Stupid Irvine Game Company, being throughoutly converged by SJWs, is now bound by the three laws of SJWs. This below is "SJWs Always Double-Down".
I said previously that the recent legal conflict was a mask for an internal coup attempt against the remnant of the founding cohort and their chosen successors. That coup attempt succeeded, and the Death Cult now openly control and operate the company. This video by Sophia Narwitz shows that control is consolidated now, and the final form of an organization fully and wholly converged by SJWs is open for all to witness.
As Sophia notes, the SJWs literally cannot go past the surface. What I dispute is that this is not just a narcissistic manifestation of Death Cult incompetence. The Cult's sole use for any organization is to propagandize, gaslight, and parasitize the minds and institutions of outsiders- i.e. to spread the disease. The tool shown here is nothing more than a self-tell on what the Cultists in the company believe the images of Friend (high scoring on the tool) and Enemy (mid-to-low) looks like.
The good news is that the response to the tool is not a good one. The bad news is that the Cult will still implement and use it, just on the down-low. However, the company is still on the downstroke and no amount of sucking off the EGS moneyprinter can stop the company from driving itself into the ground.
This company hates you. Don't give them your time, attention, or money. Instead, give some to Narwitz; Sophia earns it.
There was a time when the Devil Mouse actually took risks.
This film, as I have said previously, comes down to Gothic Horror In Space but I am posting this video essay because it's a worthwhile essay on the film. I'm not on board with proposed improvements, as that's where the essay loses the plot--Gothic Horror has to have certain things to make it work, which the proposals mess with--and forgets the target audience (older boys and their fathers).
And yes, this film is still a good time; find it used or ask Captain Harlock for a hookup. If you get a chance to see it in a theater, take it. This film benefits from being on a proper big screen, and you can see where authors like Brian Niemeier draw from in their own Gothic Horror In Space stories.
Listening and reading to #BROSR play reports reveals one more thing that I think is a prompt for freakout kneejerking in opposition: #BROSR play laser-focuses on playing the game, on GETTING SHIT DONE.
People who see RPGs as a place to use for industrial-scale narcisistic supply via monopolization of others' time and attention at the table get shut down hard and fast at a #BROSR campaign. The players are adults that value their time, time that they want to spend actually getting shit done by playing the real game, and if some blowhard starts sucking all the air out of the room by grandstanding verbalizations they are (a) Not Playing The Game and (b) wasting everyone else's time.
Therefore, by a laser-focus on the wargaming roots of the medium, you remove such timewasting as a feature and you greatly reduce the avenues for dickery by bad actors. There is no time to whine about Muh Oppresshuns or Muh Boredoms when you have a world to conquer, and there's no authority to appeal to get what you want because it doesn't exist. #BROSR forces players to accept their agency or get ground into dust, with the Referee as Crom the Uncaring; so tie on those sandals and tread upon the thrones of world in search of whatever it is that is your objective. Play the game or make room for those that will.
The (Very Normie) Anime Man asked his girlfriend, his podcast cohosts, and all of their collected friends and contacts a question: "What's your favorite anime?"
Let this video--and for the love of God, play it at double-speed--show you that the taste of these people, all of whom have sizable audiences of their own (although none apparoach Pewdiepie), is as normie in distribution as one would expect of "AnimeTube & Adjacents".
Take note of the patterns in the testimonies. Either they are referencing something that they enjoyed as a child, or they reference a current or former favorite of Reddit's r/anime, approximately 80% of the time. This is the old "golden age of science fiction" in action: the best was what you enjoyed when you were 12. The titles offered were what was available on local cable television then, on streaming services of the last decade or so, or they live in Japan and so have direct access. In short, we're looking at most of these responses being those that liked what was put before them- not the response of those deliberately seeking out the best possible material.
This lack of curiosity informs their views in their responses. This is exactly the sort of responses you'd hear worldwide from people talking about live-action film or television, responses that also demonstrate a lack of curiosity in their experiences and a lack of competency in qualifying their response's validity.
That last part is key. Put in schoolboy terms, "Show Your Work". Facile responses, at best, about character or narrative demonstrate a lack of comprehension of what makes such things good or bad- not unexpected as none them are competent authors. They cannot reason; they give only excuses for their feelings. Given the short reponses, and how many of these respondants are busy folks, the odds of them having the time to compose a response better than what we see is unlikely.
There's some good choices given--EVA (as much as I dislike it), Bebop, Arjuna, TTGL--but almost none of them were titles that they had to go out of their way to find due to being in normie-tier media distribution at that time. Had I seen The Five Star Stories, Appleseed (the 80s OVA), or my own response (which will surprise no one), I'd be more inclined to take the respondant seriously. Had I seen more competent responses, likewise. Instead, I saw a pile of (borderline) NPCs talking about what was The Current Thing.
By comparison, my response:
Legend of the Galactic Heroes is a 110 episode Space Opera writen for a literate adult audience that discusses what makes for the best possible government for Mankind, the influence of power on the corruptable, and the fact that reality is not a narrative experience- as shown by when typical narrative plots are short-circuited for dramatic effect just to make certain this point gets across.
You will not miss the lack of supernatural powers or alien beings in this series that grounds its narrative in historical examples, and makes deft use of flashbacks and filler episodes to tell the stories of those whose influence shape events in the primary narrative. This beautiful series will leave you reaching for the history books as you seek to fill the gaps in your knowledge so as to be appreciate what you witnessed, and any work that inspires such autodidactic improvement like this is clearly the best anime ever made.
(By the way, I recommend this being used by parents to watch with teenaged children specifically to prompt discussion on these things and get those youths operating in an adult manner sooner.)
Today on Geek Gab, Daddy Warpig and Dorrinal went long about recent films and then moved to talking about how bad Shadowrun 6th Edition is before Warpig talked about his fun times doing Trollopolous.
Warpig's weird pirate island is a perfect example of how True Campaigns organically create content, and why they reliably lean into the earnest gonzo weirdness of the Pulps. You're using well-recognized tropes and icons as shorthand to communicate efficiently to the player as to what's what. "The ninja village and the pirate port have been raiding each other for a long time" tells a player what to expect without needing a massive tome of lore or hours of time wasted on divergent infodumps. Let them find out later, if they care, just what short of ninja or pirate they are by encountering them directly.
It's incredible just how freeing it is to play this way. No need to wrangle things or people. Just get on with it and enjoy the ride.
No, there's no subtitles in this clip and I found no others that did, but you'll be able to infer what's said just fine. The animators earned their paychecks and them some, giving everyone plenty of body language to make that viable and supporting the voice cast's efforts to do likewise with pitch and tone and other subtilties of speech that cross language barriers.
As for when we can realistically expect to get our hands on it, probably by Christmas this year (Officially). Captain Harlock may be able to hook you up earlier, if you're impatient.
My pal Oliver Campbell, several years ago, said that the SJW problem would start being dealt with once people stopped being squishy and took them to court.
Jon del Arroz, Owen Benjamin, Sargon of Akkad, and Vox Day have all demonstrated that this is indeed the case. It is not a perfect remedy, but it is a necessary step towards that remedy; you swat individual instances of the poz in action, and over time that adds up. It's a grindset approach, but it works.
Jon beat WorldCon in court, which also had the effect of demonstrating that SJWs in the fan convention scene are generally bad with money. Jon is now looking at legal action against Indiegogo and GAMA for tortious interference, both born of SJWs on the inside taking the excuse to mess with an enemy of the Death Cult. I fully expect Jon to win both actions, and I fully expect both organizations to exactly fulfill their obligations under the judgement while fellow travelers make an ass of themselves trying to spin a clear loss as a win.
You don't beat them by being concilatory. You bloody their noses, and that is why lawfare against them works. Their delusions mean nothing against a court order, especially ones that compel payment, and no amount of bitch-fitting on Twitter or whining on YouTube changes that.
GAMA and Indiegogo fucked around. Now they're going to find out.
