My first semi-professional video, all edited & constructed by me.
The video is a deck tech based on the themes of Shakespeare’s play A Midsummer Night’s Dream and the character of Titania. Unlike other Blue/Black Commander decks, this one focuses more on stealing your opponents’ best things to use against them.
See how in the video below!
Some errors in it, like edit spots & lip synching but overall not bad for a first go.
This year has already proved to be a huge boon for nostalgia geeks, with the releases of Voltron Legendary Defender & Stranger Things as well as the impending releases of Final Fantasy XV & Pokemon Sun/Moon but there is one release that overshadows them all.
Star Wars: Rogue One.
Indeed, the hype is strong with this one but, despite rumours of major rewrites to make the film “more fun & family friendly”, Rogue One stands out because it is the first major cinematic side story in the Star Wars universe (those Ewok films don’t count!) & indicates a shifting in tone for the franchise as a whole to looking at the wider universe & the characters within.
From what we have seen of the film so far, it plays out more like classic war films such as The Dirty Dozen or Westerns like The Magnificent Seven (which also has a remake due out soon) where a team must come together in order to achieve a seemingly impossible task.
Like the prequels (which still suck!) the end point is known because it leads directly into Star Wars: A New Hope but the path is still unknown & that is what gets people excited.
Went to the Midnight pre-release of the latest Magic the Gathering expansion, Eldritch Moon, last night (the 15th of July) & tested out my new camcorder. I combined it with my mini-tripod, which is why the angle is awful.
Video is also a bit NSFW due to all the swearing in.
Like an insane amount of swearing. More than I usually do.
Edit: posted a better version of the video.
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Please also donate to my Patreon, so can actually get new equipment.
The annual E3 gaming show is once again upon with it’s usual bombast, hype & leaks. I usually avoid most of the reporting around E3 related stuff because it tends to be your typical hype-train fuelled by pre-rendered cinematic trailers, short teasers & really really awkward presentations.
Yet something happened with this year’s expo, where each company listened to the complaints of their consumers & gave live demonstrations of their games to much rapturous applause (for some demos at least).
I tend not to care for most company’s announcement but I tend to like what Nintendo does.
This year it appears that they broke all expectations when they showed this. The gameplay trailer for the long awaited Zelda Wii U game.
This is a whole new direction for the long running franchise, that gives the player almost absolute freedom to explore -which includes being able to climb the landscape & monsters. It also introduces the ability to sneak up upon both prey & enemies. From the trailer & hands on from various gaming websites it appears that Link (for once actually coming pre-named) has to hunt & eat to regain health & get status boosts.
The freedom to explore leads to being able to tackle which ever dungeon you want when you can access -which appears to be through a magical book. This new gimmick also extends to using the book to create blocks to climb upon so you can solve puzzles as well as create objects to drop on enemies to reduce their number before ambushing.
Being a Wii U title, it comes with Amiibo connections, which goes back to the Wolf Link figure that was released with Twilight Princess. As seen in the video below.
The game is still set to be released next year & supposedly will also be the launch title for Nintendo’s mystery new console, currently referred to as the NX.
How this will impact the end product & it’s reception is al for speculation.
In my very unhumble opinion Nintendo should release the game in time for Christmas & give the Wii U one last great hurrah.
Regardless of which system it will be dominant on, the game remains utterly beautiful to look upon. It’s vast living landscapes & reactive AI might reinvigorate many Sandbox games but, again, it’s only speculation of a very, very invested fan.
Nothing really more to say except that I wanted to show the trailer & make a quick post before the next article goes up.
Episode 7 of Game of Thrones’ 6th series –entitled The Broken Man– saw the return of fan favourite/hated Sandor “The Hound’ Clegane (played excellently as always by Rory McCann). The Hound hadn’t been seen since the end of series 4, when he was left to die by Arya after his devastating duel with Brienne of Tarth . His ultimate fate was left up in the air (in the TV series, he very much died in the book), with many fans clamouring for his return. So, apropos of nothing, the Hound suddenly returns so late into series 6.
What is odd is how his reappearance both felt natural and jarring.
Natural, in that the story of him being rescued by Ian McShane’s Brother Ray (a huge waste of a great actor, especially since he doesn’t even utter the word cocksucker once!) & contemplating his own violent nature and the possibility of redemption. The form of the Hound’s arc is perfect for the character, in that he finds himself rescued by a man who shows him both respect & kindness –two things that have been utterly anathema to the Hounds existence– but finds himself drawn back to his inclinations towards killing. He is given a place in a religious community who both fear & accept him, he works labour which suits his temperament but he is ill at ease with a life of peace –acting like Damocles waiting for the sword to finally drop.
Yet it is a jarring return because it does not have a natural fit within the narrative.
Narratively it comes as a break in the current tension of the story. Beginning episode 7 in a way to purposely confuse the viewer, make them wonder why they are watching the scene of harmony & construction –two things that mesh against the usually themes of the show. Whilst the viewer has gotten to wonder about this tonal schism, they are shown the scarred form of the returned villain/anti-hero but not in any role or form they are used to.
This is an intentional jarring of expectations & visual setting yet it unfortunately breaks the established flow of the narrative.
It has no basic place within the current season’s arc; coming with the feel of being placed in as a breach to fit in other sudden shifts in the narrative direction.
Personal conjecture has it that since it showed the return of the Brotherhood Without Banners –who until this point had not been seen since the 3rd series– it is purposed to unite the Hound, Brienne (who is currently on her way to the Riverlands to recruit the Black Fish to fight for Sansa Stark) & Jamie Lannister in capture by the Brotherhood so Lady Stoneheart, née the resurrected Catelyn Stark, can have her revenge on all who betrayed her or served her enemies. Which is combining how characters are last seen within the books A Feast For Crows & A Dance of Dragons. This plays into bringing the Frays back into the fold & having Jamie, whose character arc was skewed with weird trips to Dorne & conflict with the High Sparrow, go to Riverrun to aid the Fray’s in their failed siege (which also brings the other fan favourite Bronn back to our screens),
In this writer’s very (very) unhumble opinion, bringing a character as looming in the minds of the television adaption as the Hound carries the odour of pandering.
Whilst it does fit that he could have survived his fight with Brienne and fall from the cliff, his arc should have been more naturally ended. Serving as a point of evolution of Arya as she chooses not to kill him because she both respected & hated him. This possible forced merging of divergent storylines & character arcs.
Yet the Hound is unneeded for such a resolution.
He has served his narrative purpose but his fate was left ambiguous. This meant that many fans & viewers could wedge their desires for his return into the conversations around the show. After the relatively poor reception of the 5th season, one could speculate that the show’s forerunners have been saving a return of such a divisive character within the fan community for a point that will garner maximum interest as the 6th series steams towards its conclusion. Thus making the Hound’s return both pandering & exploitative.
With the show’s forerunner recent announcing that they want to end the show in 2018 with the 8th series, possibly making seasons 7 & 8 shorter in the amount of episodes for each, one can see why they would be in a rush to draw in elements of the books (both written & forthcoming) to see the entirety of the story reach a satisfactory conclusion. Yet to bring in unnecessary threads, be in the return of the Hound or strange asides to fill in character happenings, chokes the already ongoing story as well as breaks the view of the narrative. Many viewers have complained on social media about how Arya’s arc with the Faceless Men drags on to nowhere –partly because of how different it is from the books but mainly because it feels boring in how its told– & this is something that could have easily been repaired if the showrunners had actually spent time on solidifying character arcs & the overall plot instead of shifting things to suddenly pander to viewers’ supposed expectation.
Which brings this writer onto what they consider the most extreme & vexing of Game of Thrones’ pandering: replacing proper storylines & scenes with pointless female nudity.
Cast your mind back to the events of episode 7. Do you remember the suddenly interlude with Yara & Theon Greyjoy as they with their band of reavers partied it up in what may have been Barvos (it was never made clear to this writer where they were). They were at a brothel, so naturally this meant there had to be lots & lots of naked women around & Yara had to be transformed into either bisexual or a lesbian (neither of which are an issue if they have always been a constant of the character before that moment).
Now, do you recall what the scene was actually about? What purpose it had in the greater narrative scheme or even what Yara & Theon spoke about?
If not it was probably because you were distracted by Yara sucking on some whore’s tits.
Game of Thrones & HBO in general have built reputations for themselves as providers of adult content. Unfortunately, in the US ‘adult content’ tends to mean tits & violence.
Something that garnered Game of Thrones a lot of mainstream attention is that it did not shy away from either yet once that genie was released from the bottle, HBO could no longer tone it down. They had to keep pushing such angles because that is how they viewed audience expectations of the show –that they only watched it because titties would somehow be involved.
Now, this is not a prudish complaint.
There is nothing wrong with nudity in media but it has to serve a narrative point.
One can go on about how it can be seen as either empowerment & life saving or if it is entirely exploitative & vulgar yet that is not the crux of this writer’s vexation.
The issue at hand is how the insertion of scenes dedicated entirely to sex & nudity take away from important character scenes & story arcs. It is like the story is proceeding at an excellent pace, hitting all the right points for audience engagement, when it all screeches to a halt to grab our collective heads & say “hey look! Here some titties! Maybe some arse or bush! LOOK AT IT! LOOK AT MATURE WE ARE!!! All done? Good. Now back to the plot”.
This writer cannot be burdened by writing out every example in every episode & ever series yet the ones that stand out the greatest are Podrick’s visit to Little Finger’s brothel to lose his virginity as well as the pirate Salladhor Saan telling jokes in the bath to two prostitutes. Neither of these scenes served any narrative purpose. They were meant for ahem titillation & breaking of heavy tones that may or may not drag down an episode. Yet they have no function that could not have been fulfilled in other ways that did not have nudity as their centrepieces.
Yet this supposed obsession with associating nudity with maturity can only reach so far before it simply does become blatant pandering & exploitation of audience so socially starved of the normality of sex & nudity that they come to believe that any expression of it is a healthy taboo that one can indulge in with a sense of collective joyous guilt (which is also how shite like Fifty Shades of Grey become a brief zeitgeist but that’s an article for another day). One can endlessly argue that the over moralising of nudity & sex is something so profoundly toxic to social discourse that it overflows into & corrupts so many other aspects of society yet that wavers from this writer’s point.
The complaint remains that the majority of nudity within Games of Thrones is superfluous at best & distracting at worst.
It all remains within the contention that over pandering to fan demands/expectations can lead to a creative deathspiral for creative work because you, as a creative entity, are no longer controlling where your work goes but eternally responding to the whims of a vocal but very fickle few.
Maybe there will be a grand pay-off with the Hound’s return. Maybe it all threads together vital pieces of the story & direct us towards a glorious end. Yet his reappearance does not speak of confidence within the current format of the show. That the individual pieces have the strength to stand upon their merits & there is a wanting of faith in how both the season & show may conclude.
Yet this writer does find Rory McCann layered portrayal of the Hound enjoyable, given an emotional depth rare to how such a violent & unforgiving character is usually depicted upon our screens. So there is some measure of assurance that the Hound’s return is a portent for a strong series ending rather than a horrid death-flails of a program the showrunners & writers are losing faith in.