cr47t

Just stumbled across this and thought it was silly but also suprised at how they fit at times

(btw I've never listend to the original The Box, just parts of Man in the Box)

foos beat nirvana

also: foos are beat by nirvana

Foos beat Nirvana

Also: Foos are beat by Nirvana

Mask of Restrict (or whatever the trap card is that bans tributes while faceup)

On 2/22/2021 at 10:21 PM, radio414 said:

Nothing man-made can equal such a feeling, but there's a moment in Returner -- and you'll know it when you hear it -- that dares to try.

Allow me to share some music that used to make me feel this way:

Genesis in general from Nursery Cryme to Duke is such a gold mine

Avatar The Last Airbender

(if this appears on the first page its a glitch with posting new posts)

this post is a third mistake

(also i never expected such a response to the first one to be 'reasonable' i just said it wasn't the wackiest)

rock isn't the devil's music

(can you out-oppose the bullshitiest of the bullshitiest? is that even a word? whatever)

P.S. i did give this one to yui

do you combine this total # of questions with the original YCM total?

3 hours ago, yui said:

So I spent like fifteen minutes typing up my counterargument on why rock isn't the devil's music and semi-cohesively explaining how counterculture works, and then right before I hit "Submit Reply" I realized I'm supposed to be arguing why rock is the devil's music. Oops. I'll put my argument for why it isn't in a spoiler below, but for now, let's talk about why rock & roll is written by and for devil worshippers.

[goes on to list "reasons" relatively minor on the scale of bullshit intensity.]

i'm going to give you credit for giving what you've got, but all this - the lyrics arguments, tritones, the use of one-bad-all-bad (Rob Scallon is the "one bad" here) - is all pretty standard so far as arguments for this position go. i've seen and imagined many more zany arguments that not even Pazder could ever dream of (such as covert and sometimes even flat-out declarations of Dissent Bad, faking quotes from occult philosophers [not naming any 'cited'; let them rot in obscurity], tie-ins to the NWO umbrella of conspiracy theorism, etc.) But it was entertaining to read, so there's that. I'm just saying that the listings you made, in context of my challenge, were standard and even mild; at least it's on a obscure forum.

new argument (i originally had a group of them, but decided i wanted to talk about something else so now i've edited the post);

WW84 is a good film

rock isn't the devil's music

(i know this is a rather easy thing to present a counterargument to, since the lie/exaggeration/rumor mill has been running on overdrive for well over half a century. the challenge im intending to present is, can you make the classical counterarguments and "cases in point" look reasonable in comparison to whatever you post?)

18 hours ago, Comrade Duck said:

what the fuck does this even mean

if you gon be racist at least dont hide it. stop being a bitch

the term "ghettoization" was not meant to be literal, at all. what i was referring to was the stigma of cartoons as "just for kids". this kind of stigma where you take a whole umbrella of things (such as an entertainment medium like animation) into a box of "it's [insert stigmatic notion here] because it's a [insert boxed thing here]" which is sometimes called "ghettoization" in some places such as tv tropes where i picked up the term. I didn't know people were going to take it to mean something else but i guess i should have used a different word. so, I'm sorry, I'll try to avoid it next time, also i'm gonna rephrase so this thread doesn't turn into a flame war:

the stigma towards and pigeonholeing of "cartoons" (is this any better??)

ghettoization of "cartoons" nevermind

(Not sure what you're trying to say with the above GIF but)

Any Miyazaki film

Middling sales and reviews

I don't usually care what genre it is as long as I can pick up and play it without much issue or reluctance. Things like Mega Man X (the original) or Among Us or RCT1. I'll occasionally embark on a more lengthy excursion (something like Earthbound or Super Metroid). In terms of era (in case you couldn't tell yet)

I tend to prefer games from the pre-2000s, for a number of reasons;

1. Without DLC or an online market or sometimes in the absence of an internet, there was much greater reason for developers to pursue profit via making the best product they could, and one that would be worth revisiting. Although the easy-out was making a game super hard in cheap ways, then as well as now, there were still developers who went the extra mile.
2. With those developers who did go the extra mile, the limitations of their platform provided opportunities for design that wouldn't be there if the platform was essentially limitless. People behind the games we now know as legendary didn't have the capability for bells and whistles, or for as many features as they got, they had to make the best of what they had (for example, SMB1-3 or StarTropics didn't have much room for complications, so they had to go all the way with what mechanics and designs they could go with; in the end, these are what most games are remembered for.
3. They trust the player more. By that I mean they didn't shove everything down your throat based on a presumption of lack of intelligence. Egoraptor talked about this a bit in his Mega Man X Sequelitis video; while game's subject matter has grown more adult, the way the player is approached has become more juvenile and ham-handed, with even self-evident features spelled out for you instead of the game's design doing the guiding. It's a "show don't tell" kind of thing.

That's not to say there are great modern games, but more often than not the trailblazers and quality small products get overlooked. Two exceptions being Undertale and Among Us. But in the end we'll remember these generations of games by our experience with them, and that aspect seems overlooked by developers more often than not.

If you have a NES Classic please give StarTropics a try

A 2-mile-wide meteor

(In case nobody noticed I'm just trying to mix uP the content a bit so its not just gun after gun)

A Kevlar vest

Usually I like FF demo versions better than the album versions, but for "come back" the two are so different in composition that they feel like two different songs with the same chorus

8 hours ago, LordCowCow said:

So then in that case you need to make the mythical creature something that can help with that. It's a bit tricky but...perhaps something like a phoenix that physically can't cling to the past because it keeps being reborn.

Don't have a specific idea but just in general it'd be good to connect the creature to some aspect you want the MC to learn.

I'm still figuring out who the creature is. I do agree it's tricky, especially since the creature, to me, isn't so much a catalyst for change (due to the tragedy format, that would happen by the MC's own actions) so much as a character representation of MC's idealized young days, and is happy to share their dreams until he (the creature) realizes this wasn't meant to be.  For that reason I'm not sure phoenixesque traits regarding that area would work. 

On that note, I should have said before (sorry) that I'm making the fantasy elements either from scratch or from a source other than the Tolkien/Potter/DND template, which I think is holding fantasy back due to it being so mainstream for so long that it's worn itself out.

But if you'll let me, let's go back to the original problem facing me. How do I follow up that end to the last chapter. What are some ways I can follow up a emergency landing, while still keeping narrative drive but not letting the crash upstage the less frantic remainder of the story?

I definitely see this as more of a "discovery" story if it's between those two.

I like the idea of giving hints, I hadn't thought of that, but I do like establishing something small and expanding it later, because readers want to know more when there's something that intrigues them.

I like to think the MC grows (going to use some pop culture references here) by seeking escape from his impending adulthood but then gives up that escapism and returns to a life of change, for reasons bigger than himself (kind of like Casablanca's ending with a certain character. It's also similar to SM2 where Peter gives up his calling but then returns to a life of sacrifice, also for reasons bigger than himself.) It's meant to be admirable but sad (compared to the heroic feeling of the similar decisions in those 2 films.) I don't want to give away my ideas for how that change manifests near the end (because spoilers duh) so I hope you don't mind.

EDIT: I suppose the flaw is that he thinks in terms of his past vs the present, because of something that happened with his dad before the dad was whisked away.

I'm trying to get it done in short-story length, at least for now.

I don't imagine they'd be in mortal danger or in a dire survival situation, at least not at first; if you start your story big you won't have much higher to go.  I think the fantasy element will play a reasonable part, since the main arc of the story is the MC growing as he tries to slow down or stop that change.

I think the fantasy element would mainly be concentrated in a creature of sorts, who helps the MC be his best self as the MC 'escapes' the troubling situation with the creature through their adventures through ruins. (Totoro was the model for this, character-wise; I haven't made a physical design yet.) I have other ideas but I don't know if they will serve the story well.