Category: Rants

  • A Rant about Comics Part 2 – Grump Week

    Hey, so this post is a bit of a bummer. Maybe read Part 1 first, where I talk about a bunch of cool comics you should read?

    For the better part of a decade, I’ve been trying to figure out why I quietly loathe most American comics. I’ve gone through a variety of theories, ranging from reasonable to something an incel might hear and go, “Hey buddy, maybe tone that one down a bit.” I’m gonna lay them out here, and discuss why I’ve discarded each one over the years, including the most recent theory.

    Things I thought in high school

    Theory #1 – Japan is just better at comics.

    Yes, this was a thing I actually believed at one point. Look, I was probably 14. I don’t think this anymore mostly because, despite how I sound about this sort of stuff, I’m not a weeb. Nationalism doesn’t really explain it.

    Theory #2 – The disconnect between artist and writer results in garbage.

    Another high school theory, but one I still reflect on a fair amount. The comic that made me discard this was Death Note. After all, if Japan could turn out something like that via a writer/artist collab, clearly the problem didn’t arise from artists and writers having separate visions.

    Theory #3 – Endless reboots, weird numbering, and other stuff make it effectively impossible to actually READ a comic.

    It’s at this point I started looking inward, trying to figure out if perhaps the problem wasn’t with the comics themselves, but with my consumption of them. These days if I want to read something, I know where to find it, but prior to me really understanding the internet, if I wanted to read comics, I had to actually go find them.

    Like, physically in the world.

    So, my theory was that it was hard for me to ever finish a run of an American comic, given how meandering they were, as opposed to something straightforward an easy to read like One Piece, where each numbered chapter just went into the next, and that this was the cause of my dislike.

    Unlike the other theories above, I think this one actually WAS true, at least at some point. But it’s not true for me as an adult.

    Theory #4 – While both Japanese manga artists and American comic book creators work in an industry that demands too much work for too little pay, the differing ownership models is a motivating factor in quality.

    So I moved onto just blaming capitalism. It would be nice if this was the real problem… but here’s the thing: I still don’t think it is, mostly because the shit that manga artists put themselves through is not the sort of stuff you do if you “just want the money.” You gotta start by having some sort of passion for art if you’re gonna work 12 hour days for 6 days a week year in, year out, and even then, you can just fail.

    Things I’ve thought as an adult

    Theory #5 – I am an immature child, and cannot appreciate comics made for adults.

    Again, another attempt at turning inwards. “Perhaps,” I thought, “as someone raised primarily on Shonen Jump, I simply lack the maturity to read stories that aren’t intended for 14 year old boys.” Perhaps I’m just not cool enough for shit like Rick & Morty, or Game of Thrones.

    Anyway, I spent part of this weekend reading all of Something Is Killing the Children, and y’know what? Nah. Fuck you. It is not my fault that I don’t like your slaughterhouse bullshit where we have kids and their families getting butchered by shadow monsters.

    Also, I think some of it is also that we have enough awful shit in the real world like Epstein and the protestors killed by ICE that I simply don’t have the tolerance to be pulled by the heartstrings about this fictional shit. We have real organizations that should care more about children than they actually do, and allow evil things to harm them. They’re called the Florida prosecutor’s office.

    And lest you think I sample unfairly: this is the shit that’s winning the Eisner for best writer.

    So no, I don’t think it’s my lack of maturity that’s preventing me from appreciating your fine writing. I think it’s the fact that I’m tired of watching kids being shredded like tissue paper in service of a narrative that doesn’t seem to do very much.

    Theory #6 – Anything I read from Japan is good enough for someone to want to translate/localize it, while the same is not true of American comics.

    This is one I came up with earlier this year, and I was convinced that I had finally figured it out. See, any Japanese manga I read had to be popular enough to be localized, or good enough that some fan group decided to translate it.

    This, then, meant that when I read manga, I am only ever reading the cream of the crop: the finest cultural exports of soft power sampled and sifted before being passed across to me. Whereas for any given American comic I picked up, I was sifting through a pile of detritus that could just as equally be someone’s magnum opus as it could be their way of paying rent that month.

    And then I read a bunch of popular modern American comics like Absolute Batman, and DC KO, and there just wasn’t a single one I didn’t look at and find myself annoyed by.

    Theory #7 – Format differences mean that American comic book artists and writers are working with far fewer pages than Japanese manga creators, and as a result end up creating an accelerated (and poorer) product.

    This is the closest I have to a working theory, though realistically, it’s probably a combo of a few of the above. Something like Absolute Batman is working with 24 pages a month. One Piece (okay not all the time) gets 16 pages a week, meaning they get more than double the physical space to work with (admittedly on shorter deadlines).

    Surely, then, this is the reason that stuff like Jujutsu Kaisen can spend 64 pages (4 WHOLE CHAPTERS!) on a side showdown between a literal joke character and the secondary villain, whereas DC KO can’t even spend a full 10 pages on having Superman fight Darkseid.

    One Other Quick Rant

    There’s a trope in American superhero comics that I saw crop up multiple times in my binge-read over the weekend that makes the comics all feel incredibly hollow these days. I’m going to devote a small portion of this write-up to shit talking it:

    The Truth Will Save the Day!

    In short, the idea that if you can just show everyone a video of the Bad Guys doing The Bad Thing, you have won. And just.

    No.

    No it fucking won’t. It probably hasn’t had the ability to do this since 2016. Maybe earlier.

    It’s not just comic books that do this. Disclosure Day by Spielberg also has a similar ending, and The Expanse does a bunch of times as well.

    It rings hollow in our age of misinformation, and I find it harder to suspend disbelief for this trope than to suspend disbelief for the latex skin-suits and tighty whities.

    This narrative needs to die.

    In Conclusion

    A lot of popular American comics kinda suck ass. There is no magic bullet to save the world. You should read Guts County, Hilda the 13th, Nothing Doing, and Wrestleheist.

    I’m going to go jump in some freezing water, and then play Mina the Hollower.

  • A Rant About Comics (Part 1) – Grump Week

    Grump Week is almost over, but since I’m getting all this frustration and annoyance out of my system, I figured I might as well take one last rant (okay, one of two) that’s kinda been bubbling in my system over the last few days, and smack it out onto paper. Ultimately, it’s about how I just don’t like American comics all that much, but it’ll encompass a little bit more than that.

    First, though, I want to talk about some cool shit I have been reading that I like.

    The Good Stuff

    I offer these to show that I’m not intrinsically biased against American comics. To prove that I’m giving them a fair chance, and that I’m not simply allergic to the medium. Also, because all of these rule, and you should read them.

    Hilda The 13th

    It’s a webcomic about a bunch of witches who do things with computers, with a lightly serialized story, but a strong focus on each individual comic having its own punchline. Feels like something that deserves to be in the papers. If, y’know, papers still existed, and were also okay with characters being queer. Anyway, it’s great, and you should read it.

    You can start from the beginning by clicking here.

    Guts County

    A light narrative comic about Heck, a bone farmer in hell, Chainsaw Wolf, a wolfman with a chainsaw for an arm, and their various friends/frenemies/acquaintances. Definitely NSFW, but mostly because of the punchlines, and not the art. Again, incredibly funny, and you should read it.

    Here, click this link and read it.

    Nothing Doing

    This comic summarizes very accurately how I felt being told me to be enthusiastic about AI at my last job. I got laid off from that job, along a huge chunk of my coworkers, so that the company could spend more money on AI.

    Nothing Doing has its own description, one that I think is perfect so I’m just gonna repost it: It’s a slice of life comic about loving your friends, and hating your job. It is incredibly funny, and again, you should go read it.

    Also, I’m pretty sure that putting the same link in my post multiple times is gonna screw my SEO, but I’d rather write for people instead of robots, so here’s another link to the comic.

    Wrestle Heist

    Imagine all the old wrestlers teamed up to finally give Vince McMahon what he so richly deserves: an ass beating, and stealing all of his stuff. That’s pretty much the premise of Wrestle Heist, in which a bunch of wrestlers forced into retirement decide they want payback, and start doing some Oceans 11 style stuff to get it.

    For the others I’m linking to their webpages. But for this one I’m linking to the place you can buy it, and the author’s store.

    And like. If you wanted to read it for free, you’re smart. You could probably figure out. I’m not saying that’s what I did, but I’m also not-not saying that I have atoned for my sins by purchasing the trades that were available at my local comic book store, and then pre-ordering the full collection. I think there’s a comic word for that second one, but I don’t know it, and I’m afraid that if I tried to find the term, my search engine would tell me to eat rocks.

    Anyway, I’m gonna end part 1 here, because it looks like my WordPress instance is actively dying from there being too much text in the full post. More in part 2.

  • Welcome to the slightly newer and mildly improved version of Gametrodon.

    Welcome to the slightly newer and mildly improved version of Gametrodon.

    Hello there.

    You might be looking at the website today, and wondering if my WordPress installation has finally been compromised by Russian bots.

    Have no fear. This is still the same old Gametrodon you politely tolerate and read occasionally. For better or for worse, I’m not planning to change anything about how I run this blog. Well, mostly nothing.

    Gametrodon has been an interesting project, probably approaching 5 years in length. Like any project, that means it’s been around for some ups and downs in my life. I’ve posted on it with remarkable stability all things considered.

    That said, there’s a ridiculous amount of cleanup that could be done on the site. There are close to 430 posts, and more than 800 images. Most of the posts are lacking in metadata and featured images, and virtually none of the images have alt-text for folks who are visually impaired.

    This layout adjustment is mostly so that I can start changing things up; I’m aware not everyone wants to hear me talk about game events I go to every two weeks. This is a game review site, and I’m sure you’d rather read my thoughts on games, even if they do sound like they’ve come out of the mouth of a slightly concussed sloth.

    The end goal is turn Gametrodon into something a bit more user friendly with a modern theme (I will figure out how to add search bar to mobile) and let folks see all my recent posts, while ignoring stuff they might not be interested in.

    It’s been a weird 5 years. Here’s to another, better, 5.

  • My LGS cancelled weekly Lorcana, and now the game is dead.

    My LGS cancelled weekly Lorcana, and now the game is dead.

    Non-Clickbait Title: Ravensburger has shot itself in the foot repeatedly, and it killed my local Lorcana scene.

    Okay, so that’s a little bit of a lie. My local game store (LGS) did cancel their weekly Lorcana events, but as far as I’m aware, the game isn’t dead. Yet. But the local population of players has cratered.

    I like looking at weird things that happen in TCG’s, and Lorcana has recently given me an interesting little case study in players at my LGS, and how/when the drop-off happened.

    I also think that for the specific population of players I played with, I can trace back the decline to two or three fairly specific events, and that interests me! So let’s talk about it.

    But first…

    Why does it matter that weeklies are cancelled?

    The store I went to for Lorcana ran casual weekly events. These were non-prized, non-competitive freeplay events. You bought in for $7, got a booster pack of your choice, and were entered in a raffle to win some other organized play prizes.

    These events were the lowest possible entry point to get into Lorcana and connect with the local community. If you are brand new to the game, if you’ve never played a card game before, if you didn’t go out to card game events… this was the easiest way to try out the game in the lowest stakes, most chill energy environment available.

    Without these events, the first rung on a ladder of getting into the game has been removed. It won’t stop weirdos like me who show up to sealed events for games they can’t play, but I do think it makes it much more daunting (and expensive!) for almost everyone else.

    I think this is bad, but I think its especially bad for Lorcana. A lot of Lorcana players in our local were Disney fans first, and Lorcana players second. The traditional label for this would probably be “casual” players, but I don’t think that fits here. These were folks who came to every pre-release and bought cards by the booster box. They might have played the game casually, but they didn’t engage with it casually. They were more interested in making decks around their favorite characters than trying to break the meta.

    Anyway, that’s a lot text to say:

    1. Loss of weeklies was bad because it removed the first step in on-boarding for new players or players who wanted to get more involved.
    2. It’s especially bad for Lorcana because it removed the environment where a lot of players could play the sorts of decks they liked to make.
    Cause #1 – Weekly Challenges

    Prior to Lorcana’s set 9 (Fabled) release, Lorcana weeklies had a point a system. Each week, you could show up, earn points for doing a variety of different things, and at the end of the season, the folks with the most points got some special prizes.

    I don’t want to focus on the prizes here, but I do want to look at the challenges. Some of them notably rewarded playing weird decks. So instead of everyone just showing up with their best deck each week, there was an incentive to build out a deck to try to meet that weeks challenges, or to play a multiplayer game.

    In short: there was a reason to keep things fresh.

    (And as a side effect, probably lower the power level of the decks of the players who really wanted to earn points.)

    When Ravensburger got rid of this, it removed both the incentive to show up every week, since prizes were now just raffles at the end, and it also meant that there was no reason to even try to make a new deck every week. Meaning that on a week to week basis, every week started to feel the same.

    Cause #1.5 – Prize Adjustments

    I debated giving this a full sub-section, but I think its comparatively minor. A bit after the weekly scoresheet changes, Ravensburger swapped out their prizes. Previously, I think there had been things like playmats, pins, and cards. Right now, there are only cards and these really underwhelming card boxes.

    How underwhelming? Underwhelming enough that I, the king of taking free stuff, the supreme sovereign of snatching up game-adjacent garbage, paused before accepting one of these things. I mean, I still took it. But I was unenthused.

    I don’t think that this on its own really did too much damage to Lorcana, but I do know that for specific players, this was highly demotivating. It wasn’t a bomb, but it was a surgical removal of another incentive for that set of player to show up and play.

    Cause #2 – Set Rotation

    Different games have different terms for the idea of set rotation, but all of them loosely follow the same idea: at some point in the lifespan of a TCG, older sets of cards removed from the standard play pool in order to make room for new sets of cards. It can be viewed as a necessity in order to prevent the game from becoming stale, or a way to get people to buy new cards.

    Regardless, virtually every card game does it, and Lorcana was no exception; they called it Core Constructed. And after their rotation, Lorcana required that decks at these weekly casual events be in the Core Constructed format.

    I think this was a terrible idea.

    I do think that Lorcana needed rotation from a mechanical standpoint. Set 1, while not committing any of the flaws of say, Alpha Magic, or base set Pokemon, has some flawed designs.

    Honestly, on the grand scale of “Well that was a mistake,” a free Wheel of Fortune still ranks lower than “What if land destruction was free?” or “What if you could take turn 5 on turn 1?”

    So yeah. Rotation made sense from a competitive standpoint, and a design standpoint.

    But I don’t think it made sense for the large subset of the player base who were Disney fans first, and Lorcana fans second. There were a fair number of adults and kids who could no longer play their favorite deck because those cards weren’t reprinted in Fabled, and so… they stopped showing up for weekly casuals.

    Synthesis

    So when my LGS held their final casual Lorcana event, I was the only person who showed up. I sat around for a bit, did some drawing, then went food shopping while the rest of the store was full of folks playing Riftbound.

    The removal of weekly challenges and prizes disincentivized entrenched players from showing up to play, while also making the ones who did show up bring the same deck week after week. Set rotation killed off a lot of casual decks that didn’t need to be killed off, while making folks who’d never played a card game before feel a bit cheated, and question their investment of time, money, and energy in the game.

    So here’s my guess as to what happens next:

    The lack of casual play will remove a critical part of the playerbase pipeline. The events that are still supported will have lower and lower turnout, as it becomes less and less interesting to play with smaller numbers of people.

    End result? No more Lorcana at the local game store.

    Conclusion

    Okay, so I know I called that part above this synthesis, but I think there’s a much more interesting takeaway here: Ravensburger doesn’t understand their playerbase, and treated them like they would Magic: The Gathering players.

    To be fair, I would have made the exact same mistake if I was in their position. No one has to put me in charge of a possible multi-million dollar TCG yet, based off a brand worth billions of dollars, but still.

    There’s an assumption that the final form of the “hardcore” player of a CCG/TCG is out grinding tournaments, tracking their full collection, building copies of and iterating on meta decks, and just generally fully engaging with the game portion of the collectible card experience. I think in the case of Lorcana, some of the meat and potato grinders weren’t doing that. They were collecting, they were buying tons of cards, and they were making fun weekly decks for character they liked.

    These were the ‘hardcore’ players. They attended every prerelease, they had built decks for store championships, they tracked every set. But the game was only a portion of the experience, not the end state. Lorcana had core players, but they looked and behaved differently than they might in another game.

    Or at least, that’s my crackpot theory.

  • LinkedIn is Terrible for Communication

    Since getting laid off, I’ve had the experience of spending more time than I normally would (any) looking at LinkedIn. It has been an interesting experience, because I exist in the middle of two separate bubbles in that space: information technology and business process management on one side, and game development on the other.

    In the IT/BPM space, all public statements are universally enthusiastic about AI. On the flip side, the gaming space consists of folks like Chet Faliszek looking to start fistfights with every single person who declares that AI is the future and now.

    I won’t lie, this second bit brings me great joy. Currently, my BlueSky feed consists of almost entirely of people looking to feed Ryan Dancey’s career into a wood chipper after he suggested you could just replace game designers with LLMs.

    Again, great joy.

    Still, the thing I want to talk about is the first group. The BPM/IT space, and the various posts about how “the future is now, and it is AI.”

    Now, while I’ve said that everyone is posting that AI is the future, you might notice that I never said that everyone is saying or everyone believes that AI is the future. That’s because they don’t. I know at least a fair number of the folks posting about the joys of AI on LinkedIn either don’t care, think it’s bad, or actively loathe it, but because of current market conditions and messaging, they feel they have no choice.

    The problem is that LinkedIn is almost entirely a platform for social signaling, not for actual communication. There are exceptions to this, like Chet. If you have adequate social or monetary capital, you actually can treat it like you would the YouTube comment section, or alternately, post your real opinions.

    But I didn’t write any of Portal, so if I go onto the L’OREAL page, and say that their partnership with NVIDIA for some AI powered makeup is the stupidest thing I’ve ever seen, I’ll never get a callback.

    The incentives aren’t to have open or interesting discussions about business, challenges, or exciting new developments. The incentives are to go along with whatever everyone in upper management currently believes. Even when doing otherwise might be better for everyone.

    Anyway, it’s kind of unfortunate that LinkedIn requires all of us to engage in a large scale version of the emperor’s new clothes.