completely overhauled it. Audiences probably would’ve warmed up to an animated, family-friendly Best in Show, but they wouldn’t know how to feel about such a disjointed film as Surf’s Up. Ultimately, they’d prefer to forget about it. Even as an 11-year-old, I felt disappointed – disappointed enough that I eventually forgot about it too.

If Surf’s Up had taken its central concept farther and not deceived viewers into thinking it would be something new, I don’t think it would’ve been so unmemorable to most people. It still wouldn’t have won the Academy Award, but it would’ve held some kind of place in animation history as the first of its kind. It probably would've been better written and funnier, too. As it is, it’s a mostly forgettable failed experiment. I do like the concept behind it, though, and I like the film’s good moments enough to want to see more like them. There are more important films to make, and plenty of good ideas for cartoons, but I want to see this one idea done right instead of wrong. If I get to see another big-budget, computer-animated, Academy Award-nominated mockumentary in my lifetime, I will be satisfied. If it stars Jeff Bridges and Eugene Levy, even better.

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Joint-Review - Shovel Knight

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Hello everyone. Today, SkyBlueFox and I are going to do a back-and-forth discussion on our experiences with the indie platformer Shovel Knight, a game that managed to get off its feet through Kickstarter and saw its release in the summer of this year. Since then, the game has garnered numerous accolades praising the game for its tight controls and design along with the effort put into crafting what was essentially a large tribute to games of the past. Now, do these words of praise hold true for us as well? And what exactly struck a chord with us the most? Hopefully what we have to say down below will help anyone foreign to this game form their own thoughts on the matter as well.

(Preface: Sky's posts will be colored blue, while my own will be colored orange.)

I've heard plenty of times that it had a Kickstarter that was apparently very, very successful, but I honestly hadn't heard of the game at all until a friend on Steam messaged me about it, and then I noticed a few videos of it popping up on Youtube. I took a few looks and eventually ended up picking it up for myself later on, and I played it through afterward, and now we're here. I'm glad I bought the game and everything, but I'm honestly not sure if I would have gotten fully interested in it had the friend not messaged me about it. What about you?

I was in a pretty similar boat as you. Word of the game and its Kickstarter was common enough on the internet that I was aware of the existence of the game, but never really bothered to pay much mind to it. Even when the game came out it was mostly just "that game that I kept hearing about" to me and I would mostly just shrug the game off in passing. However, the game continued to receive a lot of recognition over the internet through various well-known streamers along with a slew of promotional videos being uploaded Nintendo's own YouTube channel. That, in combination with a desire to get some new video games to play was what eventually ended up making me take the plunge and buying it for myself. I'm glad I did because the game was definitely very well crafted, and I'd definitely credit it to the word-of-mouth promotion that the internet has provided for it.

I'm glad my friend let me know about it, because I really did enjoy it. I thought that the gameplay was surprisingly polished and tightened up. It's an eclectic mix of stuff from Megaman and Castlevania, and a little of Zelda 2, too, but it still felt like it was its own thing, which is pretty impressive in-and-of-itself. It clearly took a lot of the refined elements from the later games from the SNES era and such, though, what with the introductory stage and everything. Movement is very responsive without feeling slippery, though there is still a sense of momentum there, and the combat is extremely fun to play, especially the knight enemies which evoke, again, Zelda 2.

One of the things about the game that really stood out the most to me was the way it teaches the player about various aspects without, as many might say, stopping the player in their tracks. It kind of goes back to what a lot of people understand about Megaman now, but Shovel Knight really seemed to take it to an entirely new level by including little introductory sequences for a lot of things. You're taught how to dig by that enticing treasure pile in Stage 1, which also teaches you how to flip enemies; that bubble area without a bottomless pit teaches you how to down-thrust without any risk of dying, the miniboss is on flat ground at first and later another miniboss is in an area with pits. That kind of thing. The fact that the designers created the levels this way is something I learned to appreciate a lot, since it means that the game trusts you enough to learn about what it'll throw at you before it starts mixing it up.

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Also related to that, the fact that there isn't a lives system helps too. Since you just lose a fourth of your on-hand cash when you die, and it's even possible to recover that cash, the game's very lenient about when you mess things up. It does mean it can seem a little easy at times, but I still died over 50 times on my first playthrough. The designers trust you to learn about things before rushing ahead, and if you make a mistake, the penalty isn't too terribly harsh, though of course if you're breaking your checkpoints for more gold, then things get dicey.

I'd say those are very similar to my sentiments as well. The game is very clearly modeled after games of the NES era not only in its aesthetic approach but also in the gameplay design in general, though never in the sense that I just felt like I was replaying a reskinned version of a classic NES game. If you wanted to you could probably draw small similarities from most well-known games from that era, though control-wise I think your description of the gameplay feeling like a strong fusion of Mega Man and Castlevania is accurate. Shovel Knight himself controls a lot like Mega Man with the tempo of his running and jumping, but his close-range attacks and the way you can equip one of many items to utilize in addition to the shovel is very Castlevania. With that said, the game still makes sure to build the levels around these mechanics so that it makes sense for them to exist rather than just taking previous concepts from good games and fusing them together.

The way you progress through the game by beating a group of eight bosses is very Mega Man as well, though progressing through the game was made a little more linear in comparison since you only have access to a few of the Boss Knights at a time before more of the map accessible. This makes sense given that a lot of the game is centered around the gold that you collect throughout each level; it's what you use purchase improvements in your health, magic, and your assortment of items, and it's also how the game punishes you for losing (even though if successful enough you can earn that money back if you go back to the spot where you died). And as you purchase more upgrades and items, the levels that you played through at the beginning would've been much easier and less penalizing to play through.

The difficulty in the game felt very fair to me also. Like you said, the game does a good job of teaching you the ropes of the new level mechanics that you come across before they can do any serious harm to you. And along with that, difficulty is easily adjusted as you move on through the game, so upgrading your arsenal feels necessary and doesn't make the game feel too easy either. All of these aspects made it feel like the developers really thought through the type of game they were making and how they could take aspects of NES games that everyone loved and craft a new experience that could both spawn fond nostalgia of the old days while updating various things.

What really stood out to me about the difficulty in general was really how almost every time I made a mistake, it felt like it was my own fault. In one of the later levels, parts of the ceiling and floor were both moving (up and down, of course) and I dropped down onto one of the moving sections... just as it was scrolling into the bottomless pit and I ended up dying. It was embarrassing, and I had to get my gold back, but it wasn't unfair in the slightest. I was just rushing too much.

Though, I did say almost. There are a few small things that don't really feel too fair, but it's only a couple things, and most people who've played the game probably know about them already. Polar Knight's attack that turns the floor into insta-kill spikes is one, since he really seemed to use it far too often (especially compared to the attack where he restores the floor again), and it seemed designed around abusing the Phase Locket to get those precious few seconds of invincibility, which doesn't really seem like what the devs were wanting. The other was the final section of Tinker Knight's stage, with the Medusa-Head style enemies. Their patterns in that whole final climb seem to be random, which doesn't really mesh well with the autoscrolling aspect of it all. More than once I got knocked off of the first ladder simply because I had no place to dodge.

Still, since the penalty for messing up isn't too harsh, it never became tremendously grating, I thought. They were just little incidents, even if they did seem at odds with the rest of the design process. Considering how enjoyable the levels are to go through, thanks to their design, art and music and everything, the bad moments were really just small blemishes. Tinker Knight's stage is still one of my favorites in the game.

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I was actually surprised with how easy of a time I had with Polar Knight, given that attack that he does. I remember the moment I saw that he was unveiling a floor of spikes that I'd end up dying several times before I'd be able to beat him but I don't recall ever touching the spikes once. I agree with your sentiments about the Tinker Knight boss fight though; while in concept I probably consider it to be one of the most fun and memorable bosses in the game, the cues for how to climb up and attack him during his second phase could've been made a little more clear from the get-go. Even then, it was nothing major.

I think the most aggravating portion of the game for me was the final boss fight. I don't want to spoil too much for those who haven't played the game, but I found the hitbox for the final boss to be very awkward and not clear enough for me to comprehend without having to undergo a lot of trial and error. It felt like I would sometimes land a hit while other times I would miss completely despite only being off by a hair. In fact, I found that for the most part you would have the most success defeating this boss by forgoing using the shovel and instead spamming the propeller blade when in range. Even then, despite this, the fight itself doesn't completely fall flat, as it still ends up introducing a final mechanic with which to work that manages to be creative and also ending the game's charming story in a nice, satisfying way.


I never quite had that issue with the final boss - my bigger problem was always accidentally losing my footing in the later stages of the fight - but I'm also quite fond of the finale for the same reason you are. The mechanic not only works well with the core gameplay, but it does indeed help to tie the game's story together, and it all happens during gameplay to boot, instead of in a cutscene, which is something a lot of even modern games still don't quite understand the importance of.

On that note, I have to say that as simplistic as it is, the story itself is both very charming and also manages to eke a few emotions out of me at certain points. I certainly wasn't crying any big blubbery tears, but some bits made me smile, others made me grit my teeth, and so on. It's a good metaphor for the game as a whole, really: the story itself is a classic tale that doesn't have any super, huge, major surprises, but it's done and it's done well, meaning it's more successful at its job than a lot of the complex, winding narratives that other games try and fail to weave. The game's best writing moments really come less in terms of the basic story and more in terms of the character interactions, though. It's a lot like one of the Mario RPGs where everyone is very quirky and there's personality to a lot of the folks you meet, even if they're just flat characters. Chester the relic salesman, the Goatician, the Order of No Quarter themselves, everyone's very distinctive. Of particular note to me is the middle-aged lady in the first village, who acts kind of flirty with Shovel Knight and who I somehow managed to have whistle at me while I was in the village at one point (a feat I've never been able to recreate despite extensive experimenting).


Yeah, I think the story works very well for what it is. While it’s relatively straightforward, I wouldn’t consider that to be a detractor for the game by any means. There are certain game genres such as RPGs, point-and-click adventure games, or visual novels (if you would even count those as games) where I feel a fleshed-out story is a little more crucial since in those instances the narrative is more often than not interwoven with the gameplay. However, with a simple action-platformer like Shovel Knight, if it had a story that was too enveloping and fleshed out I get the feeling that it could’ve ended up having a negative impact on the game. It gives you enough of a background through quick cutscenes in order to give you a general ambition, and then it lets the rest of the game itself do the talking. I really like that, especially since I feel like many big-name developers in this day and age have the mindset of “story concepts first, gameplay concepts second” when making a game, which is very backwards and undermines the type of medium that video games are supposed to be.

Something that’ll always win bonus points from me as far as stories like these are concerned is a good rogues gallery. It really makes a game more compelling to play through when the forces opposing you manage to stand out in their own interesting, unique, or quirky little ways, and I felt that this game managed to do a good job of that with the Order of No Quarter. All of them have designs which clearly communicate the type of skills or combat in which they specialize. It’s very Mega Man, and I love Mega Man so I’m perfectly content with that.

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I've always been fond of Mega Man, but I've also always been pretty bad at the games, so I don't have quite the same sort of experience with that comparison, but I will admit that I've always loved the way the Mega Man games differentiate the medley of bosses that's a stable of the series, and I can appreciate it even moreso with Shovel Knight considering I'm much better at playing it. Not only is it impressive that the devs made eight whole bosses, all of which feel very fair to fight (except for Polar Knight's instakill spikes like we mentioned, but that's a small thing in the broad scope), but some of which will even be playable later on during some of the content updates. The Black Knight as well, while he's a rather plain rival compared to the more goofy or imaginative Order knights, his duels are some of the best fights in the game, though personally I've played them over and over so much that they're starting to end too quickly for my liking.

The one thing that I think really helps the Order knights shine is the fact that you can buy their stage's relic during the stage itself, instead of getting a new ability after you defeat the boss. Aside from the relics themselves being pretty fun to use (though some of them are kind of gimmicky and situational), it means that you can get an idea of what the boss's capabilities will be like before you fight them, moreso than just understanding "okay, this is an underwater stage, so I'm up against an underwater boss". Similarly, the level design after your chance to get the relic seems to be lined up with teaching you how to use it - in Propeller Knight's stage, after you find the section where you can get its relic, you can use it by climbing up the ladder to the next screen, then letting go and using it to reach the second ladder instead of doing it the other way, bouncing on the enemies.

The way in which the game introduces you to the various relics is very Zelda-esque, now that I think about it, though not to the exact same degree. While in Zelda you pretty much go into every dungeon barring the final one expecting to get a new item in order to help you progress onward, in Shovel Knight the items that you're treated to are not really as essential, and there are some stages in the game which feature no new relics at all. Since I'm the kind of person who likes to explore every nook and cranny in this kind of game in order to unearth more gold and secrets, I had no trouble finding the merchant who sells you these items in the levels, though I do find it interesting that the game essentially leaves it up to you if you want to take advantage of the items that it provides.


I think it shows a layer of trust between the developers and the players, in a sense, which is actually pretty interesting. My first instinct when going through the levels was to explore and find things, so until I watched a speedrun of the game, I actually didn't even think about what would happen if I actively didn't go for the relics, which is an interesting point to bring up. It both makes the sense of discovery in the levels more worthwhile since the relics are so useful, and it also shows that the developers want players to teach themselves and make their own choices instead of being funneled down a linear path. The only real exception I can think of is in Treasure Knight's stage, and even then that's not too big of an issue anyway since that particular section is so fun.

That honestly kind of sums up the game overall for me. The developers clearly made this as a labor of love, and wanted to capture that sense of discovery and learning that older NES games had, whether it was as potent back then as it is in this. The lack of death or game-overs, as well as being able to get your lost gold back if you learn from your mistakes, means that there's never a time where the game itself scolds you for doing badly. It's holding your hand in one way, but it doesn't really feel like it. It really is a game that gets harder as it goes along, doesn't veer into unfair difficulty territory - save for a couple of exceptions like with Polar Knight - and ultimately relies on the player to not only be willing to teach themselves, but also improve by themselves as well. It really is one of the finest, most solid games I've seen come out in a long time.

That basically sums up my thoughts on the game overall rather nicely. It really helped shed away most of the negative stereotypes associated with modern games attempting to hark back to the olden days of gaming. The developers had a vision of what they wanted to complete and committed to it in full, and the final product reflects that through pretty much every facet that I can think of. For anyone looking for a good side-scroller, this is probably among the best in recent years that you can get your hands on.

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Spectre's Quest: This Damned Lollipop

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In all my years of questing, in all my years of enjoying sweets, there have been few that managed to instill a sense of self-loathing in my person quite like this monstrously large lollipop.

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Literally the band All-Day Sucker

I should back up, since this requires an explanation. This entire ordeal is my own fault. I am an adult, a fairly young adult still getting used to being able to spend money on himself. For those whose memories of that moment are distant, there's a strange transition in that time where a person still feels those primal urges as their eyes roll across displays of candy in a store. There are novelty candies designed to appeal to adults, to be sure, but nothing is literal eye-candy for kids quite like the all-day sucker. This is a sweet based entirely on a kid's notion of candy. "You like lollipops?" it asks. "Well, I'm all the candy of twenty lollipops on the same stick! I've got all the colors, too! This is a good idea!" In fact, it is in all likelihood an innocent idea from some confectioner long ago, a confectioner who intended the best for the kids receiving this treat.

Like any young adult, my internal struggle was a decade-long war of attrition and bargaining with myself. I was the one with the job and the pay that comes with; no longer would I have to tell someone before I went out for the afternoon, no longer do I ask my parents before going online, and never must I beg and plead for some harried parent to buy a gimmicky nutrition-free treat. I was raised well, however, and good parents leave a psychic thumbprint of good advice- a Jiminy Cricket style conscience, the same ideal a religious man appeals to when asking himself "What Would Jesus Do". What my mother would ask first is whether or not I actually need this candy. Money is a limited resource, which is why money works as a method of trade at all; one must leave room to pay for all the cars and gasoline, the clothing and furniture, the concrete meals and abstract taxes, the occasional vacation to clear one's head. A giant lollipop is so small on that hierarchy of needs that it resembles a pinhead balanced on the tip of that pyramid design so popular in graphs in the mid 20th century, yet that siren's call is inexorable nonetheless. My mother would then ask why I wanted this candy, a sticky question indeed. There are plenty of ADULTS who don't consciously know why they do the things they do, and with supermarket impulse buys, there isn't often much of a solid reason. "Because I want it," the kid would explain. Why do they want it? "Because it's my favorite." The candy they only found out about ten seconds ago is their favorite, of course, because it is bright and shining and colorful. If a person wants to get themselves a lollipop heavy and dense enough to crack walnuts, they must stop kidding themselves and admit the real reason they bought this product.

In my case, I bought this lollipop because I wanted to swing it around while pretending to be a Viking.

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From Someinterestingfacts.net, unattributed

This new prop gave me days of fun! Without even unwrapping the damn thing, I spent many nights acting as Grabnok the Destroyer, the hero who once wielded the infamous Axe of Many Colours. I could blame those hours of pretend violence on movies or video games or evening news, or even the Vikings mini-series in specific, but there's a certain charm to the all-day sucker's design that makes it perfect for cruel imagination. The stick this sweet is built around is a stiff, light pine, lathed and polished until the roughness of its grain is faded away. Give it a swing and it bends only slightly, lacking that sense of momentum until the very end of its trip. Candy this dense feels like a solid wall of pottery when one raps their knuckles on it, a blend of toughness and fragility difficult to find in other materials. It may not be a real weapon, but the all-day sucker feels as if it would destroy any orc or skeleton it came in contact with.

Sadly, candy must always eventually be eaten. Lollipops such as these come shrink-wrapped in an impossibly close skin of plastic wrap, the kind that a small child would have to ask their parents to cut off with the pointy-tipped scissors they are not allowed to touch quite yet. Those with strong enough hands can dig a fingernail into the spot where this wrap was fused together, that crusty jagged spine placed where more hand-holding packaging designers would put their patronizing "tear here" dotted line. Amusingly enough, the shrink wrap used to have the nutrition label printed on it, until it… shrank. Between text which was bent and warped, rendered psychedelic as the rainbow swirls underneath, I could decipher that the official serving size was 1/20th of the lollipop. That is not an exaggeration, that is the largest portion of this treat your doctor suggests you eat per day.

Any kid could tell you that the serving size is a joke, and their parents would probably know that the serving size is made entirely of weasel words. To list the entire lollipop as a serving would be like calling an entire bag of sugar a serving, for this candy is purposely a bag of sugar melted down and moulded into a disc. And yet a lollipop is a Boolean consumable; it is either on or off, here or gone, eaten or un-eaten. This is not the same case as other unhealthy treats like a bag of chips or a box of snack cakes, where a bag can be clipped closed or a box safely shelved, where chips are individual pieces and a snack cake comes with a wrapper in the box, a giant lollipop is not so easily portioned. Without an array of tools one would find in a physics lab or a sculptor's workshop, no small child will be able to chip off exactly 1/20th of a solid brick of once-molten sugar for responsible enjoyment. Neither would they want to; to a child, a lollipop said to have the mass of twenty lollipops is a dare to eat twenty lollipops in a row, not a warning to stretch one piece of candy out for twenty meals. This isn't even the kind of candy that comes in a resealable package, unless whoever is eating it has enough patience to preserve a thin piece of plastic wrap (often the kind of person unable to have fun with giant lollipops). The warped nutrition label seems almost like a subtle gesture by the manufactures, a silent whisper of, "we know this information is useless but we still have to put it here".

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By Phantomaxes on DeviantArt. Also, be careful about typing "All-Day Sucker" into Google.

I enjoyed the all-day sucker for the first ten minutes. The colorful hard candy has a generally pleasant yet mysterious taste one might call "tutti frutti" or "wild berry" if forced to give it a name. There is no solid identity one could give to the flavor, no sour citrus tang, no medicine-style cherry or grape. It is the same substance as a candy cane, writ large and coiled into a massive swirl, a scepter of authority. "Finish me," it promises, "and you will be the king of candy". So I lick it, and lick it some more, and begin to bite large chunks off once my tongue is exhausted. A person who claims they have never bit into a hard candy they were supposed to suck on slowly is a liar and a spinner of tall-tales.

It was then that I began to run into one of the many curses of advancing age; even if I have the right to buy indefinitely large amounts of candy, I will always hit a point where I am unwilling to continue eating it. This is not being UNABLE to continue, I have yet to lose that much innocence. This stubborn mode of thought is a holdover from younger versions of myself; any kid out there, when faced with all the wonderful sugar in the world, insists on eating it all at once. That I cannot eat it all at once is one part responsibility, one part appreciating how lucky I am to be born in a country where overeating is possible, and one part hard limits on the size of my stomach. There is a certain wall that sane people hit when confronted with this many wonderful empty calories, a wall that is made not of stone but of lethargy and a buzzing sensation that is unnatural, clearly a warning from your own body.

My teeth know the pain too. For all the cliché dentist's warnings of cavities and decay, I try to take care of my teeth. Okay, perhaps I could actually floss instead of simply claiming I floss, but at the very least I don't let food linger in between the cracks. But this lollipop knows when you chew upon it, and like any hard candy it responds in kind; a gummy, rock-hard sheet of sugar forms in the crowns of your molars, resisting any but the most invasive of attempts at removal. My negligence and eagerness to push forward results in a comically thick coating of the stuff, like a polar ice cap injected with food coloring, warning me to stop. And yet it moves, as I continue to break chunks off and pop them in my mouth. I'm not enjoying it at that moment, I won't enjoy it until I have a good rest and some time to reflect, but I am filled with some twisted duty to continue. I'm eating just to defeat the lollipop, draining the dye off of the surface and relishing in the white bony sugar underneath. Grobnak the Destroyer will have his victory, even if he must slay twenty servings in one night.

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Hours later, I have this much of it finished. Three servings, maybe four.

The real problems came when I tried to store it. No container can properly hold the long stick, any container large enough to hold it should not be wasted on one piece of candy, and just breaking the stick off would turn a fun lollipop into a terrible piece of grandma candy with splinters on one end. And it MUST be contained, because the surface of this sweet is adhesive even when dry. A thick shellac of tacky, wonderfully gooey corn syrup shines on the outside of the candy, clinging to the shrink wrap, holding the whole thing together even when fractured. It provides a great mouth feel when eating it, but to stop eating is something this design will not tolerate. Incredible effort must be taken to stop dust and lint from gathering on top of it, because it WILL gather dust and it will NOT ever dry completely. I tried freezing it just to be sure, and two hours later it was sticky inside the freezer. This bowl is what I eventually settled on, and it requires a lever and some elbow grease to peel it off when I want another taste.

And I WILL have another taste. No matter how much I complain, no matter how much I blow it out of proportion, I love this candy and I won't give up on it for anything. Grobnak the Destroyer shall charge onto the battlefield for another skirmish, because that's how a war is won- through attrition, through wearing the enemy down until they surrender, left with nothing but a bare wooden dowel. When I look upon the rubble at the end of this conflict, I will smile and think to myself how I can finally start enjoying candy again.

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