From my screwed up tastebuds a couple of days ago to this...
A tasteful Gen-z style wedding dinner at The Summerhouse. The programmme started with a rapid-fire ceremony by a JP, no exhortations needed, then straight up to dinner.
Some canapes while we wait for the official dinner programme to begin. Not sure, but the top I think was something mushroomy, the bottom was kinda' pumpkin-y, not just taste-wise but also by texture.
Appetizer was this pan-seared Hokkaido scallop. Very fresh, very bouncy texture... but my salt hyper-sensitivity is still there and it tasted like the whole ocean was in my mouth. The brown sauce is Japanese curry, the white is coconut cream. The sauce combo made me think more of Okinawa's tropical beaches than chilly Hokkaido.
Tangy, zesty tomato soup. I like the simplicity of flavour and the warm comfort I got from it. The cheese ravioli floating there provided some needed mouth-play and a surprise burst of salt (again).
The main course: I chose the salmon option over the duck. No regrets. This chunk of pink lay wantonly on a mattress of risotto. The salmon was a little more done than I like, but its flavours and oils were still intact, so no complaints.
And finally, the dessert. I'd initially misread the menu as Dark Chocolate Fondue, so I was imagining either a tiny individual chocolate fountain per person (ridiculous), or everyone sticks their skewers of fruit or candy items into the nearest fountain (like Kajang satay -- slightly gross). Turns out that it actually read 'fondant', which was this cute chocolate lava cake. That made more sense.
Overall, I liked the way this wedding programme went. It was paced well, it was light-hearted, the ambience was warm, there wasn't an overwhelm of guests, the music was quiet, subtle and really in the background. Mostly, I like the DIY feel to it.
I don't know the happy couple personally. I'm my wife's plus one here, but thanks for the invite! All the best on your journey together!
Been fighting the bug for weeks, holding it off as much as I could, but it's finally won. I have flu A.
I've heard how with COVID you lose your sense of taste, but with my experience of this flu strain, is it possible that food tastes worse?
I've had the most disgusting meals over the last two days -- on food I usually enjoy. The beef daily bowl from Stuff'd was an awful mess that I forced myself to choke down for the vitamins while the only taste sensation I was getting was the salt in the ground beef to which I've become super sensitive. Same with the fried bee hoon I got for breakfast. I get that when I need to carbo load for the day and it was equally horrid with nothing more than stewed cabbage topping -- all bland with sharp spikes of salt for variety.
Weird that the best tasting thing I've had so far was the McDonald's double fish fillet that tasted as advertised... or it could just be that my ability to taste is starting to normalize again. We'll find out tomorrow.
Returned exhausted from the Singapore GP F1 Night Circuit qualifying round. Not there for the cars, I was there for the music. Made the rookie mistake of paying for a grandstand seat when all I really needed was a walkabout pass which would allow me access to the food and concert areas but not a view of the track.
Made good on my seat watching all 12 laps of the Porsche Carrera Cup -- one of the warm up races before the evening's main event. Some guy called Pereira won. Congrats! Abandoned my seat after that to explore the grounds.
Arriving early was an advantage. Short queues for food and toilets. For dinner, I got a $25 hamburger sando from Arigato. Medium rare burger patty topped with a cheese slice between two thick slices of white bread. It was delicious and generally kept its integrity throughout even though I was eating standing up and holding it in one hand, while being distracted by the commentary on the Jumbotron.
Wandered over to the Downtown stage to wait for the performance I paid for. It's a smaller stage, an offshoot from the main Padang stage where the big acts were performing. More on that later. I arrived at the end of a set by The Lathums (pic above). Don't know who they are but their music I could groove to. DJ Questionmark from Taiwan took over for the next hour. I went for dinner at this time.
When I returned, the peanut gallery was full of American looking and sounding people excited to party with Tom Grennan, another act I'm not familiar with. Still, his basic rock vibe was cool and had me bopping the whole time.
Tom Grennan took most of the crowd with him. I immediately advanced to about just five rows back from the stage apron, determined to hold my ground for an hour until the final performance of the night commenced. Meanwhile, the grand Padang stage lit up and sent powerful beats right across to us who were at the old Esplanade. Someone thoughtfully put on the Jumbotron in front of us so we could watch DJ Alan Walker do his thing. Surprisingly, watching a DJ do his thing is as interesting as watching a conductor wave his baton at prerecorded classical music. No disrespect, but Mr Walker twiddled knobs and waved his free hand theatrically, and that's it. At least we had something to entertain us while we waited. No complaints.
And finally, the moment I and the One have all been waiting for: BABYMETAL! Making a stop in Singapore on their current world tour via the F1, performing on a small, intimate stage, and me even closer than when I was at Zepp KL three years ago! It was a short but intense session featuring their most fun, upbeat concert favourites that had us all jumping, chanting, and chorusing along (badly) the whole 50 minutes. Mandatory pix taken from between raised arms holding phones and serious-looking cameras follow:
Sorry I couldn't get a decent pix of SU. The corner where MOA and MOMO stood to engage the crowd was the least blocked.
I'm actually amazed that the pix came out this well. Must be the optical zoom and low-light AI magic of the Pixel 10.
And to make the post longer, the mandatory setlist follows:
BM Death
Pa Pa Ya
Metali
Ratatata
Gimme Chocolate
From Me To U
Karate
Road of Resistance to close out. How the crowd was able to actually make a decent circle pit on SU's command also amazes me.
When I drove past a new banner ad for Nosh claiming it served the best fish and chips, I had to put it to the test. The location is about 10 minutes' walk from my residence, so there's a major plus point already.
The restaurant is cosy, catering to a small number of diners, light piano jazz over the speakers for ambience. The service was friendly and responsive, upfront about payment options which was important because 'credit card' was not on the list.
I ordered the mushroom soup and sourdough appetizer which you can see as the empty bowl in the background. The soup's consistency was not as thick as most other places suggesting it's made on-site with fresh ingredients and it was served scaldingly hot. The sourdough was fragrant, soft with a satisfyingly crunchy crust. It seemed like a waste to dunk it in the soup so I enjoyed it between spoons, appreciating the texture and flavour even sans butter.
The fish and chips was, in fact, the best I've had in a long while. I chose the halibut over the dory because, what the heck, man? Of course halibut! It came coated in a lightly crisp batter, the way I like. The halibut tasted fresh and went down smoothly while the brittle crunch of the batter provided a nice contrast of things going on in the mouth. The salad was rocket and a couple of halved cherry tomatoes splashed with a little olive oil and balsamic vinegar -- standard fare, but still rounded out the dish well.
My one mistake was in over-using the tartar sauce provided. It made the meal feel heavier than I wanted. Next time I'll ask for a sprinkle of classic salt and white vinegar, nothing fancier.
Oh, the 'chips' turned out to be interesting slices of potato cut into loose, wide spirals which they call 'sidewinders'. Never seen anything like that before. The groove on each chip suggests a machine rather than a hand cut. I ate them without ketchup 'cos they didn't need any.
A meal of this quality isn't cheap. $41 and change. So using a portion of my CDC vouchers, I let the government pay for it. Yay! A new place to use them up before they expire.
I'm overwhelmed right now. BABYMETAL's latest album "Metal Forth" released today along with another official MV, "My Queen" ft Spiritbox.
There are still a number of new tracks on the album that haven't had an official MV yet, so rather than reviewing the audio versions, I'll review each one as they get released as videos.
I will say, though, that overall, I enjoyed "Metal Forth". The previously released video tracks are all bangers. They're loads of fun to headbang and jump to, as already reviewed below. Which leaves the new tracks being more artistic in the musical presentation. At least, that's my first impression. Not speaking the language, I need more visuals to infer context, and I don't have that right now.
And that brings me to "My Queen". I'm picking up a serious, not fun vibe from this one. For me, it's a contemplative song, more rhythmic than melodic. BABYMETAL face off against Courtney LaPlante, Spiritbox's vocalist, on a chessboard. BM is the black queen piece, LaPlante is the opposing white queen. There is also the presence of The Evil One, so named by the credits in the YouTube description.
Through the song, the queens posture and move against each other. SU, of course, gets most of the vocals. Not to be upstaged, LaPlante gets a substantial verse that lets her vocals shine. LaPlante alternates clean, almost spoken vocals with her screams, then crescendos over screamed lines. While the song doesn't really invite the audience to sing and move along, it's still very intense, heavy and maybe even... uneasy. That dark bassline undertone creates a sense of menace that pervades all around.
The visuals suggest that this could be an anti-war song. Combatants face each other on a battlefield, but who put them there? Who's really planning the engagement? In the end, the players (The Evil One) win or lose. They can always start a new game. But it's those who've got their boots on the ground who've paid the ultimate price.
On the battlefield, even the queen is just a pawn in the player's hands.
Disney-Marvel tends to focus on the family dynamic a lot. But it's only now that we finally get a long-awaited introduction to the Fantastic Four, and my favourite title growing up.
MCU's FF takes place in the 828 universe, so it's the first movie of the franchise to be set entirely outside 616. A different universe presents the opportunity to design the world differently from the usual realistic-familiar 'view outside your window'. On 828 Earth, supervillains abound, but all of them are kept in check by only one team of four superheroes. It's a world fully dependent on the four and is quite helpless without them. They, particularly Susan Storm (Vanessa Kirby), are the world's most respected policymakers. If any alien species were to land and ask to be taken to the leader, the Four would be it.
No surprise, then, that the Silver Surfer (Julia Garner) makes first contact with them, announcing the world-ending arrival of the Devourer, Galactus (Ralph Ineson), who thankfully makes an appearance as the imposing physical being he is supposed to be and not a disembodied cloud. Sue's brother, Johnny Storm (Joseph Quinn), is depicted previously as a thrill-seeking pain-in-the-a**, but I'm glad that here he is able to play a key role in defeating Galactus -- using heart and brain over bravado and flame.
I love Ben Grimm's (Ebon Moss-Bachrach) character design, and I mean his physical appearance in which he appears stylishly clothed rather than just rockin' trunks the whole time, and also his personality who has come to terms with how he looks, so much so that it seems Reed Richards (Pedro Pascal) is more broken up about it than Ben is. Ben's flirting with a grade school teacher in full view of her students suggests he's not too self-conscious of his exterior. Good for him!
When we first meet the Four, they are already an established world-protecting force. Their origin is re-told in a commemorative, almost worshipful, television documentary complete with mid-century soundtrack and editing style. The vibe is upbeat, orchestral with a bombastic swing and overall very optimistic. But the main point of the opening scene is to introduce Sue's pregnancy. She's carrying Franklin Richards, the most powerful being in the MCU, bar none. But for now, he's a baby whose parents hope to give the most normal of lives to. Sure, that's gonna happen.
The plot was quite a thrill -ride, as long as we don't ask too many awkward questions about the science of how some of the plot-devices could have worked -- like how would slingshotting around a neutron star using existing inertia accelerate a non-FTL spacecraft to near lightspeed? Also, the timeline plays fast and loose with how quickly the earthlings can coordinate globally to mount a defence response, and how long it takes for Galactus to arrive despite salivating over the possibility of satiating his eternal hunger once and for all. But once he puts boots on ground zero (it's always going to be Manhattan) Sue gets to show who's the most powerful among team Fantastic.
I quite enjoyed the movie. The setting was a weird blend of old-fashioned aesthetic meets super-futuristic vibes which applies to the people, their costumes, and their personalities as well. The theme of protecting family resonates consistently throughout. It's cheesy, and done so many times already, yet it still sucks us in because wanting to belong is so integral to our emotional make-up. Done this warmly, it's a great family film that makes a solid introduction to Marvel's First Family making its 'First Steps' as the next beloved superteam in the MCU (Go, Thunderbolts!).
BABYMETAL's 'Kon! Kon!' has dropped, adding one more official MV to the tracks included in the much anticipated release of the upcoming new album, 'Metal Forth'.
The video comprises 'live' performance footage, moving away from the story form MVs of the last few releases. I haven't yet read the translated lyrics, but the overall performance looks and sounds like there's less of a narrative, and more like it should be experienced in person being one with the rest of the ONE.
I've been juicing for my health lately, and this song similarly serves up a tasty blend of mixed flavours. Musically, there's classical Indian and straight-up Bhangra, supported by a foundation of driving metal. Linguistically, there's Japanese, English and Hindi, the latter two courtesy of Bloodywood's vocalists. The choreo is also inspired by classical dance blended with the high-stepping energy of Bhangra.
The words 'Kon! Kon!', I learned some time ago, is what Japanese folks think the fox says. Without knowing much more, I guess that the song title plays into the kitsune lore somehow.
Anyway, all the songs being released for BM's fifth album suggest a return to the super fun, super catchy kind of music that 'The Other One' was missing. Yes, 'The Other One' was beautiful and jaw-droppingly artistic -- a statement that the band has developed and matured from the kids people knew them to be. There's no doubt who they are today, so it's time to bring back the fun and the 'jumping up with the fox god'.
With every track released a banger so far, the new album can't drop soon enough.
Ironheart is a completely new MCU character for me. I know of her comic book existence, but her title came out years after I'd stopped my weekly subscription so I went into the TV series blind. True, we did get a glimpse of Riri in Wakanda Forever, but there wasn't enough world building for us to get to know her backstory.
What surprised me was that the tonality of series was nothing like I'd expected. With a name like "Ironheart" there was the potential for an overkill of goodness and sweetness and light, but thankfully there was none of that to be found in Riri or her story. Instead, the series is grimy and dark, the soundtrack is heavy with gangsta' rap, and any humour is kept way down to a minimum. This is neither a funny, nor even a fun show. Good for her.
Riri herself is nothing like the shiny hero the 'Ironheart' moniker suggests. Rather, her character is murky and morally ambiguous. Her 'Uncle Ben' moment results in the simultaneous loss of both her stepfather and half-sister or bestie (I'm not clear about the exact relationship), but instead of giving her moral clarity it puts her into survival mode. She will do anything to put a suit of armour around herself and her nearest and dearest. It's not altruism, it's selfishness born out of trauma
The name 'Ironheart' is never once mentioned in the series. Riri does not give herself a superhero name, only referring to the armour as a 'suit', so she sees herself and the suit as two separate entities -- no 'I am Iron Man' owning of the identity, so I suspect that the series only provides us a starting point of Riri's journey. The only name her alter ego gets is 'Ironhead', coined by her late stepfather, and this is the identity that sticks with her through the series.
Stubborn, unyielding, not in a good, heroic way, but a petulant, annoying way, at this point, Riri is far from being a hero. The morally questionable choices she makes throughout the series makes her quite unlikeable. She starts by being expelled from MIT, an by the time the series is over there is no redemption arc for her.
Is this a good narrative for the series to follow? Given the early review bombing of the series it doesn't seem like a crowd pleasing direction to have taken, but by giving a hero an absolutely rock-bottom starting point presents lots of potential for an epic redemption arc at some later date. Hopefully, that's the plan for her.
There is also a lot the audience has to do to suspend disbelief here. Tony's suit is powered by an arc reactor, Riri's suit makes use of solar and wind energy. While that admission makes her suit way inferior to Tony's, being able to generate that much power from the sun and wind requires a level of technology that should be putting the oil industry out of business for good. Eventually, Riri obtains an alternative source of power -- eldritch magic, which I suppose, is more believable (given how the MCU functions on anomalies) than maintaining the sun and wind angle. The criminal crew Riri joins is supremely effective in their combat skills, that is until they face the might of Riri's improv fighting style.
And Sacha Baron Cohen makes his long awaited MCU debut as Mephisto, the smooth-talking, contract obsessed demonic menace who by the end of the series may or may not have sealed a deal with Riri Williams. The question remains open-ended for now. Magic, especially of the Dr Strange style was not where I expected the story of another metal suit to take me, but here we are.
Overall, I did enjoy the series, though the main character did not endear herself to me. The tension, pacing and slow-burn revelations were intriguing enough to see where it all led to. I'd say it's a bold and interesting introduction to a fresh new face in the MCU.
Disney's 'live' Snow White is now streaming. It's been much maligned, panned, and shunned by the movie-going public, going by its poor box office performance. The lead, Rachel Zegler, has also received much online abuse and the roasting hasn't stopped even though she's moved on to other projects.
The question is, did the movie deserve the hate it got? First. it's a remake of a beloved original vintage Disney animation, so already the audience is communicating to the studio to please stop re-inventing the wheel and make us some new stuff instead.
That said, this 'live' production fills in a lot of detail missing in the original that present teachable opportunities for parents to discuss with their kids after. Primarily, the nature of 'beauty' which is central to the story. Zegler is no mega-babe compared to the statuesque Gal Gadot -- Wonder Woman herself -- who plays the Queen. But that is the point of this movie: that beauty is not in the outer appearance alone, but the totality of a person and how they behave towards others. The one who is beautiful adds to the lives of others, rather than takes away from them. The Queen's favourite magic trick demonstrating long-term impact by comparing the fragility of a flower to the hardness of diamond is eventually reversed by Snow White. It's an important distinction that the original animation glosses over, but the 'live' version gets a bit heavy handed with.
Other lessons include how an ideal society functions. In Snow White's version it's when people are kind and share their resources with each other from the goodness of their hearts rather than from a political mandate. The Queen's way is essentially survival of the fittest (or fairest) pitting winners who can acquire and protect resources from others, and losers who can't -- a philosophy that turns the literally once-harmonious kingdom into a gloomy scrabble for individual survival. It's a criticism of the current state of the USA even before 47 took over, but it's probably so on-the-nose that it rubs the domestic audience the wrong way. Under the spectre of potential new wars, mass deportation, the new anti-DEI pushback, it does seem far-fetched that people being kind to one another can make it all better.
Also re-examined is the concept of 'true love'. How would a passing stranger of a prince experience 'true love' encountering Snow White's lifeless body and be motivated to kiss her without the suspicion of necrophiliac tendencies? In the 'live' version, Jonathan is no prince, but a selfish rogue whom Snow White influences to change his ways through mutual cooperation and suffering before love materializes between them. This added storyline could be a criticism against how modern men and women expect true love to occur between strangers meeting on dating apps and getting disappointed because no one will ever be 'the one' this way.
As far as the 'live' is a musical, true, there are a lot of song and dance numbers to keep the narrative lively. But the music was not particularly memorable other than the callbacks to some of the original's. The lyrics were also more tell than show, so sure, fun but overall meh.
'Live' Snow White I have mixed feelings about. I might have appreciated it better if I had kids to bring and have something to chat about with them later, but the movie was clearly not pitched to my demographic. Perhaps that's the reason this movie wasn't as profitable as it could have been: having fewer and fewer kids means less and less reason to pay money to watch movies like this, while the jaded and childless are hate-watching the movie that is not meant for them. Also, perhaps the overall positivity of the narrative can be annoying as it runs so counter to their normal, everyday experience of life. And their biased reviews are turning audiences off unfairly -- even audiences whom the movie is meant for.
47 really wanted to show off US military might through his parade but was disappointed. It was intentionally more low key and themed itself more historically educational and friendly than he'd hoped. Not surprising that if he can't impress in theory, he'll take it on himself to demonstrate his military capabilities in practice.
Cue joining Israel in bombing nuclear sites in Iran, regardless of every piece of advice he'd been given to avoid a potentially large scale long term conflict against a foreign power. So here we are: the oldest ever toddler playing with the most dangerous toy ever, and who can't wait to see things go boom.
Iran, of course, could take the volatile route of vengeance, threatening the USA with violence both in the Middle Eastern region and at home -- which they have already done. But if they were instead to entertain a more chill approach, here's what I'd suggest.
47's actions are reminiscent of a simple gangster play: hit the enemy hard once and they'll beg for peace and mercy on his terms. However, this is not one mafia family beating up one loan defaulter. It's a mafia don almost unilaterally declaring war on an entire mafia rival family. It's not USA vs Iran, it's really just 47 vs Iran. 47 does not have the support of half the voters who voted in the 2024 election, and some of his more powerful supporters are starting to voice their disapproval over this apparently impulsive decision.
With this as the background, it would not make sense to unite the entire USA against a common enemy which would happen if Iran proceeded to attack US citizens and materials either in the region or at home. Rather, a less costly strategy would be to use the Palestinian playbook and launch a propaganda war showing the hardships, the destruction, and the humanitarian crisis that has resulted from this US action, while at the same time suggesting that Iran's nuclear capabilities are as yet unaffected. Setting these two opposing cognitive forces loose in the USA right now would be a sit down with popcorn moment as we watch the Great Satan tear itself apart from within.
Honestly, at this time, the nation closer to regime change is the USA. Iran literally has to do nothing but wait it out. Will they, though? WWIII hangs in the balance.
Why would there be a need to remake a beloved animated movie from 2002 into a 'live' action one in 2025? To be honest, this one is the first 'live' action Disney remake I've watched, but only because the original resonated so hard with me. Would the story impact a second time?
It's a narrative that plays well in animation. The premise of aliens on Earth makes for a silly, nonsensical plot, so the animated medium of the original blends the incongruous elements into a seamless, believable universe. 'Live' action, though, needs a more realistic and grounded treatment, backgrounded by the fantasy elements of life and technology beyond the stars.
The plot and characters are updated, and some of the original's plotholes which we allowed for creative license get more of a logical explanation in the 'live' version. And then there is the concept of what "ohana" entails that gets explored and enhanced as well.
Conceptually, the story is the same. Two tiny outcasts find kinship and bond with each other amidst a chaos that is often of their own making. Through their misadventures, they bring out the best of each other while the lives of everyone concerned with them steadily fall apart. Sometimes, destruction is required before something new can arise from the rubble.
Some things that get updated are that Lilo's (Maia Kealoha) penchant for photography is gone since today, taking pictures of random people without their consent is no longer socially acceptable. Lilo's outfit is less traditional and more current. Big sister, Nani (Sidney Agudong), has help from well-meaning neighbour, Tutu (Amy Hill), a completely new addition to the original cast.
The 'live' action has its share of controversy. The role of Cobra Bubbles, the social worker in the original is split between an actual social worker (Tia Carrere) and Agent Cobra Bubbles (Courtney B Vance) doing undercover work investigating the alien presence on Earth. This split role explains why an ex-CIA agent with alien contact experience is currently working as a social worker. We always wondered if it was something he did or said that got him such a demotion. Now we know better.
Spoiler Alert: making Jumba (Zack Galifianakis) the main antagonist in the 'live' version seems like a betrayal of the character from the original, but we have to remember that in the original there was no motivation for his change of heart. He was always about capturing Stitch, disassembling him, and remaking a better monster. In the original, after finally capturing Stitch, Stitch politely asks Jumba for help to which he makes an inexplicable turnaround claiming, "he's very persuasive". In the 'live' version, Jumba follows through with his original motivation and gets increasingly unhinged with every failure.
Even bigger spoiler alert: Many fans of the original are upset when at the conclusion, Nani relinquishes custody of Lilo. In the original, Nani and Lilo remain as a family under the auspices of alien providence. In reality, aliens have no jurisdiction to enforce such protection once they leave the planet. It makes sense for there to be a more enforceable solution in the 'live' action, and that is for Tutu, who has been portrayed as a surrogate mother figure to both Nani and Lilo to take custody of Lilo.
Meantime, Nani is allowed to pursue her dreams studying Marine Biology, which again to many fans looks like a betrayal of the wholesome original ending when then family gets to stay together. 'Live' action Nani is accused of 'girlbossing', which is not true at all. First, Nani has to be persuaded to go to university, having won a full scholarship, and has turned down the offer time and again. She finally goes when Lilo tells her to go because that's what their parents would have wanted for her.
So what does this mean for the 'ohana' concept that was so central to the original? While ohana means family, it isn't limited to the nuclear family. The concept of family includes found family (which was part of the concept in the original) and now includes Tutu who is also found family and has been part of the extended family this whole time. Ohana also includes family members who are deceased and whose wishes are still respected. When no one is "left behind or forgotten", that includes Nani too. Despite being Lilo's primary caregiver for most of this movie, Nani needs care from her ohana too, which Tutu provides. Girlbossing would actually be Nani taking care of Lilo all by herself, but ohana brings the village to raise the child.
And finally, in 'live' we get to see Lilo achieve personal growth and gain some maturity. Animated Lilo gets everything she wants at the end, but at no personal cost. In 'live', Lilo decides she cannot be a selfish brat any longer, agreeing to part with Nani for a time so that Nani can become who she needs to be. Lilo does say "I like you better as a sister than a mom", so she makes the sisterly decision to let Nani go. This way, Lilo proves that she is ohana to Nani as much as Nani has proven time and again that she is ohana to Lilo.
While I generally believe that it's time Disney starts making original content again, Lilo and Stitch 'live' gives us a little more insight to the animated original. But I draw the line at making yet another 'live' remake of its sequels. Once is enough.
Well, here's a melding of two worlds I did not expect. The original Karate Kid and its remake turn out to be parts of the same Karate universe. Legends brings them all together and shifts everybody west to the gritty streets of New York.
Having regained his confidence after Xiao Dre's (Jaden Smith) victory in Beijing, Mr Han (Jackie Chan) restarts his school of kung fu. His prize student, Li Fong (Ben Wang), is already skilled in martial arts, but lives under the shadow of his deceased older brother. His Mom (Ming-Na Wen) forbids Fong from any further fighting due to the circumstances of her older son's death, and moves them both to New York for a fresh start.
Of course, the Karate Kid formula gets Fong in trouble with his newfound girlfriend's (Mia, played by Sadie Stanley) ex, Conor Day (Aramis Knight). The game now is to win the 5 Boroughs Championship of which the Conor is 5-time reigning champion.
While Conor is intense and ruthless in training, he's not really played up as a bully. Fong already has his own inner demons to fight. It takes both Mr Han and Daniel la Russo (Ralph Macchio) to combine forces and get him in shape for the fight both physically and mentally.
Yes, in a flashback at the beginning of this movie, the legend of how Miyagi-Do Karate came from Han kung fu roots is told. It's satisfyingly respectful that the late Pat Morita's Mr Miyagi is remembered as the common link between Mr Han and Daniel-san. "Two branches, one tree".
It is important to set up how skilled a fighter Fong is right at the start. He impresses Mia's dad, Victor (Joshua Jackson), who becomes Fong's student in using kung fu to train for an upcoming prize fight. This way, we see our protagonist as a trainer rather than as a trainee, an interesting break from formula. This leaves Fong's training by Han and Daniel to be more comical as the two coaches discuss and demonstrate their strategies using Fong as a practice dummy.
What's not clear to me, though, is the need to bring in the discipline of Karate as the 5 Boroughs tournament doesn't seem to be specific to any single discipline. The portrayal of the tournament felt rushed. There was little build up in getting to know the opponents, their motivations and stakes. Conor and Fong looked evenly matched going in, so despite being down by a few points in the early game Fong didn't look like he was in trouble. Then again, perhaps that wasn't the point. Fong's demons have more to do with his response after the match to fulfil his redemption arc. Another nice variation of the formula.
Overall, Legends brings a fresh take to the Karate Kid franchise, thrilling to view as a first-timer, yet heavily nostalgic for those of us who have followed this narrative since the '80s.
Attended the Pre-U Sem 2025 closing ceremony as staff in charge of my institute's delegation. Arrived just in time to catch one of my kids making a presentation about her team's project. She performed well, all bright, animated, rehearsed and polished but not beholden to script. What I didn't realize until a few seconds later was to whom she was presenting. It was to the new boss himself. Here you see the back of his head. It's the closest in proximity I've ever been to my industry's top brass. Just an observation.
"Song 3", BABYMETAL's collab with Slaughter to Prevail has now an official music video. The song already featured in BM's latest European 'live' concerts, so I've heard it once before via fancam.
This track has the most consistent harsh vocals for BM, giving MOMO her time to shine. Coincidentally, it was released on the same day as Hanabie's "Spicy Queen", so we have two girl bands dropping heavy beats and harsh vocals almost simultaneously. What a treat!
Anyway... "Song 3" gives the attention to MOA and MOMO, being composed more like a cheerleader chant with repeated counts of "ichi, ni, san", or "one, two, three". SU still gets some melody time, but it's less prominent a feature here.
Between the collab with Poppy and this one, rage seems to be the common theme. With "From Me to U", it's about calming your inner rage, while embracing and acknowledging its legitimacy. But with "Song 3", it's more about confronting the things that enrage us, say like pressure, failure, and perhaps even literal bullying. The count of "ichi, ni, san" at first brings focus when we're feeling overwhelmed, then becomes a discipline for training to overcome, and finally it's a countout, having KO'ed the adversary. What's interesting is that winning doesn't involve actual violence, but rather speaking up and asserting oneself with confidence.
I don't know StP at all, but they're wearing Oni and fox masks, so perhaps masks is their thing? The lead singer shows his face, though. I'm assuming that he represents the bullied boy now grown up and finally can't take it no more. He enrolls in BM's school of Karate where BM plays multiple roles as cheerleaders, trainers, referees, and the award presenter. StP's music is both discordant and heavy, creating the tension and overall stressful atmosphere which the growls make even more oppressive. But BM's melodic lines and lighthearted delivery still cuts through the tension, bringing hope and determination to rise to the challenge.
BM have always been genre-bending queens, but this is the first time they've taken on their own metal space as a genre and given us something of a more expected metal sound throughout the song. Not dance, not pop, just straight up metal -- with a little lemon zest for flavour. Heck, yes!
College's contribution to SG60 is a touch-up of the 50 SG50 community wall murals we put up 10 years ago, plus putting up an additional 10 new murals to make it 60. My CT got to paint one of the new ones, lucky us!
It was nice to see everyone engaged and focused on a singular task. Lacking experience didn't stop anybody. The paint-by-numbers task was simple enough, yet provided immediate feedback on how well (and how quickly) we were progressing. Various residents stopped to admire the new splash of colour, and commented appreciatively of the artwork, adding objective user experience feedback while we were painting.
Our mural was split between two load-bearing walls. The design was a triptych depicting 3 familiar local myths. The bottom photo represents Sang Nila Utama spotting his apocryphal lion, which gave our tiny island its current name. The above photo depicts a somewhat obscured legend of Kusu Island on the left, and the legend of Redhill on the right. Yes, somehow Redhill (Bukit Merah) is connected to a tale involving the defeat of a school of marauding swordfish that made a habit of skewering beachgoers, and some court intrigue.
Not often we get such high-profile opportunities to bond as a CT. Today's event was well-received by all involved.
Today is Nomination Day for the General Elections on 3 May. Gen Sec Wong is right about this one being a much closer contest than before. Mr Wong represents a new leadership, and though I wouldn't say is untested, it is a moment of passing the torch to leading a people who are much better educated, more vocal, and more aware of their rights. We have more diverse opinions and are willing to stick to our guns fighting for what we believe is right, even if it is over values that we once held dear but are now more open for debate.
These are troubled times for the world, and we Singaporeans used to take strength in uniting as a voter base to elect a decisive and nimble government that could move fast in adapting to rapidly changing circumstances, without being bogged down by opposition voices seeking more debate before action. The will of the collective served us well in the past and got us to where we are today.
But by today, we have also seen how a house dominated by a single party that runs unchallenged can be self-serving, cowed into submission to a self-styled despot, lose friends and allies, and squander a whole lot of goodwill and trust built up over two centuries of previously solid, dependable global leadership. Just like that.
What lessons the electorate has learned from recent events and will learn from the upcoming campaign rallies will play a significant role in the outcome of GE 2025. Eyes and ears open, people! Be an informed voter: vote for the party, the values, and the platform you actually support, not against those you don't.
'A Minecraft Movie' did not resonate with me. Although I don't play the game, I thought I would give the movie a go as lately video game-based movies like Sonic and Super Mario Bros were decently entertaining enough. Perhaps Minecraft was meant for a younger audience, but the audience around me was mostly children and it didn't seem like they were very entertained either. While not disruptive, thankfully, the kids maintained a low-energy level of polite watching. The occasional question seemed more frequent than laughter.
What didn't work for this movie is the open-ended nature of the source material. The game is mostly about learning to interact with the environment by discovering new materials and crafting recipes, then becoming creative in reshaping the environment with these new discoveries. The game raises the stakes from time to time by sending waves of hostiles for the player to defend against. But it is up to the movie to design a motivation for these attacks. While the main villain's arc does fit the overall theme of how society represses creativity by showing how the different characters react in either healthy or unhealthy ways to their own experiences of repression, really, the chief antagonist has the least provocation to overreact as she does. Without strong motivation for the villain, the stakes are uninteresting.
The humour tends to lean too hard into slapstick. Jason Momoa's character, "Garbage Man", is the butt of most of the jokes. Tough guy gets scared and screams like a little girl. Tough guy gets his ass kicked by cannon-fodder level enemies. Tough guy falls down a lot. It gets old after the first couple of gags. He does swoop in later to pull off a spectacular save, so I guess he finally learns how to play, but frustratingly, his process happens off camera. Jack Black's character, "Steve", takes the mentor role, playing the straight guy to Momoa's goofball. Black sings funny, improvised songs but again, once too many times to be funny every time. Sure, the 'rule of three' is there for a reason, but humour is in the escalation of each of the three stages. Here it's just the same thing repeated and falls flat.
I did identify with the theme of repressed creativity, however. I've been trying to be more creative in the last couple of weeks working on some personal projects. But I'm finding that my more responsible commitments have been holding me back from fully realising my creative goals. I recognise I'm still at a learning phase and so my creations are still super crappy, but having the discipline to keep practicing will eventually get me where I want to be. Baby steps. So, while I may not have enjoyed the movie as much as I hoped to, I still appreciate the encouragement I got from it.
Have I ever mentioned the solid work ethic the BABYMETAL team has? 'From Me to U' has finally dropped since it's been teased for weeks now. This new track -- which will feature in the next BM album, 'Metal Forth' -- is another collab, this time with new-ish metal vocalist, Poppy, with whom BM has a lot in common... being ladies in metal, at the very least. I know little of Poppy, so this song is my first official intro to this new artist vying for a place on my playlist.
FMtU hits hard and fast, delivering waves of energy that will keep the crowd jumping from beginning to end. Thematically, energy transfer is BM's hallmark in crowd interaction. They provide boatloads of energy from the stage to the audience, and the crowd gives it right back, closing the energy loop which blows the roof off every BM concert venue. Everyone is drenched in sweat, ears ringing, grinning from ear to ear in the aftermath of the explosion. This track -- need I say more -- too, is pure energy. Wow!
Musically, FMtU leans more towards metal, supported with EDM and pop elements. SU and Poppy share verses, while interspersing lines within the chorus. Between SU's melodic tones and Poppy's screams, the compromise makes it difficult for me to immediately pick out parts I can sing along to. Perhaps I don't need to. Keeping my mouth shut and headbanging appreciatively is all this song really asks for.
One issue I have is that SU's voice sounds over-processed with too much electronic overlay. Given the futuristic setting of the video -- it looks like they are street level in the city outside the windows of the Ratatata set -- perhaps her voice was supposed to sound synthesized. Still, it's a pity to mask out her natural talent. SU sings mostly in English and her enunciation has evolved so much that she sounds like a native speaker now. That's impressive!
As for Poppy, she isn't at all poppy like her name or appearance suggests. She screams all the way through, providing a hard edge to the energy pouring forth. She represents the 'rage' SU sings about in the chorus, while simultaneously singing sweetly about 'killing the enemy'. Yikes!
The visuals suggest a video game environment. Halfway through, the neon city is destroyed and collapses in flames. A huge monster rises up to confront the BM trio dancing on the last remaining circular platform. This scene reminds me of some boss battle scenarios from Path of Exile and Diablo 4. Is this the enemy SU intends to kill? Apparently not. It screams in Poppy's voice, so it's her avatar, or something. All four artists (boss monster representing Poppy) are finally together in the closing shots, beautifully synced up... and no enemy in sight.
Ok, I won't think too much about it. Overall, this track is another banger of a collab. It's a crowd energiser and great for a frenetic cardio workout. With more as yet unreleased tracks in the run up to new album, we wait with bated breath for the next drop.
Wow. This here is a pretty convincing scam I almost fell for. I was led here via a Facebook post about how Casio apologises to the people who queued at the new G-shock store at Vivocity waiting to purchase the GA-2100-1A for $75 (USP $199) but were disappointed when stocks ran out early. To make up, the store directs the reader to the website pictured above where anyone can enjoy the same discount. The copy on the right promises 'VIP support service' AND a 70% discount voucher on the next purchase as enticement to purchase 2 units. Perhaps the scammers overplayed their hand here as the offer was too good to be true. There is also a typo that doesn't make sense. Still, since I was in the market for a new watch, I clicked the 'Buy Now' button...
and this window pops up. A bold eye-catching timer urges a quick response, while the 78/100 of 'quantity remaining' is there to show how lucky we are to be among the remaining few to enjoy this limited-time offer. I actually went as far as to fill in my personal details, but stopped short at clicking the 'Buy Now' button. Call it paranoia, but I decided to check for any corroborating news stories about such an event occurring. None. The supposed 'new store' doesn't even exist. I tried clicking on the menu buttons at the top, and they don't work. The buttons that did work were the icons at the top right, but they only led back to this purchase window.
I wish I could find the Facebook story that led me here in the first place, but when I returned to my FB feed, it automatically refreshed and the story disappeared. Anyway, a really close call for me. Glad I listened to the alarm bells in my head.
Added another $16 to Ne Zha 2's over $2b gross earnings to date. It's pretty bold to make the titular character look adorably un-cute. Ne Zha's design is that of a short, pug-nosed, gap-toothed troll, but his charm is more in his heart to stand against adversity while overcoming prejudice over his disadvantages acquired from birth. It's not easy for a person of demonic heritage to live among and be accepted by human beings.
In this episode, Ne Zha's demon self has to be hidden from the gatekeepers of immortality, or his quest to save the life of his best bud, Ao Bing, will fail, resulting in the destruction of his hometown by Ao Bing's pissed-off dad, the Dragon King. That is a summation of the main plot, while the sub-plots involve other factions pursuing their own selfish agenda and pissing each other off both by grand design and more often by a blind sense of self-righteousness seeking to do good, but causing an intricate mess of chaos instead. It's a case of everybody being a hero of their own tale, while being the villain in someone else's.
It's a complex, ambitious piece of storytelling accompanied with spectacular animation, which is what people are mostly paying to see. The scenes are stunningly rendered and beautifully composed, inspired from classical Chinese-Taoist themes. There is an epic sense of scale as the camera moves from individual character detail to a zoom out shot taking in the murmuration of entire armies swarming in formation, colliding in battle in a way that we can almost see each individual combatant within the swarm at the same time. It's breathtaking to behold.
While technically impressive, the storytelling could have been more economical. Perhaps some references to mythology are lost in translation, given my woeful lack of context. Some scenes felt draggy, and I felt myself dozing off at one point. My poor brain was having to keep track of which faction was doing what to whom for what motivation, and I probably needed that micro break. Also, the process of attaining immortality was confusing as Ne Zha had to succeed at beating up a series of random critters that are minding their own business -- but without much sense of progression of difficulty level -- in order for him to be granted immortality. Yet, the same deity who granted him immortality was busy making thousands of immortality pills for... not sure whom exactly. So is immortality gained by beat-em-up, or by swallowing magic pills? Unclear.
Which leads me to the observation that magic in this universe has no rules. Magic is wielded as a convenient deus ex machina. Want something to happen, just name a mystical device/spell and there you go. How powerful a character is depends on what things they can name at the time they need it. If that's the only rule, it's a bit cheap, sorry to say.
Ultimately, what carries the story is Ne Zha himself and his small but loyal group of supporters, namely his parents, his mentor, and his counterpart, Ao Bing. They are all pure of heart, sincere in their intentions, and courageously brave the turmoil they are thrown into. These qualities are what an audience can get behind, especially when balanced by the main character who is also an obnoxious stinker who learns and grows throughout the movie.
Stay for the mid-credits scene. I enjoyed it as whichever studio got to animate this part had the most fun with it. We could have used that type of humour sprinkled more liberally through the rest of the movie as the fart and toilet jokes weren't doing it for me.
Overall, I enjoyed the experience, though I also feel that the movie suffered from too much of a muchness. When Chinese cinema learns the value of 'less is more', that's when I think it will be unstoppable.
A parent had a casual chat with me and mentioned their adult son who has decided to forego dating as he feels it is "not worth it". This attitude seems to be a recent development in dating dynamics overseas, but to hear that young men here are of a similar mind, it's worrying. If we are trying to encourage breeding among our young couples, perhaps incentivizing already married couples to procreate is too little too late. After all, if young people aren't dating in the first place, nobody's getting married.
Of course, I'm speculating and overgeneralizing here, but it seems that dating, marriage, and babies require more money than people are willing to spend on them, hence the PM's Budget proposal. But we need to examine the problem at the root. PM Wong isn't allocating any budget to encourage dating, the first link in the ball-and-chain of marriage and family, but I doubt throwing money at this problem will solve anything, anyway.
What I think has gone wrong with dating today is not the money per se, but the expectation that young men have been priced out of the dating market. In the past, couples knowingly believed in the romantic fantasies of 'love at first sight' and 'love conquers all', meaning that even if we were broke, the couple would still find something to do without breaking the bank. That was how it was with me and the wife in our early days, especially in the year she had an income, and I was living off my rapidly diminishing savings. Today, dating has transformed into a transaction. No more 'love at first sight', aspiration has mutated into the expectation of 's_x on first date'. There seems to be an understanding that the man will pay for an expensive date, but if he doesn't get to round the bases after that, he feels cheated, having been used for a free meal, drinks and entertainment. Meanwhile the ladies invest in themselves to look their best on the date, hoping to entice their partner to become so smitten by their stunning appearance that wallets gape open, spewing money everywhere. "If a man can spend so much money on me, it must be love", but because of the transactional nature of the date, it's like the more money he spends, the less she feels cheap and the more she feels like a princess when it's time to seal the deal.
Young men, of course, don't earn enough to pay for many extravagant dates, so they don't even bother approaching women, while young women get asked out by older gentlemen who have built up enough resources to lavish their dates with the level of luxury expected. But once the old, rich guy has had (and paid) for their fun, they'll take their business elsewhere. No commitment, no baggage, just the endless thrill of "love 'em and leave 'em". Women are left bewildered and frustrated, being ghosted by the man who demonstrated love by showering them with material blessings the night before, and now they no longer believe that love is forever. Everybody playing this game eventually develops trust issues, it seems. Not exactly a solid foundation to build family on.
If it is true that the dating pool today is messed up by everybody's unrealistic expectations of what the dating ritual is supposed to accomplish, then it's going to take an attitude reset, and not necessarily mo' money, that will get the human population back on track.
Well, this video was totally unsolicited. George, Bee, and I chaperoned the kids at an introductory course in bowling. Brought back memories of some of my earlier posts in this blog when causing our own chaos at the lanes was all the rage.
I joined in as a participant to make up for a vacancy and learned a couple of tips that benefited my game. Stand on the centre dot to start my walk-up and aim dead straight at the second aiming arrow right from middle. Stay focused and follow-through. That did wonders for keeping my first throws on target, mostly. Still need more work to convert the spares, but that was beyond the objective of today's toe-dip into 10-pin mayhem. Racked up a score just below the averages I used to get back then.
I loved the ball I selected from the public rack, this silver 11-pounder with holes that perfectly matched my grip. It fit so well and handled so easily that it gave me a lot of confidence using it. I wish I could have bought it there and then, but since I'm not bowling regularly any more, it would just have been a frivolous purchase. I didn't notice Bee taking this video of me but, damn, despite maybe a decade or more being out of practice, I still haven't lost much form. Good thing I did convert this spare, else it would have been all flair and no substance.
The elderly chief coach has inspired me to likewise be a bowling coach in my retirement years. Not long now...
MCU's Captain America movies usually have some political statement to make. Brave New World, Cap's 4th outing, draws a parallel between newly elected POTUS, Thaddeus Ross (Harrison Ford) and the real-life current POTUS. Both have done and are still doing morally questionable things, and although much of their misdeeds are public knowledge, they have still been given the mandate to be the country's top decision-maker.
What's different about Ross is that his misdeeds are misguided attempts to keep the country safe by all means necessary, including the use of deadly force resulting in heavy collateral damage -- a callback all the way to the MCU's second movie, The Incredible Hulk. That legacy carries over to his initiation of the Sokovia Accords resulting in the unintended(?) disbanding of the Avengers during the brutal Civil War conflict. By this time, Ross is convinced that regardless of his political success, he would never win back the love of his daughter, Betty (Liv Tyler). As such, he seeks to redeem himself by negotiating a global peace treaty over the fair and equitable distribution of a new element that seems to have more potential than even vibranium. This new element is found in the body of Tiamut, the Celestial that arose in the Indian Ocean, but whose full emergence was prevented by the Eternals in their own movie.
Current real-world POTUS has opposite designs for national self-sufficiency at all cost. 'nuff said.
The mantle of Captain America now falls on Sam Wilson (Anthony Mackie), formerly Falcon. He bears the shield with a sense of inadequacy, feeling that Steve Roger's boots are too big to fill. Moreover, Wilson does not have any super-soldier enhancement, and clearly cannot match OG Cap's physical prowess and abilities. Wilson does have the advantage of aerial combat and makes use of his natural empathy to deescalate tense situations. Without enhancements, Wilson has his own approach to dealing with powered individuals, preferring to use words over fists, although fights can end a bit anti-climactically for a hero-fest. It's not that he can't use his fists to end a fight -- as he does with Sidewinder (Giancarlo Esposito) -- but he prefers not to.
BNW is a straight up comic-book movie. There's enough action and fighting through a varied palatte of threat levels to keep the pace breathless. But because Wilson is already such a good guy from the start, his character arc doesn't have that many legs. By the end, he's gained a little more confidence in himself as Cap's successor, but we already knew that he was worthy. His costume design is also busier than I like, but that's an aesthetic quibble. It was President Ross who kept my attention for this movie. He had the broader character arc with more to redeem himself from and more to seek forgiveness for. His resolution is a bit of wish fulfilment for us in the real world, but it is in taking personal accountability and responsibility for his past missteps that finally brings Ross peace.
Overall, while political enough, I feel that the previous Captain America movies had more emotional depth and higher stakes. BNW tried to create a bit of a besties dynamic in the Sam Wilson-Isiah Bradley (Carl Lumbly) pairing, but the Wilson-Bradley friendship doesn't run so deeply that the audience roots for them as we did with Steve-Bucky. The biggest impact of BNW on the greater MCU is the tying up of some loose ends from previous movies while vaguely pointing the way forward with the discovery of a new element to exploit, and a cryptic prophecy delivered in the sole end credits scene. Generally a good movie, but seeing as the supporting character stole the show, it doesn't top any of the previous installments of MCU's Captain America movies, at least for me.
The second trend has been the most spiteful non-violent protest a people has raised against a government policy that could result in an outcome that could be inadvertently wonderful. With the impending US decision to ban Tiktok in the US, hundreds of thousands of American "tiktok refugees" have jumped ship to xiaohongshu, or Red Note. Ostensibly, the Tiktok ban is motivated by national security concerns over China's ease of access to American users' data, so instead of returning to US-based social media apps as expected, users have maliciously migrated to mainland China's own social media platform, voluntarily handing over to China their personal data on a platter. US Gen-Z's (mostly) collective raised middle finger to their own government is unhinged, inspired and hilarious.
The unintended consequence of this overnight mass migration is unprecedented. Ordinary people who have been told to be suspicious of each other by their respective governments are now meeting each other in a common space en masse and discovering that they have more in common than not. These past few days, people from two different gated communities have engaged on friendly terms and are fully experiencing a grand scale cultural exchange driven by genuine curiosity about each other. So far, the general consensus has been that while their governments are creating tension between each other's countries, the people themselves have no issue with one another.
Of course, no one knows how long such cordial exchanges will last. The Internet usually starts out promising friendship and understanding, but human nature will eventually attract trolls and spoilers that will ruin it for everyone. But in the meantime, people are learning each other's languages and cultures... and lifestyles. American users have been shown how their Chinese hosts live -- not in squalor or poverty as the common stereotypes portray but in better circumstances than most Americans. Chinese people's cost of living is comparative low: they own their own houses or rent at much lower rates than their US counterparts, and utilities, groceries and healthcare are enviably affordable compared to what Americans pay for the same. Some American commenters even compared the USA to a third world state in response to such eye-widening revelations.
These events remind me of the fall of the Berlin Wall in '89 which marked the end of the Communist grand social experiment. Pure Communism did not work, and once the people who lived under that regime decided that they didn't have to and shouldn't live under government restrictions and material privations, previously Communist states reshaped their economies to embrace some level of private entrepreneurship, and freedom of expression, while keeping a firm grip on public order and a commitment to providing essential social services. Something similar is happening now in the USA in that it has become almost a total Capitalist state. Every citizen has to foot their own bill for everything that they need, while (simplistically) the profit motive keeps prices high. Inflation is running rampant, and wages have been unable to keep up. The American Dream is now run by an Oligarchy with a disreputable businessman being sworn into its highest office in a couple of days. Could 2025 be the turning point when the American people themselves decide they don't have to and shouldn't continue living under government restrictions and material privation? When pure Communism fell with the Berlin Wall, could pure Capitalism also fall with the great firewall?
It's still early, but I, and I guess many other people too, are hoping that ordinary people inadvertently bridging the communication gap via the banning of a social media app can pave the way to a more peaceful, understanding, and united world moving forward. If not, at least this week has provided a bright spot in an otherwise gloomy outlook over the near future.
Two trends have pinged for me recently. The first is the massive uptick of players of video games made by Chinese developers corresponding with the equally massive decline of players of American-made games. "Black Myth Wukong" (BMW), based on Chinese mythology featuring the Monkey God as the protagonist captured hundreds of thousand players on the Steam platform compared to American releases which were struggling to get tens of thousands of regular players. Big budget multi-player game, "Concord", even shut down after a few weeks of launch due to lack of player interest. Game Science, the Chinese developer of BMW certainly seems to have made monkeys out of its Western competitors.
Recently (and ironically) another Chinese developer, NetEase Games, has captured much of the gaming market with its release of "Marvel Rivals" making use of American publisher, Marvel's, widely renowned characters like Captain America, Hulk, Thor and a host of other household superheroes with more promised every new season.
One simplistic factor for the popularity of non-American video entertainment is that foreign developers are not hamstrung by activists insisting that diversity, equity, inclusion, or DEI, has to feature in popular entertainment so as to not exclude people who do not conform to mainstream stereotypes. Now, although I believe that DEI is a noble agenda, the numbers are telling us that people who qualify as DEI do not represent the market that buys and plays video games. The vast majority of gamers tend to be vanilla mainstream people who like their game characters to be identifiably mainstream with few but very clear distinctions that help us tell one character apart from another. For example a clear male-female dichotomy with males exhibiting a more angular body shape, and females with softer, rounder curves. Easy. There's no need to delve into any character's sexuality or preferences which is of little relevance to a game in which people are shooting each other for fun. Besides, if I were to be shooting at your character who is exhibiting identifiable DEI characteristics, wouldn't my intentions be even more actively discriminatory?
Anyway, insisting on a DEI agenda in video games is ultimately self-defeating from a marketing standpoint. People who identify as DEI, are identifying themselves apart from the mainstream. It makes little sense to push non-mainstreamers into the mainstream. It's confusing for everybody. DEI individuals pride themselves on embodying very unique characteristics that distinguish them from everyone else. Distilling character types from such a wide range of unique qualities creates character designs that at best only partially represent a person, so a DEI person is unlikely to see themself fully reflected therein. But the stereotypical male-female body shape is a silhouette that anybody, DEI or not can see themself in as it is the lowest possible common denominator. So there is little to gain from fragmenting the market and chasing after the smallest demographic that may not even exist. And then be shocked and outraged when games that target the widest possible audience do so much better at attracting players.
But depending on the game, character design may not even be a key issue for a game's success or failure. I'm not playing "Rivals", I'm playing "Path of Exile II" developed by NZ-based Grinding Gear Games. POE2 is an isometric ARPG in which my avatar is relatively tiny in comparison to the playing field and is constantly lost in explosions, fog, and other environmental effects. My current character is a female witch (player classes have no gender options), but her body shape is not of any prime concern as the idea is to layer her up in protective armour so it really doesn't matter what she looks like. As long as she can kill things fast, keep a forward progression, and find gear upgrades, that's all I care about. Is the game fun to play? Yes. That's it.
So, now the Chinese know how to make video games fun and pleasing to play, are targeting the people who actually play games and are doing well as a result. In contrast, corporate America has bogged down American games with unnecessary encumbrances, pulling down the fun factor in their greedy and misguided attempt to appeal to every potential niche customer, but pleasing essentially no one. American gamers are rejecting such games and have no qualms jumping ship to Chinese games that actually offer them what they want. Ironically, the capitalists have forgotten that in a free market the customer is king.
This one has gone on for much longer than I intended. I'll cover the second trend in my next post. Stay tuned!
This face belongs to my newly-acquired sleep paralysis demon. One night I had a dream that made me annoyed and angry. I don't remember the details, but I remember the emotions I was feeling when I suddenly woke up. Sir, you are sleeping on my chest and stomach. Your chubbiness is compressing my insides, making breathing difficult while limiting my range of movement which I like to enjoy, even when asleep.
That was a couple of weeks ago, so why am I posting this report now? Because since then, I have been waking up to this face at all strange hours of the night as since he's done it once, he feels entitled to do so repeatedly. No more. Your new career has been terrifying and short-lived. You threw up on my carpet and my mattress, so now you are summarily banned from my room. In revenge, he's taken to jump scaring me awake with the Song of his People, loudly lamenting the injustice of revoking his privileges for no good reason. Excuse me, sir?
This news is days late, but I was waiting for a video I could make a link to. Suzuka Nakamoto a.k.a. SU-METAL is Metal Awards' Female Metal Singer of 2024 after winning a year-long ballot by a landslide. The video cites the openness of the Metal community, becoming more inclusive of new, innovative variations within the genre, and how BABYMETAL's blend of heavy metal and idol-pop has opened up to the world a new way to appreciate Metal music. Agree and agree.
SU-METAL has forged an over a decade's long bond with a growing fanbase who really love her and BABYMETAL so much that they care enough to actually vote. Consider that the total number of votes cast for Female Singer at nearly 100,000 is double that for Male Singer at 50,000. Voting matters. When I cast my vote last year, SU already had a commanding lead over her rivals, so I knew that this fanbase was unparalleled among other female-fronted metal bands. Give her more chocolate to keep her (and MOA and MOMO) working hard and happy at making great musical productions for us all!
