What Social Media Means to Me

Posted in Grumblings on September 15, 2022 by chemiclord

Hello.

If you’re reading this, it’s possible you have followed a link from my Twitter or Facebook profiles after one of my online offerings “blew up,” as the saying goes. You might be wondering why I put together a blog post rather than some link to my works to piggyback off my “blowing up,” so let me tell you.

I hail from the era of Usenet and the early pre-AOL days. The sentiment of that proto-social media community was pretty unanimously “the Internet (yeah, we’re talking about the era where proper English dictated that the word was always capitalized) isn’t real.” It’s a social programming that I haven’t amended… and don’t particularly feel compelled to either.

Social media exists in my sphere of consciousness to peddle my wares and occasionally shitpost. It’s why I have more than one real life acquaintance and/or friend that has me blocked on various social media platforms (this is perfectly okay, for the record). Any nuggets of wisdom you find from me on Facebook or Twitter or Snapchat or wherever is going to be few and far between, and you’ll only disappoint yourself looking for them.

I prefer to leave my serious observations of insight to this blog… that rarely updates, which should tell you how often I have wisdom or insights to share. I’m just a dude, trying to create my own problems to resolve… then sell them to you!

I’m told I also intentionally construct things to make them look far more absurd then they really are. But that’s just silliness, I tell you.

Anyway, have a good day, afternoon, evening, or night. Feel free to explore this blog if you wish. Maybe buy something as long as you’re here.

Or don’t. It is a silly place, after all.

The Isle of Donne is Here!

Posted in Updates on March 12, 2015 by chemiclord

Book 6 of the MegaTokyo: Endgames series is live!

Pageflex Persona [document: PRS0000032_00023]

After a more than long enough wait, The Isle of Donne is available for sale.

For paperback, follow this handy Amazon link!

If dead trees don’t suit you, ebook versions for KindleKobo, and Nook are available!

MegaTokyo: Endgames books for sale!

Posted in Updates on September 24, 2014 by chemiclord

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The Gate Series

Posted in Updates on January 29, 2014 by chemiclord

Broken Prophecy Cover FinalBook 1: The Broken Prophecy 

Purchase a print copy from Amazon.com

Or purchase a Kindle e-book

Or a Nook e-book

Not convinced?  Enjoy five short stories that set up the novel completely for free!


Front CoverBook 2: The Sixth Prophet

Purchase a print copy from Amazon.com

Or purchase a Kindle e-book

Or a Nook e-book

Want to take a look before you buy?  Enjoy this free preview to whet your appetite.

A More Spoilery Narrative Review – Bayonetta 3

Posted in Grumblings with tags , , , on November 27, 2022 by chemiclord

I figured it would take me a hot minute to get to this. I do apologize to all five of this blog’s readers. But here we are, having absorbed enough and processed enough of Bayonetta 3’s narrative to offer some thoughts on it.

Firstly, none of the characters that you see in this game are the same ones as the first two outside of Rodin.

Luka suddenly has some sort of werewolf like ability? No need to explain why that is. It’s just a different Luka from a different universe! Same thing with Bayonetta apparently being so into him (and not Jeanne)! None of these characters are the same, so now we can completely toss aside character development and get right to what we want to do!

This is why tend to not be a fan of “multiverses.” It strikes me as more of a narrative cop-out than anything else, even when done well, a way to dodge lore you already established rather than anything that particularly adds to said lore, and it is definitely being used as a cop-out to give Kamiya the characters he wants to work with rather than the ones that had developed over the prior two games.

Which is a bit unfortunate, because in this case, it’s a rare situation where a multiverse actually can somewhat make sense narratively. Bayonetta’s setting is the same “Dante’s Divine Comedy injected with a little bit of Norse mythology” in which these sort of shenanigans actually could work, and to an extent it does. Singularity is an interesting foe, and the decision to make the major threat something not angelic or demonic was a nice twist.

It’s just blunted by what seems the real reason Kamiya and his team went in this direction.

Which dovetails into one of the big controversies of this game; Bayonetta (or at least one of her iterations) deciding to shack up with Luka at some undetermined point before the game.

After the first two games, I always felt that your opinion of Bayonetta sexuality said more about you than it did Bayonetta. The character quite happily flirted and teased damn near anything with two legs and a sentience, and carried very little seriousness towards any of them. Even her flirting with Jeanne came across to me as more playful than serious. They had a far stronger emotional investment than a physical one, in my opinion.

But that’s my point; I’m a largely asexual flirt, and so I saw those same traits in Bayonetta… largely because the entire series never particularly hammers any of that down, and I’d argue actively avoids doing so.

If you wanted Bayonetta to be a flamboyant lesbian, you certainly had evidence to support that interpretation. If you wanted her to be a girl who talked a big game, but actually had little opportunity for actual relationships, and thus had no real idea what to do about her interest in Jeanne or Luka or anyone, that had quite a bit of evidence to work with too.

It’s actually the same here in Bayonetta 3. Despite her affections towards Luka to the point of actively having a daughter, she’s still the same flirt with a strong emotional attachment to her Umbran sister. The significant difference in this case is that we now have very overt evidence she actually knocked boots with Luka in a way we don’t explicitly have with anyone else.

And brings us to the final point I want to address; Bayonetta’s daughter Viola taking on the mantle at the end of this game, presumably to become the heroine of future installments. Now, I don’t have any particular problem with Viola as a character; really the only thing I found bothersome about her was how mechanically different she plays and how that can be jarring for someone who already has significant muscle memory for the dodge mechanics rather than parrying.

Viola’s punk rock motif can carry just as much “girl power” as Bayonetta’s big band swing style, so I’m not particularly worried that she’d necessarily betray or lose any of that if she were to become the main character in the future. But I’m also not the slightest bit convinced that the mother is actually out of the picture. In a world where death has already been proven to be more inconvenience than anything else, I don’t buy for a second that Bayonetta and Jeanne are inherently buried deep in Inferno forever.

(I will admit I want to see Viola get more screen time, if for no reason that to confirm my theory that Cheshire is Viola’s father either turned into a demon, or some manner of construct derived from that particular version of Luka.)

Anyway, there ya have it. Bayonetta 3, simultaneously a big deal in regards to the characters and narrative… and also, not nearly as much as you might want it to be.

A Spoiler-Free Bayonetta 3 Review

Posted in Grumblings on November 3, 2022 by chemiclord

Note: A more in-depth, spoiler-laden review will be forthcoming as I digest the details a little bit more.

So, after all the drama and spoilers and assorted nonsense, this (perhaps overly) anticipated game finally reached the mitts of the general public. It almost feels pointless to even have a spoiler-free review at all at this point, as quite a few things were already spoiled long before people outside of a handful of media outlets played it, but in this case, I think it might help to detach the story from the game for the time being.

Let’s be honest, if you were playing these games for the narrative… you were probably playing them for a different reason than Platinum Games and their head honcho made them.

Firstly (and let’s get this out of the way), it is not the same Bayonetta that you play in the first two games; thank you convenient narrative multiverse devices. In fact, the only character that is actually the same, as far as I understand, is Rodin. So, in that sense, a lot of things that might seem like ass-pulls at first glance in fact do have a story-based explanation. Not a particularly good one, but an in-game explanation nonetheless (we’ll get into more detail on that in the spoiler-ridden review, which might take me all month at the rate I compose blog posts).

Secondly (and let’s also get this out of the way), Hellena Taylor is a lying sack of human excrement who tried to manipulate what was, and is, a very real problem in the industry. It disgusts me how she will inevitably make it even harder for voice actors to get what they deserve in the future.

So, with that out of the way…

Mechanically, the game plays as well as it ever did. Combat is tight, yet fluid, and is probably the most gameplay-rewarding Bayonetta of the three. It feels really good to hit those combos just right, and the superficially similar foes (the homonculi and the angels really don’t play all that differently) still feel different and fresh; giving you benefit of a new experience that still rewards your muscle memory.

The more open world (because it is by no means open) is a nice touch to the linear experiences of prior games, and also serves to pad the length of a series that normally could be “full completed” in a handful of hours. As a result, the game doesn’t feel as fast-paced, which may be jarring for some but I found personally welcoming. Being able to backtrack (in a limited sense) was a welcome feature, especially to someone like me who hates just missing something a second before.

The new combat elements do take some getting used to. Directly controlling the demon beasts has a pretty rough learning curve, and the game doesn’t give you that much time to figure it out before making it really complicated. Someone not particularly used to managing two separate characters simultaneously will likely struggle.

The new character added to the game also takes some adjustment. Viola herself as a character isn’t the problem, and I don’t share the general sentiment of her being grating or unwelcome (I suspect that has a lot to do with her origins, which will be discussed in the spoiler-laden review). Mechanically, she is quite the deviation from the norm, and again, Platinum really doesn’t give you much time to get used to her idiosyncrasies before throwing you neck deep in some difficult fights.

The spy missions featuring Jeanne are a nice attempt to give her something unique to do within the story other than be a palette swap for Bayonetta, and while I appreciate the attempt, I think it’s a case of trying a little too hard to make her impact on the story and the game play different. Giving her some missions in the same way they handled Viola’s I think would have been fine.

The one part that is going to be rather wholly negative, and this really isn’t Platinum’s fault, is that we are definitely hitting the absolute limits of what the Switch’s hardware is capable of. Platinum does their best with what they have, but the graphics and frame rate do take some pretty heavy hits at times where there is a lot going on. Perhaps oddly, I think the game is more stable and pretty in handheld mode.

At the end of the day, if you’re not particularly playing this for the story, you’re probably going to enjoy the experience immensely. In terms of its play, it really is kinda like a Bayonetta+; it doesn’t sacrifice terribly much to give you more of what you already liked over two games, either by adding wrinkles to old systems or expanding the world to give you more to explore.

But if you were invested in the story and/or the characters… we’ll discuss that at a later time.

When the Clowns Run the Circus

Posted in Grumblings on June 2, 2022 by chemiclord

I will readily acknowledge that I did not follow the entire Amber Heard/Johnny Depp defamation case outside of summaries, so it is entirely possible that one side made nuanced arguments that I never heard.

Secondly, I am also going to acknowledge a potential bias before we begin; that I come from an abusive relationship with both parents, who were abusive in different ways, but abusive nonetheless, and a lot of the summarized arugments that went back and forth struck very familiar chords during their divorce case.

So, with that said, here we go.

In hindsight, I find little to celebrate or bemoan when you have two shitty people behaving like shitty people in something that didn’t deserve coverage outside of tabloids. I am distressed that this case became a lightning rod for MeToo and domestic violence because of it will inevitably be used to muddy waters and discourage people who were abused from coming forward.

If it had been my decision, I would have flipped the judgment; both absolutely defamed each other, but Heard’s career and life were far more heavily affected. But at the end of day, I am not going to shed any tears for either of them, because neither of them deserve my sympathy or my sorrow.

One aspect of this trial that really grated on me was how much the argument seemed to be centered on who started the abuse. “He/She started it!” wasn’t a valid argument when I was six years old; it’s not a valid argument now either. Who started the cycle of abuse in this case matters far less than who participated in it.

For example, when you have an abusive father, do we dismiss the man’s actions because that’s how his father raised him? Of course we don’t, nor should we, because we as a society accept that agency still exists. As some point, you make a willful decision to step up to the level of those that abused you, a point where you adopt their patterns of behavior, and once you do that, you are no longer a victim of abuse; you are an abuser yourself.

So, no, I really don’t care who started it; because my answer would be the same. Either Johnny Depp or Amber Heard decided it was okay to jump to the same weight class as the other, and they have thus lost my sympathy now that it’s all come to a head in front of a society eagerly devouring the drama as children are getting shot up in schools.

But that’s another rant for another time I guess. In summary, all I can say is good riddance, and may both of those clowns get out of the big top.

I Suppose I Should Say Something on This…

Posted in Updates with tags , , on April 4, 2022 by chemiclord

If you don’t follow the art streams of Comfort Love and Adam Withers (and why aren’t you?) then you don’t know anything about this. So allow me to acknowledge that I am in fact working on a project for their “Uniques” universe; with a working title of “Cursed.”

It is still extremely early in the manuscript process, so I really can’t say much on specifics, other than it is a title that will be leaning fairly heavily on my early days as a wanna-be sportswriter exploring elements of their universe that they wouldn’t ever get the chance or expertise to explore.

I will say is that it’s overall conceit lies in the both over and understated nature of competitive sports in our culture, and how it weaves itself into the fabric of society and yet go unnoticed by a majority of that society. How it can influence lives, and how it really can’t.

I’m really looking forward to it, and I hope you will too.

On Book Banning…

Posted in Grumblings on January 29, 2022 by chemiclord

So, social media is on a bit of a boil over two separate but kinda similar-ish sorta events.

  1. A school board in Tennessee removed the work Maus from their library, and banned it from being taught in their school. (Link)
  2. A school board in Washington state removed the novel To Kill a Mockingbird from their curriculum’s required reading list. (Link)

Now, you may assume that being a writer, I’d be vehemently against the idea of “banning” books (in the sense of academic use). You’d be wrong. As far as it pertains to teaching purposes, I’m generally not bothered by what books are and aren’t specifically used. There are many books in this world, and any of them can be used by teachers to convey the messages and writing techniques that they wish to convey to students.

I do have a bit of a problem when they are used to score political points, which to different degrees both of these incidents are. A big clue is that neither school board has shown any indication what they intend to replace those books with in their curriculum… or even if they have any plans to do so. These were decisions to demonstrate to the parents just what these school boards believe in.

Sure, both school boards will give their reasons. To Kill a Mockingbird has problematic “white savior” narratives that run through it, or Maus contains “graphic imagery” that is disturbing to young students, for example. Many of the criticisms will be legitimate on its face. But at the end of the day, it’s hard to see how they aren’t a fairly clear political message.

(On an aside, to Mike Cochran of the McMinn County School Board: I had many emotions running through my mind as I read Maus. “Enjoyment” was certainly not one of them. While I am willing to accept that you poorly chose your words in an off-the-cuff quote, there is a significant number of the world’s population that would genuinely “enjoy” the imagery of that graphic novel, and those are not good people. Anyone who said they “enjoyed” Maus would be asked to provide a pretty damn good explanation for their choice of words lest they quickly find themselves no longer talking to me, and probably for good.)

That said, these two stories are, in fact, not the same, and our fourth pillar would be served to not treat them as if they are. Much like nearly everything else in our political discourse, one side is significantly more guilty and with significantly greater severity than the other. The conservatives and reactionaries among us are a far greater threat to our political discourse and sustainability of our society at this moment, and these two stories reflect that.

Maus was outright banned. Teachers are no longer permitted to discuss it. The school library is not allowed to have it on their shelves, or even in their stacks. For students whose only exposure to books is their school library (which is no doubt a non-zero number), Maus no longer exists in their world.

Meanwhile, To Kill a Mockingbird is simply no longer required reading for students in the Mukilteo school district. Teachers are still allowed to present it to students as supplementary text (and I’m sure many will). Students can still be recommended it and it can still be found in their school libraries. Depending on what book is chosen, there is not necessarily any meaningful loss in the education of these children. Presuming, of course, that a replacement actually is chosen or at the very least some rationalization that other books already in the required reading list can fill that niche.

Which it may not be, because again… it’s hard to see how at its core, this move isn’t political posturing of its own. But at the same time, it is long past due to stop approaching such decisions as binary actions of equal severity.

Any Attention is Good Attention

Posted in Grumblings on January 7, 2022 by chemiclord

Welcome back to another (extremely intermittent) commentary on people and the things they do to be noticed and stay noticed.

In today’s episode, we meet Tectone.

Tectone is a content creator, most notably for the game Genshin Impact, but not exclusively. Now, Tectone’s typical creative process runs something like this:

  1. Make a juvenile but otherwise largely innocuous bawdy tweet about something, like “waifus” or the size of a game character’s chest or ass.
  2. Soak in the angry replies from the professionally outraged on Twitter who seem to make a living out of overreacting to anything that happens to come into their vicinity.
  3. Make a Youtube video complaining about how he’s being attacked on Twitter.
  4. Repeat.

Now, let’s get some things out of the way.

Firstly, this process is entirely intentional. Tectone knows exactly what he’s doing.

Secondly, there’s absolutely nothing new about this. If anything, Tectone has merely refined the process of instigating a fight, then crying foul when he gets exactly what he was looking for, that has existed on social media pretty much since it’s inception.

Thirdly, Twitter is certainly filled to the brim with people who haven’t matured emotionally since fifteen and giggle delightfully when someone makes a tweet about “[insert character name here]’s massive mommy milkers,” and a legion of people who are too chickenshit to fight in real life, so they trawl the internet for hours every day looking for an opportunity to throw metaphorical hands.

Of course, none of this should happen this way. Is Tectone playing down to the juvenile? Yeah, he is. But there is absolutely nothing the dude says that should warrant anything more than an eyeroll. The proper response to his games is to mute the conversation, then go on with your day. Let him have fun with the forever teenagers. It simply isn’t worth ruining your day over. They aren’t an army of dangerous incels. They’re a bunch of just out of college aged kids that still laugh at fart jokes.

On the flip side, you kinda start losing sympathy for a person that keeps sticking his hands in a cage filled with angry dogs and inevitably gets bit. Should there be a pack of angry dogs in that cage? Probably not. But they are, and at some point, you lose the right to whine when the dogs in that cage attack you after you’ve stuck your grubby mitts in their face one too many times. I mean… what do you think is going to happen?

At the end of the day, social media has gone all in with the old journalistic maxim of, “All press is good press.” It doesn’t matter what you say, as long as a million people react to it.

And it’s just as tiring to witness now as it was twenty years ago.

On Ship Teasing…

Posted in Grumblings with tags , , , on November 11, 2021 by chemiclord

Before I get terribly deep into the weeds, some of my followers might think that I’m writing this in reaction to… certain events among creators I follow, but it’s really not. This has been something on my mind for a while, and it’s taken me a while to compose my thoughts. Which is also why I’m not going to give examples like I normally do with these sort of thought exercises; because it’s no creator’s fault here, and it’s not something to name names over.

Because I know why creators do it. It works. It works extremely well. I’m annoyed that it works.

To put it bluntly; I don’t ship tease. I probably never will ship tease. It doesn’t interest me to do so, it adds nothing to the stories I wish to compose, it’s just empty filler that does nothing for me. If you’re reading something of mine, and two characters aren’t specifically in a relationship or in the process of building one… they aren’t. I’m not leaving breadcrumbs in my prose, I’m not dragging out sexual tension, I’m not subtly building something.

I don’t particularly do “love triangles.” (Note: polyamorous relationships aren’t a “love triangle,” so don’t get yourself all twisted.) I’m not going to lean into romantic tropes trying to “hint” something. In regards to in-story, I’m pretty simple. If I’m not telling you, “these characters are a thing or they are working towards being a thing,” they aren’t. End of story.

To me, ship teasing is the literary equivalent of “cheap heat.” It’s the wrestler going into a city and just flinging generic insults at said city to get people booing. Yeah, you’re getting engagement. Yeah, you’re getting views. But are you actually building anything meaningful? Are you actually contributing anything worthwhile to the community that follows you?

I’d argue… no. You’re not. I find there is little that is more toxic to a community than shipper wars, and that’s something that I find is largely inevitable once the ship teases start. As a creator, I don’t think I would have any ground to decry toxicity in any community I build if I was actively feeding the gasoline to that fire. Sure, shipping shouldn’t be a conflagration point. But it is, and it would be reckless to do something just because it shouldn’t set a community ablaze.

And if prospective readers are that much more interested in teasing out who is or might be bumping genitals rather than any themes or messages I’m trying to deliver… I cordially request you find somewhere else to be. Even if that means I’ll never have the level of success or engagement I could have.

On Review Bombings…

Posted in Grumblings with tags , , on September 29, 2021 by chemiclord

There’s really no clever opening I can make here. I’m too tired to try, and I’m not sure any cold open would even work as a decent analogue.

Genshin Impact represents the best and the worst of contemporary gaming. There really isn’t anything that encapsulates what the industry has become quite like MiHoYo’s latest offering.

On one hand, we have a nigh fully explorable open world setting that is ever expanding with a dearth of content, an ever increasing cast of varied characters, ways to interact with them, content to play and experience, on a massive bevy of devices that range from high end performance PCs all the way to the smartphone in your pocket that can connect you to millions of others across the world.

On the other, we have a fully exploitable “gatcha” monetization system loaded with microtransactions and a slot machine that is just forgiving enough to keep you enticed, and just punishing enough to make it very hard not to drop more money than you probably should on it… in a setting that really hasn’t shown terribly much obvious diversity in characters and people despite now experiencing three of seven (or potentially eight) nations.

So I suppose it shouldn’t be much surprise that it also has drawn in the best and the worst of the gaming community… and right now the worst parts of both the community and the industry are on full display.

Firstly, some disclosure. I have played Genshin Impact. Usually about 20-30 minutes a day, sometimes more if there’s a big content drop. I actually pay about $15/month on it (in line with your typical MMO subscription). So, yeah, I guess I’m “invested.”

Anyway, in “gatcha” games, there tends to be an expectation as games reach their anniversary. Now, gamers tend to mistake these events as “appreciation” towards the players that have put their time and money into the game (game developers and studios do nothing to dispel this notion, and in fact encourage it). In reality, however… they are advertisements; events designed not as “appreciation” to current players, but a way to entice new players to hop on board.

It’s a trap that gamers should know by now. Game companies are not your friend. You are not in a relationship with them. They owe you nothing outside of the advertised product, and they are not going to provide more than the bare minimum they can get for the least amount of cost unless they feel compelled to do so.

So, it really shouldn’t have been a surprise that a company like MiHoYo, with a game like Genshin Impact that already is taking the world by storm, really… isn’t treating the anniversary like a particularly special event. They offered some meager rewards, pretty much on par with any other event… and hoo boy… did a special slice of the players not appreciate that.

The last couple of weeks has been a tidal wave of toxicity, though in reality the anniversary rewards are just the latest escalation from a group of swamp dwellers that have done such wonderfully well adjusted things as harass voice actors for doing their jobs, going as far as forcing them off the internet due to the rampant abuse.

MiHoYo has responded to this in the worst possible way, because of course they have. They have deleted criticism on social media, removed entire threads from their forums, and outright refused to even deign to respond to anything that suggests they could do a little bit more for the players of their game.

So, of course, the gamers had to resort to the last bastion of the unheard; rampant review bombing, which for the uninitiated is where a community spams a storefront for a game with thousands of negative reviews to try and drag down its review score and potentially scare off new players.

But, gamers couldn’t allow themselves to be outdone in the over-exaggerated response department. Oh no, so they had to take it up a notch and start review bombing games that not just had nothing do with Genshin Impact, but had nothing to do with MiHoYo.

It’s like being so furious with your Ford Explorer that you start throwing bricks at the windows of the nearby Chevy dealer. What, exactly, do you think that is supposed to accomplish?

Meanwhile, how does a company like MiHoYo not understand that trying to silence people isn’t going to work? Shutting down avenues to let people vent their frustrations isn’t going to stop them from complaining. They’re simply going to find other avenues to make their displeasure clear, and now they’re going to be angrier about it.

Never before has a gaming community deserved a game studio more. This entire debacle has been like a doctorate thesis for a clown college.

(And by the way, MiHoYo, it really wouldn’t hurt you to toss people a freakin’ free 5-star character, for crying out loud. You’ve made literally a billion dollars on this game. I think you’re good for it.)

On Nostalgia (Redux Number… Something)

Posted in Grumblings with tags , on September 26, 2021 by chemiclord

So… the intro to the Netflix adaptation of Cowboy Bebop dropped, and you could time the hand-wringing and gnashing of teeth to it, because “old school fans” tend to be contradictory smooth brains who demand remade content to be simultaneously exactly how they remember it and not what they remember.

It’s a theme you see with anything that harkens back to an earlier era; like Star Wars, or Cowboy Bebop, or whatever. You have an aggressively fanatical fanbase who demands that the work take them back to when they were younger and capture the same magic that they felt when they first experienced it.

The problem is, of course, that it’s impossible. Not even the original work is going to be able to capture quite the same magic ever again, and demanding it does is an exercise in futility that will only end in disappointment (followed by rage and potentially tantrums, because we’re talking about 10-year old kids in 40-year old bodies here).

Let’s try a little math experiment here:

A+(B+C)=D

Let’s say (A) is a creative work. Let’s say (B) is the circumstances and environment. Let’s say (C) is the viewer, and (D) is the cumulative experience that you “feel” at the end. The “old school” fans expect -or more accurately demand– that (D) remain completely unchanged; and are extremely reluctant to allow (A) to change in any meaningful fashion as well.

I’m hoping that you can see the problem.

(B) is ever-changing, and that is almost entirely out of any given person’s control. Likewise (C) is shaped and altered inexorably by (B), no matter how much we try to resist it. It is simply impossible for (D) to even be remotely the same value within the constraints that “old school” fans are willing to allow. Your only chance for the “magic” you feel to be even remotely similar to the magic you felt back then is by allowing the created work to be different, and perhaps in significant ways, than the one you remember way back when.

The choice is pretty much binary. You either have to accept that the remade content is going to have to change, and take the risk that those changes aren’t going to hit the same sweet spots that made you feel so profoundly a long, long time ago…

… Or you pursue new created works, taking the risk… that it won’t hit the same sweet spots… that made you… feel so… profoundly a long, long… time ago…

Hunh. Gosh, it sure sounds like it’s the exact same risk, and that maybe our collective obsession towards sequels and remakes is self-defeating and that we should be more willing to embrace new stories and content rather than demand “more of the same!”

… Nah, that can’t be it. Must be something wrong with my math. I’ll work on it some more after I’m done finishing this scathing criticism about how the way the characters run in the Cowboy Bebop remake looks totally wrong and how it’s tragically ruining my appreciation of a time-tested classic.