And In Another Parallel With Disco Elysium, Kathryn Janeway’s Psyche Is Also Composed Of 24 Self-aware

Hmm...if this is real, it looks a lot like the old New Orleans class from the Wolf 359 graveyard in TNG, or sort of a halfway point between the N’awlins class and the Lafayette, the 2410 update of the N’awlins from *Star Trek Online*.

It’s a good design for a smaller destroyer/light cruiser type of ship...but it raises the obvious question of why they didn’t just use the N’awlins instead. :/ (If it’s just fanart, I retract all my complaints.)

U.S.S Cerritos by Simon Marino

I used to have a friend who was pretty big into both WW2 militaria and animé, and she used to argue that people in both these groups have a bad habit of adopting imagery from Wilhelmite Germany in substitution for Nazi imagery as a way to glamorizing German militarism without being immediately accused of pro-Nazi sympathies. Now she was very hard-left politically, and some of this may have been hyperbolic. Still, this something that has given me pause, and I feel that Tanya the Evil does straddle the line, particularly in the later installments when WW2-era technology starts appearing. Still, while I don’t want to die on the “let people dress like Nazis!” hill, I would not ban Tanya cosplay on the grounds that it depicts a “fictitious Nazi organization,” because it bloody well doesn’t and a personal interpretation of subtext is not the same thing as out-and-out pro-Nazi propaganda, and if it is then we might as well cut out the middleman and just start arresting people because we don’t like them.

Well… that’s dumb.

You know she had to do it to ‘em (by “them” I mean “the Teplans,” and by “it” I of course mean “virus-bomb their homeworld with super-HIV as punishment for rebellion, and also because it’s kinda funny”). She’s a real sweetheart, folks.

my new favorite timelines discourse is the recent critiques on the forums about this week’s new artwork, like how the diseased changeling founder’s flakes just don’t look quite flakey enough

Wait, what happened to episode 26...OH I GET IT!

Transmediacrity Episode 27: We Haven't Killed The Abrahamic God Since The SNES

Jupiter's electromagnetic field contains THE POWER.

Esther is back from the battle of the Trinary Star System. Now the course of history can resume.

Topics include: the state of liberal propaganda on television; the GameGriper; shitting on the sidewalk to own the libs; my first move since I became a full grown idiot; Esther kept playing Shin Megami Tensei IV: Apocalypse and she’s here to say; which society sounds best; Dagda; SMT Scathach vs dope baedysuit queen; Dagda’s mom; there’s still the Abrahamic god; WHY DON’T THEY PUT PERSONA ON THE ~SWITCH~; Madiha beat Doom 2016 and she has Feelings; FPS raid boss; strafing enemies across the entire room; worth $60; overwhelmed by SNAPMAP; game development teams are a mini Ship of Theseus; Millennial John Carmack’s “Woke Doom”; Madiha is still reading HAKAIOU ~ GAOGAIGAR VS. BETTERMAN; Somnium lore; eldritch horror; our listeners should really listen to Betterman Anime Club; Madiha deep Betterman lore cuts for 20 minutes; WE STAN MICATEAM; WE WILL SHILL YOUR GAME FOREVER; Girls Frontline is good; team 404 is good and strong and my friends; Esther played the Shin Megami Tensei mobile game; steampunk patrick klepeck; gun otaku girl; brand new assets; the comments on the demons; Madiha sends hatemail; if you have more sentience than Madiha, who is turing incomplete, send us that mail; Kizuna Ai poppin’ the biggest bottles.

Send us questions and game jam submissions!! Rate us on iTunes!

Email us at transmediacrity@gmail.com! Check out our TUMBLR and TWITTER.

SUPPORT US ON PATREON! Or donate directly to Madiha for hosting costs.

Check out our YOUTUBE CHANNEL. Subscribe, and like our videos!

Special thanks to Velt for our cover art! Check her art here. (Not worksafe.)

You can find us at:

Madiha: Twitter, Tumblr, The Solstice War.

Esther: Twitter, Tumblr.

Cecilia: Twitter, Tumblr, Video Game Hell.

“GREETINGS CITIZENS. THE DATE IS SUNDAY, APRIL 14, 1974: CIVIL RESURRECTION DAY. PLEASE PROCEED TO THE LAGOMORPHIC DISPENSIARY IN BLOCK 5 BETWEEN 1000 HOURS AND 1630 HOURS TO RECEIVE YOUR SUPPLEMENTARY DIETARY ALLOTMENT COURTESY OF THE GLORIOUS STATE. BE WARNED THAT NONCOMPLIANCE MAY RESULT IN DEMERITS ON YOUR FAMILY RATION ACCOUNT. WE THANK THE LEADER FOR THIS GIFT; MAY SHE LIVE FOREVERMORE. MESSAGE ENDS.”

The SOS Brutalism Team wishes you Happy Easter!

RT @BrutalHouse   Behold! The Brutal Easter Bunny Returns — (Jyväskylä, Finland 1982) https://twitter.com/BrutalHouse/status/979631924586172416

This is distressingly on-point. You should share that demo tape with me sometime, @coppermarigolds.

I heard @coppermarigolds wrote an eight verse song about #kuvira ?????

I used to think that, but a few years ago an old opinion piece completely changed my mind on the subject. To summarize the piece’s argument (in case the site ever goes down), the key differences between superhero movies and westerns is that:

1. People go to see superhero movies because they like certain characters; people went to see westerns because they like westerns. To put it another way, if you want to see a western, the genre is broad enough that you can see all sorts of different movies. But if you want to see a superhero movie, you usually just want to watch Batman acting like Batman and doing Batman things, or Cap acting like Cap etc...

2. Westerns were small enough and cheap enough to make that directors and writers could experiment widely within the genre; modern superhero movies are so expensive that's there far more pressure to play it safe just so you’ll earn your money back.

3. Great characters usually only have a handful of truly interesting stories. A controversial point, but I think this gets at why superhero films tend to focus on either origin stories or constantly feel like retreads of the same ideas. 4. The actor is the draw of the western, while the character is the draw of the superhero film. With the western you can make different movies that emphasize different aspects of the actor’s persona or even have him play against type, while in a superhero movie the actor is something of an interchangeable widget that takes second place to the character. 5. At the end of the day, the audience doesn’t really want innovation or personal films all that much. This is only a crude summary of the piece’s arguments, so I really recommend reading the linked article above.

Superhero movies are the cowboy movies of our time.

The question I've been asking is why Sandra Newman decided to go with Julia instead of Winston Smith's ex-wife Katherine. Julia has the much bigger part in Nineteen Eighty-Four, but I've come to find Katherine interesting precisely because her presence in the story is so minimal. Winston describes her as a conformist who just recites whatever doggerel the Party puts out, but the stridency of this depiction makes me wonder if Winston himself was engaging in his own little bit of historical revisionism and narrative framing. Additionally, while Katherine and Winston are still technically married, by the beginning of the novel they are for all intents and purposes separated, and IIRC Winston's narration makes it fairly clear she was the one who did the separating. Perhaps there's room there for a story of the contradictions, complexities, and compromises of a true believer.

What do we think of the feminist 1984 retelling? Am I being kneejerk eye-rolling for no reason?

Well I guess it’s time to chip off the rust and draw some Kuvira again jesus.

Today I started separating my 2900+ likes into various sideblogs just so I can keep track of them all, and I appear to have accidentally created an architecture sideblog.