Introduction

Deep in the Caribbean, the pirate haven of Mêlée Island is home to the deadliest brood of ne'er-do-wells what ever sailed the seven seas: the infamous scurvy seadog Meathook; the buccaneer Sword Master whose name is feared in every corner of the isle; and most horrifically, the spectral ghost pirate LeChuck. Onto these disreputable shores late one night arrives the hapless, clueless, and utterly guileless flooring inspector Guybrush Threepwood, with nothing to his name but the dream of somehow becoming a real pirate himself.

Discover a thrilling world of swordplay, thievery, and, er, treasure huntery in The Secret of Monkey Island. Insult your enemies, fire the cannons, find true love, concoct mysterious voodoo brews, poison guards, evade cannibals, traverse hellish catacombs, raise a pint of grog, and (maybe) discover the Secret for yourself!

The Secret of Monkey Island

Happy December! This month we're playing the legendary 1990 Lucasfilm Games point-and-click adventure from the minds of Ron Gilbert, Tim Schafer and Dave Grossman.

You see, one of my favorite rides in Disneyland is Pirates of the Caribbean. You get on a little boat and it takes you through a pirate adventure… Your boat keeps you moving through the adventure, but I’ve always wished I could get off and wander around, learn more about the characters, and find a way onto those pirate ships.

• Ron Gilbert, from the Lucasfilm Adventurer, Fall 1990

I was sorting through some boxes today and I came across my copy of Tim Power's On Stranger Tides, which I read in the late 80's and was the inspiration for Monkey Island. Some people believe the inspiration for Monkey Island came from the Pirates of the Caribbean ride — probably because I said it several times during interviews — but that was really just for the ambiance. If you read this book you can really see where Guybrush and LeChuck were plagiarized derived from, plus the heavy influence of voodoo in the game.

• Ron Gilbert, from Grumpy Gamer, 2004

The Secret of Monkey Island is renowned for its zany humor, great (and mostly fair) puzzle design, gorgeous pixel graphics, and memorable soundtrack. Unlike other adventure games of the era, SMI invites you to try anything and everything without worry — you can't die. It's chock full of goofy swashbuckling anachronisms and hilarious good times. Maybe a little frustration too. Hey, you can just look up the answers when you get stuck. We couldn't do that in the '90s. Respect the grind.

The game originally released for DOS, Amiga, Macintosh, Atari ST, FM Towns, and Sega CD. Those versions are no longer available for purchase in the usual places (you might try eBay but save up your pieces o' eight if you go that route). All the original versions are playable in ScummVM if you lack the necessary hardware. If you find yourself needing access to a Dial-A-Pirate wheel, the original has been helpfully digitized here for your convenience.

Different releases of the original game have different audio and graphics. Some people have opinions about which version is best. These are all valid. I prefer the version I grew up with, but no shade on the others. They all have their own charms.

The Secret of Monkey Island: Special Edition is a 2009 remaster that is the official recommended way to play today. It includes fully recreated high-resolution graphics, music, and voiced dialogue, with a modernized UI. It includes a quick toggle between classic and remastered modes, which is a nice touch. The Windows version is currently on sale for 50% off from GOG (DRM-free), and also available from Steam. It is reportedly playable on Steam Deck.

From what I can tell the Special Editions of SMI and its first sequel were also sold as a bundle for Xbox 360, PlayStation 3, and iOS. I can't speak to the current availability of any of those but they're probably all terrible ways to experience it anyway.

Limited Run Games has also issued a few re-releases of the original game in recent years. I don't know much about these, and good luck finding them for sale anywhere.

Genres: Adventure, Point-and-Click

Links: MobyGames, Wikipedia

Game Setup

The main purpose of this topic is to get people up and running with the game. As such, it's recommended that you:

• Share which version of the game you're playing
• Share what hardware you're playing it on
• Share if there are any tools/mods that you recommend
• Share anything you think is important for people to know before they start the game
• Ask questions if you need help

Another purpose of this topic is to revisit the game and its time period:

• Do you have any memories or associations with this game itself?
• What about its system or era?
• What aspects of retro gaming were common at the time?
• What other games from the same time period are you familiar with?
• What are you expecting from this game in particular?

Finally, this topic is the beginning discussion for people starting to play it:

• Post updates sharing your thoughts as you play.
• Ask for help if you get stuck.
• Offer help to others.

It is recommended that you reply to your own posts if you are making consecutive updates so that they are in the same thread.

IMPORTANT: Any links to the game should be legal distributions of the game only. Please do NOT link to any unauthorized copies.

IMPORTANT: Put any spoilers in a dropdown block. Copy/paste the block below if needed.

<details>
<summary>Spoilers</summary>

Spoiler text goes here.
</details>

FAQ

Closing Thoughts

How appropriate, you fight like a cow.

Schedule

There was a three-way tie for 5th, so instead of scheduling the next 6 months, I scheduled 7. Bonus month!

@CannibalisticApple will be hosting her nomination, The Last Express, for our first month. If you're interested in hosting a month, see the Hosting section below.

Also, I selfishly scheduled PlayStation WHAT? during the Backlog Burner so I can use those games in my Bingo Card. :D

For the rest, I tried to create variety in the schedule so that we weren't playing the same systems or genres back-to-back.

Discussion Topics

Each month will have two discussion topics:

• "Insert Cartridge" - 1st of the month
• "Remove Cartridge" - 20th of the month

Insert Cartridge topics are primarily for getting the game set up and running. Remove Cartridge topics are primarily for reflecting on the game once you've played it. However, the game itself and anything else related to it can be discussed in either one.

Hosting

Each month, the discussion topics will be posted by a different "host" who will act as the emcee for that month.

Hosting is not required, but it is encouraged that people host months for games that they are either already very familiar with or that they are strongly interested in playing.

People who nominated a game will be given preference for hosting, otherwise it will be given to whomever claims it first.

If you would like to host a month, let me know which one and I will add you to the schedule.

Before your month begins, I will send you a "Hosting Package" featuring templates that you can edit to your liking.

If no one claims a month, I will host it as a fallback.

Voting Results

The top 6 games from the voting round were chosen to be played.

Of the remaining games:

• The top 50% will advance to the next round. They will start the next round with a base score of 70% of their vote totals.
• The bottom 50% will be removed from the list.

Removed games will be able to be re-nominated in future rounds if someone chooses to do so.

IMPORTANT

We now have a splash screen. (Thanks @Boojum!)

ALSO IMPORTANT

Please read all directions for submitting a proper ballot.

Any improper ballots will NOT be counted, but you will get a polite message from me before the count asking you to fix them. XD

• All ballots must be top-level comments.
• All top-level comments should be ballots ONLY.

I will be using the Collapse Replies button to tally votes, so any ballots not in top-level comments will not be counted.

After you submit your ballot, you can respond to your own post in a new comment to lobby for your choices (which is optional but highly recommended). It's completely fine to have conversations downthread from the ballots, but please make sure that the top-level remains clean.

Submitting Your Ballot

• Each person has 20 votes to distribute among games they see fit.

• Each person can allocate a maximum of 5 points per Single Game/Arcade Special.

• Arcade Specials count as one block (do not vote for each game in them individually).

• Votes should be listed as NAME (VOTES) -- e.g. Pong (3)

• Voting closes 48 hours from the posting of this topic.

Please ensure your titles match mine exactly (copy/paste highly recommended). I will be using CTRL+F to tally votes u/Spore_Prince has written a program to tally the votes, so any different spellings will not being counted. See examples below, as well as my actual ballot in the topic.

Big Rigs: Over the Road Racing (5)
Portal 3 (5)
Half-Life 3 (3)
Team Fortress 3 (2)
Night Trap (2)
Xexyz (1)
Zelda: The Wand of Gamelon (1)
Left 4 Dead 3 (1)

Big Rigs: Over the Road Racing (10)
Protal 3 (7)
Wand of Gamelon (5)

Voting Outcomes

• The top 6 games/Arcade Specials will become the next 6 months of CGA.
• Of the remaining games, the bottom 50% will be cut from the list.
• The remaining 50% will stay on the list and will enter the next voting round starting at their current point totals instead of 0.
• The next round of nominations will happen in 6 months, and participants will be limited to nominating 1 new game OR 1 new Arcade Special.

Nominees

Arcade Specials

This is a long mind dump of my history with D&D, my love of it, etc.

tl;dr - I love D&D. I liked DMing briefly. My group broke apart. I miss D&D.

Around 6 or 7 years ago a friend invited me to play D&D for the first time. I met a bunch of new people through this group and while a lot of people came and went throughout our two campaigns, there was always a core group of 3 of us that were always present.

At first it was very nerve-wracking. Not only because I was still learning the mechanic, but also because there's a certain amount of performance and vulnerability in getting into your character. While at home I'm always dropping into silly voices to make my wife laugh and I've gotten pretty good at doing various accents, cartoony voices, etc., at the table I couldn't do any of it. I had stage fright in front of a group of very accepting and kind friends. And it took me a few sessions (and beers) to push through it and be my authentic, goofy self in-person like that. In a way, it helped me grow as a person.

Eventually our DM moved far away and a bunch of players were left without anyone to lead our games, so we just didn't play for about a year. During that year I began thinking about DMing. My grasp of D&D's mechanics have never been great, but in that year Baldur's Gate 3 came out. And I hear some of you groaning because I know it's not a 1:1 match with 5e's rules. But it helped fill my knowledge gaps enough that I felt sorta okay DMing. So I offered to DM.

My first session was a premade campaign from the Starter Kit. Almost immediately I wanted to tweak the story, insert old characters of mine, throw in a few references my friends might get, stuff like that. I think we made it like 2 sessions in before I announced I'd be making my own damn campaign (with the group's support, mind you). But again, between my friends support and pushing myself, I was able to tackle some of my social anxiety because the challenges of running the entire game are completely different from the challenges of being a player.

I dove head-first into this new campaign. I wanted to do this massive campaign as a love song to puppetry because I grew up around my parents running a puppet ministry at church. So between that and Sesame Street, The Muppets, Lambchop, etc. I have this deep love of puppetry as an art form. And somewhere along the way, someone suggested a pirate theme, so I combined them. Thus I began working on a Muppet Treasure Island inspired D&D campaign.

I don't think I realized my capacity for creativity until I began working on this campaign. I never thought of myself as someone who needed a creative outlet, but holy shit was creating the D&D campaign a wonderful outlet for my creativity. I spent hours during and after work just writing and making maps. It was so fulfilling, even though the story itself was, in retrospect, kind of all over the damn place. Yet again, D&D helped me grow a little bit as a person. It gave me a creative outlet. It gave me fulfillment that I was critically lacking at work.

And then we started running the campaign. Session 0 was via Zoom and we all got excited about it. Session 1 was a pretty standard "you wake up as felt creatures on a mysterious beach and are quickly taken prisoner by King Friday, but let loose by his royal advisor X The Owl to help him solve a global problem because reasons" plot. But it was fun and I felt so alive.

Then session 2 one of the players had to bail...and I was not going to let that prevent the session from happening, so we just worked around it. Then by the time I was scheduling session 3 that player bailed completely. Session 4 was a bit messy/rushed on my part...and then everything just started to fall apart. Weeks went by, then months, now it's been nearly 2 years I think? We never even got off the starting island...all the story I wrote...all the maps I'd created...just completely unused. And it was soul-crushing. I felt like I'd wasted my time. I felt stupid for having put so much effort into something that fell apart so quickly.

But that was a bad attitude on my part, in retrospect. It wasn't a waste. I enjoyed every second of it. It was fulfilling. It was fun. So I'm thinking about returning to it and just fleshing out the rest of the campaign a bit more. I'm hoping to watch a lot of Dimension 20 in the coming weeks to get me back in the mood and take what I learn from it and just get back into D&D. Honestly I don't know that I want to DM again because I think that core group is done for when it comes to D&D. And it's hard to imagine finding another group I feel that comfortable with, but maybe? I think it's okay to just worldbuild for worldbuilding's sake, ya know?

But I do miss playing. I miss being in-character. I miss coming up with silly backstories and goofy premises for a character. I miss talking in funny voices for other adults (my kids get the bulk of it, these days). I miss making people laugh and contributing to them having a good time. And D&D was a perfect outlet for all of that. One of these days I'm going to find the motivation and courage to just find a group of strangers to join and try to quiet the social anxiety enough to enjoy it.

I've been writing, editing and designing a book in my spare time for the last four years. After a pro edit, I finally got it to the point that I was comfortable sending it out to a few people in my field for some feedback.

Meanwhile I've been reading up on self publishing and now I'm realizing how hard it is to stay in control of your work.

There are many warnings about scammers. As soon as you self publish on any of the common sites like Amazon or Ingram Spark, you will be contacted by "publishers" and "advertising experts" and "promoters" who all have an interest in trying to make a buck off you. Mostly they want to gain control of your work for their own benefit and some will post it for free even if you have it advertised at a low price elsewhere, just to gain traffic and views.

Getting your work pirated is almost a given for digital books. And how in the world do you stop THAT from happening when a PDF or ePUB file is super easy to copy and send in a second?

If that's not the greatest insult, with the help of AI, someone can easily copy your book and use AI to rewrite in a different voice or style and republish it as their own. The chances of proving that it was originally your work then become next to impossible. If it's completely rewritten is it still your work? How do you prove it?

I've done the best I can - copyright registered the book, applied for an ISBN number and have a watermark on the pre release copy. But it still feels pretty vulnerable.

I had never thought of these issues before I had something worth publishing but I suppose the same issues apply to just about any digital work - music, art, software. Trying to maintain control of your work in a digital age can easily be a game of Whack-A-Mole even if you want to spend your savings on lawyers and cease and desist letters and take down requests.

This post will talk about piracy. I won't provide any links or direct instructions. That said, if a mod or admin thinks there is something inappropriate about talking about that stuff, feel free to mention this in the comments and I will remove any inappropriate details as soon as I can.

Like many Latin Americans, I am a long-term pirate. I have pirated stuff with floppy disks, with CD-ROMs, through IRC, FTP, Kazaa, Napster, Soulseek, websites, and torrent. I have also purchased several illegal media from street vendors. The whole idea of traditional piracy is to get the files I want for me to own, which is why I made a Plex server for myself.

Stremio is a challenge to all of this. It is much easier to setup than Plex and basically requires no maintenance. It is a program that allows me to stream video content from a variety of sources, legal or illegal. It took less than 30 minutes to set it up on my computer, and I know that it exists for both of my TVs. I am using it with the Torrentio addon.

Stremio changed my viewing habits much in the same way paid streaming services did. I am more spontaneous in my choices. I have watched Doctor Who from 2005, ER, Tiny Toons Adventures, Animaniacs, The Twighlight Zone (original), The Magicians, Blackadder, and Falling Skies (alien TV show with Noah Wyle!). Playback sometimes takes a little while to start, but went it does it rarely stutters, even on old or less popular shows. A paid debrid service should improve on that. I am now considering removing most of our extremely expensive paid streaming services and replacing them with Stremio. Money is tight and, when added up, they make quite a dent on our budget!

One bad thing about Stremio is that it is basically a leech. It does not seed the torrents. I am considering getting Real Debrid as it seemingly reduces the strain on torrents via caching.

Right now, my only concern with changing everything to Stremio is that my wife will probably dislike choosing between multiple sources for an episode, and some episodes come with bad subtitles. That would require minimal effort to solve, but might still be too much for her.

Anyway, I am very impressed by Stremio. It is so good, in fact, that I am half-jokingly worried about the police knocking on my door.

Just kidding, that doesn't happen around here.

TLDR/BLUF: Kindly share your niche, off-the-beaten-path, quality blogs/articles/informational resources, books, quotes, etc. in any niche you are fanatical about.

Okay, here goes…
Hello Tildonians, Tildites, etc.

I have created this post in the hopes that, like me, a lot of you are tired of being thrashed about intellectually by the whims of an engagement-driven, algorithm-based feed. One that, may I add, is actively being wielded to dumb us down into herds of cattle so we may be more susceptible to influence (this is real, by the way)

I would like to propose a shared exchange of information that each of us has found that we feel is incredibly valuable (and perhaps a small explanation behind why we find it valuable). This may not be helpful to anyone else here (unless they are eager to share some new resource they have found, or they operate like I do and live in a constant state of near-fervent hunger for information), but I'd like to at least make an attempt.

So what am I looking for here?

Blogs

The Niche-r the content, the better. Do I really need to know about the eating habits of past queens? no, but I am an information-glutton and I will have my fill by life's-end.

Non-Prioritized content. Not everyone has a want or need to engage SEO keywords, or get their website put on google. I know that I don't. I want an unobstructed peak behind the curtain into someone mastering their craft, or annotating their life's experiences; without the metaphorical clanging of pots, "here I am here I am!" that comes with someone living for the clicks.

Kindly, No Self-Promotion. I am sure that your blog is good, just as I'm sure my own blog is good. /fib (after the comma). I just get enough of an indivual's own self in the comments here. I don't want it. I treasure your thoughts as they exist here, in this space.

(I have no qualms with Web 2.0 designs or content/navigation, as long as it doesn't fry my optical nerves upon loading)

Books

I want the most intimate of book recommendations. I want the books you are scared of recommending to your friends because if they insult them or don't like them, you will be personally upset.

Additionally, I want the crème de la crème of books for each genre, and even some staples. (Genre is loose, category would be better, but you get it. If you want to share exclusively Russian Classic authors like Dostoevsky, Tolstoy, Pushkin, and Chekov, please be my guest.)

-Don't give me a recommendation you heard from a friend who heard about a book from Booktok, especially if you haven't read it. I have a lifetime of problematic relationship and age-gap books that will not leave my gray matter no matter how much Steinbeck or Wegner I try to push it out with. I also don't want a book that someone pulls up a "Top 100 books to read" list just to find, and pick arbitrarily.

Articles/Quotes/Shower Thoughts/Etc.

I want something that has been personally digested by the recommender for some time. Like, don't give me an apocryphal Ghandi quote and some ChatGPT thoughts on it. Maybe you watched Pirates of the Caribbean with your Dad or your first girlfriend, and some quote stuck woth you and crystallized that moment forever, maybe you watched a lot of westerns recently and the bad guy said something that still relates to modern conversation. I want the good-good.

As always: delete if not allowed, move me wherever, lots of love, etc.

(I'll comment my own examples as well so I can be critiqued as well)

I recently switched over my reading platform from Kobo to BookFusion. BookFusion lets you upload your own ebook files and sync them between devices, so I spent a lot of time de-DRMing my Kobo library and porting it over, as well as adding in some old de-DRMed books from my old Kindle.

For "traditional" titles I plan on still buying them on Kobo and then just stripping the DRM and transferring them over, but I also know there's an entire internet out there full of non-traditional publishing:

• Authors who sell their ebooks directly to consumers (e.g. Cory Doctorow)
• Publishers who sell ebooks directly to consumers (e.g. Boss Fight Books, Topatoco)
• Ebook bundle sites (e.g. StoryBundle)
• Public domain works (e.g. Project Gutenberg, Standard Ebooks)
• Assorted other stuff that doesn't really fit a simple category (e.g. this Planescape: Torment novelization)

I'm interested in adding some of these to my library, given that it feels like the "spirit" of BookFusion is to bring your own organic grassfed files, rather than glom them off of a DRMed service like I have been doing.

The hard part is that discoverability for stuff like this is really tough, since they're sort of just scattered across the internet. Furthermore, when I do tend to find stuff, I tend to find entire catalogs rather than individual titles. It's hard to know what's worth diving into from entire collections. That's why I'm hoping people can help me out by pointing me in the direction of specific stuff that they've loved!

With regards to recommendations, I want to leave the topic open to anything and everything. I don't want to limit this topic to just my tastes, in case other people find it useful.

If people do want to tailor some recommendations to me though, I tend to love sci-fi, nonfiction, LGBTQ stuff, videogame-related books, and comics/graphic novels (but only if the series are completed).

Important note: I am NOT looking for pirated books. I'm happy to pay for books I'm interested in, especially if they're supporting independent authors/publishers or online hobbyists.

Meta: This is a new post series I'm trying out. I've planned a trial run for three months to see if it catches on. If it does, I'll continue it. If not, I'll phase it out.

Tildes Gaming Club is a space to play and discuss games that fit a loosely defined theme. I see it like a Book Club, or similar to our current Album of the Week and Movie of the Week series. Instead of everyone focusing everyone on the same game, however, we're all focused on the same core theme, and we independently choose a game (or games) that fit the theme. I'll also be posting the topics monthly instead of weekly, especially because many games take much longer to appreciate than a movie or an album.

To participate, play at least one game that fits the monthly theme, and talk about it here. You can make one post summarizing your game(s), or you can make multiple posts as you make your way through the game(s).

This month's theme is: Tinkering

In the future, I plan to simply give the theme with no additional clarification, because I like the idea of people interpreting it as they wish, but I feel like giving some examples for the first go-around might help people better understand what I'm trying to get at:

You might choose to play:

• a game in which one of the characters is a mechanic
• a game that lets you build things and take them apart
• a game in which you have to fiddle with the graphics settings to get it to run
• a game that you've modded
• a DOOM WAD you have to set up yourself
• a Windows game on Linux that doesn't "just run" through Proton/Wine
• a game that has "tinker" somewhere in the title
• a game you pirated back on your Dreamcast that you had to burn six different times with different settings before it would actually boot
• and so on...

"Tinkering" is an open-ended theme, not a closed task. Anything that you can personally fit underneath it counts, even if it's an absurd interpretation! Part of the fun is figuring out how the theme can work best for you.

My goals for this are the following:

1. I'm hoping this can be a fun way of choosing something to play.
2. I'm hoping this can bring a group/community aspect to people independently enjoying their hobby.
3. I'm hoping this can yield some interesting discussions about different themes.

What do you guys do to really listen to music in a mindful manner?

I don't do streaming, but I have a really big collection of albums in digital format, but the way I listen to music is to just shuffle everything and listen while doing other things.

I was contemplating entering the vinyl hobby, but living in Brazil this gets extremely expensive just to start. This would allow me to bring back the "ritualistic" aspect of listening to music and have good equipment to focus on what's being played.

I guess I could just force myself to not pirate music and buy an album a month on bandcamp. That would at least assure that I have good quality flac files instead of trusting random people on soulseek, but in the end it would probably end up in the shuffle pile.

Do you guys do something to try to be mindful of the music you are listening?

I know one of the things I'm going to miss the most at /r/baseball is the trade deadline discussions/trackers, so I figured I'd start one here. I probably won't be able to keep this up-to-date all the time, especially on deadline day, but I'll do my best. Please throw new rumors, discussion articles or transactions I've missed into the comments and I'll update the main post as I can.

July 31

August 1

Rumors and Discussions

July 31

https://en.wikipedia.org/wiki/2023_FIFA_Women's_World_Cup

starts this Thursday, July 20th, and runs for the next month.

here is a schedule that will automatically convert match times to your local timezone:

https://www.espn.com/soccer/schedule/_/date/20230720/league/fifa.wwc

I'd be interested in hearing from anyone who lives in Australia or NZ. what have the preparations been like? are you planning on attending any matches?

or, anyone who is travelling from other countries to attend - what has your experience been like?

I'll be watching on YouTube TV. it's one of the more expensive streaming options (currently 73 USD/mo) but I've used it for men's and women's world cups since 2018 (as well as several years of live & time-shifted American football). they've had one glitch in all that time, during a 2018 semi-final match, but otherwise it's been damn near perfect. I'd definitely recommend it if you can afford it.

please limit discussion of other streaming options to legal ones only - linking to pirate streams could get Tildes and Deimos into copyright trouble.

like probably a lot of people, I'll be time-shifting matches because I'm on the US west coast and many will be inconveniently timed (but you better believe I'll be awake at 3am on Sunday Aug 20th for the final)

to avoid spoiling matches for people who haven't seen them yet, please use <details> tags:

<details>
<summary>spoilers for Foo vs Bar match</summary>

wow I can't believe so-and-so scored 15 goals

</details>

turns into:

What are your thoughts on romance in RPGs? I'm using the word "romance" here because it's usually what the topic is called. But I think it's too specific and has unwanted connotations with cheeziness. I would prefer the term "attraction", which can also refer to more challenging relationships that might not include sex or even happy endings.

The recent news that Starfield will only feature 4 romance options has fans debating, and before Starfield it was Cyberpunk, Mass Effect, Dragon Age, Skyrim, etc. Each of these games took a slightly different approach to romance and each had their fans and critics. On the one hand, the Witcher 3 had a defined player-character and very few romance options, but the writing was excellent and the romances fairly believable. And then there was Skyrim, where you created your own character and had lots of romance options, but all you needed to do was a fetch quest for your belle/beau and then give them a necklace before living a happily married life of fighting bandits, adopting children and saying the same things to each other ad nauseam every day for eternity. But even Skyrim's romance had a certain charm to it. At least you got to live with your partner, build a house, have a family and go hunting together...

I fully understand the viewpoint that gamers would rather have fewer options if they are deep than more numerous janky options. We're yet to see what Starfield's execution will be like, but even if they have done a good job with it, I can't help feeling a little disappointed that there are so few options in such a massive game. I fully understand how difficult it would be to have more options and still make the romances compelling, but I think this should be strived for, rather than just given up as too hard.

Of all the big entertainment media (movies, TV, books, etc.), games are understandably way behind when it comes to romance. It's either rarely implemented or implemented poorly because technically it is very difficult. Yet it's often a major part of storytelling and virtually omnipresent in other media. Sometimes it's the main story; other times it's a side story within the main one. But it's quite rare for it never to feature at all in mass entertainment media. Of course, it's often shoehorned in because it's what the viewers/readers want and expect, but you can also argue that attraction to someone else is just a fundamental human emotion and maybe even unavoidable, especially in an epic or heroic scenario like an RPG. I'm sure someone with professional experience in this field could probably speak more to this point, but I'm thinking here of those intense emotional feelings you get from stressful situations, which could lead to crushes and attraction for those in the same situation, or to rescuers and caregivers (Nightingale syndrome), or even to abductors (Stockholm syndrome) and the opposite (Lima syndrome).

And the fact that it's a fundamental human trait that plays such a major role in our lives (for better or worse) is why I think gaming companies should not ignore romance and should strive to create truly compelling attraction stories. It's an area ripe for innovation and could really make a game stand out from the rest. It's time to move on from the stereotype that gaming is for teenage boys and all they want is to shoot things and maybe have sex with big-titted avatars. Gaming is now for everyone, for all ages and for all sexualities (including asexuals), and I'm sure there's a market for mature stories to reflect what drives many people's decisions and behaviours.

The RPG genre in particular seems to be the best fit for romance (outside of dating sims, which I know nothing about). The beauty of role-playing is that you get to be who you want to be, which includes exploring attraction and your sexuality. It's incredibly challenging and maybe even impossible to create a game that would please everyone, but I certainly don't think the idea of compelling attraction gameplay should be given up because previous attempts have felt so inauthentic.

Going back to Starfield, I'm really excited to go out exploring the stars, fighting space pirates, upgrading my ship, and acquiring cool abilities. I love all these things about RPGs. But I'm also a sucker for a great story and experiencing a genuine human journey. For me, this includes relationships, both platonic and sexual, because it would be unavoidable when spending so much time with people on my ship, and exploring the galaxy. The importance of attraction in games will vary between gamers, but as other mass entertainment media has shown us, it's massively popular when done well, probably because it speaks to something so fundamental within us as humans.

These are just some of my musings and ramblings. What are your thoughts?

• Is it a waste of dev time and resources because it's too hard to do well?
• Is it an aspect you particularly enjoy or hate in RPGs?
• Which game did it best?
• What would you like to see in RPGs of the future with AI possibly being used?

I've been GMing games for years and over the last few transitioned to Online VTT, first Cypher System, then PF2e. My first online campaign was a little off the wall, magic versus technology, barbarian party learning that guns and space battles were a thing, aliens and robotic overloads.

What's more my party tended to blow up stuff and wreck most maps in one session, so in the end I got into making maps or desperately looking for maps everywhere I could.

So, I thought maybe people could use some of what I've found in their own searches (disclaimer, I don't sell any of my maps, free to all, and I have no connection with any of the pay-for ones, but I've subscribed to most of them at one time or another!)

Map Tools

The idea in VTT RPG is to make a map image and import that into your game tool (Such as Roll20 or Foundry) then overlay tiles, tokens, walls etc onto it. The single map image is most, if not all of what you need.

Map styles

There are a couple of popular styles if you are picky about that sort of thing, though mostly important if you want to make your own maps and are looking for asset packs.

The asset styles you find seem to fall in roughly two forms:

• Dungeondraft default style. Flat. Line art, less detail
• Forgotten Adventures (short form FA) Still hand drawn (not rendered) but more detailed computer art style

Some people prefer the first style due to simplicity, others like the second but some may find it more gamey.

There is also the "rendered" style that Dungeon Alchemist uses, but that's REALLY gamey to my eyes. I believe there are third party libraries for it but never really looked.

Lastly, there is the unique art style of hard drawn art that lots of artist draw their battle maps in.

When I chose a style I went Forgotten Adventures. You can't really mix the two main ones when making your own map, looks horrible. I also found that of the various styles, FA could be matched with many hand drawn styles.

Maps

Ok the meat, and what I meant to post before I got side tracked!

Note most of the sites I am posting above can be used offline on a table top game by just printing the maps out, though I've never tried this.

My own maps tend heavily towards space and the magic/tech mix due to the campaign. They are in the Forgotten Adventures style. Free to use, including the ones on my Patreon (DON'T SUBSCRIBE TO IT! I started working on making more maps but then got too involved in GMing the game and ran out of time)

• My main free library ~35 maps, space, ground, some bunkers and others. All in WEBP for faster loading
• My Patreon, no subscribe! Only take! Only a few maps and then the campaign finished, space ships mostly and then it gets weird if you go back further and find it was a MMORPG Kit tutorial Patreon :/

Other peoples maps amazing I've found!

Science Fiction or Modern

Fantasy

Speciality environments

Phased Battle Maps

Asset Libraries

Tokens

Animations

There is more than this of course, but I just wanted to put down what I'd found. Hope it helps someone!

I don't know if my question makes any sense, and it's okay to say "No, sorry, it doesn't work like that".

I have a (pirated) dictionary that has the words and definitions in an sqlite3 database format.

I want to convert this into something that can be used by either Fora, GoldenDict, or StarDict.

Fora can use StarDict, DSL, XDXF, Dictd, and TSV/Plain dictionaries

GoldenDict can use Babylon .BGL, StarDict .ifo/.dict./.idx/.syn, Dictd .index/.dict(.dz), and ABBYY Lingvo .dsl source files.

I've found lots of software that goes the other way - it'll take a dictionary and dump it into an sqlite database. But it doesn't go the otherway.

Is what I'm asking for coherent, does it make any sense?

(I'd prefer Windows, or FreeBSD, but at this point I'd install Linux to get it done).

Several users expressed interest in reading Roadside Picnic after I recommended it in another (now deleted) topic about the movie it inspired, Stalker by Andrei Tarkovsky, which in turn inspired the S.T.A.L.K.E.R. videogame series. So I thought this would be the ideal opportunity to create a Pop-up Book Club event about it to encourage others to join us in reading it, so that we can all discuss it afterwards.

My description of the book from a previous comment that enticed the others to read it:

The basic premise was really unique and interesting, too. Without giving too much away, it's a story of Alien "invasion" only when the Aliens visited Earth, instead of doing any of the standard scifi trope stuff, the event was basically like that of a Roadside Picnic to them. That is to say, they showed up, barely noticed the humans who were tantamount to ants to them, did whatever Alien travelers with incomprehensibly advanced technology do when taking a quick pitstop on another world, and left a bunch of trash behind when they left. The story is about "stalkers" that venture into the exceptionally dangerous wasteland left behind by the Aliens in order to recover their trash (also usually exceptionally dangerous, but also exceptionally powerful) in order to sell it on the black market.

IMO, it's a very good classic scifi novel, and also a relatively short one too (only 224 pages) which makes it ideal summer reading, and ideal for this sort of thing since it’s not a huge commitment. I think this could be fun, so if you feel like joining in, please feel free to. I will also be rereading the book to refresh my memory of it, and roughly a month from now I will make a follow-up topic so we can have the discussion.

The book is available on paperback at Amazon for $15, or on Kindle for $10, but your own local retailer or library might also have a copy. The Strugatsky brothers are both long dead though, so you can always pirate it relatively guilt free if you can't find it elsewhere.

p.s. If there is a decent level of interest, and this goes well, maybe we can even make this a regular thing. :)

Edit: For all the latecomers, don't worry if you don't read the book in time for the Discussion topic. You can always join in once you finish. Tildes Activity sort, and "Collapse old comments" feature should keep the topic going for as long as people are still replying.

Let me know if you're interested by leaving a comment and I will ping you when the Discussion topic gets posted.

With Top Gun: Maverick opening up to over 150 million for the four day weekend. I thought it would be nice to revisit the sudden shut-down of theaters and their road to recovery.

2020 movie theaters everywhere shut down. The only major Hollywood film to get a theatrical exclusive run was Tenet. Tenet ended up grossing 362 million dollars. What was seen as a disappointing gross at the time ended up being aspirational as theaters started to open up.

The only films that opened throughout 2020 were small genre and art-house films that would end up on PVOD sooner rather than later. Things like The War With Grandpa, Unhinged, and Freaky. December we got the release of a couple of awards films like Promising Young Woman and News of the World. Their grosses were small and largely insignificant. Mostly coming from a few states were theaters were opened at reduced capacity and Drive-Ins that stayed open throughout the winter to try to give people something to do before the roll-out of the vaccine.

While Disney sent Soul to Disney+, Warner Bros decided that they would release Wonder Woman 1984 on Christmas Day simultaneously in theaters and on HBOMax. Wonder Woman grossed a respectable 166 million world wide. That’s all we could expect at the time, especially for a film that wasn’t well received by either critics or audiences. Although it still grossed less than Tenet and The Croods 2 domestically.

And then, the big news happened. Warner Bros said that they would be releasing all of their 2021 films day-and-date with HBOMAX. While a big reason for this was due to the pandemic, the likelier reason this decision was made was in order to build up HBOMax. The launch of HBOMAX, which happened at the start of the pandemic, was an utter disaster. Confusion with HBOGo’s subscription, along with a variety of other factors, led to MAX not getting enough subscribers. So the day-and-date strategy was put into effect to boost subscription numbers (this plan indeed worked, although they were met with immediate backlash from filmmakers).

I won’t go over every film that released in 2021. More or less just the important ones.

January and February 2021: Wasteland

The only major movies that released in these months were awards contenders The Little Things, Judas and the Black Messiah, Nomadland and children’s film Tom and Jerry. The Little Things, Judas and the Black Messiah, and Tom and Jerry were all Warner Bros. films which means they also released on HBOMAX (which is how I watched all of them). This was an interesting period where theaters were actually grateful for the day-and-date release of these films. Vaccine rollouts were still low and restrictions were still in place. Warner Bros. releasing these films in this way meant that theaters were at least getting something that they could play. The films made some money, the highest grossing being Tom and Jerry, but nothing anywhere near we could consider normal.

March and April 2021: Uptick

In March Disney released Raya and the Last Dragon in theaters and on “Disney Premiere Access.” Unlike with WB you would both need a subscription to Disney+ and also pay an additional thirty dollars to watch the film at home. The film made a decent amount of money. In April, Mortal Kombat released, also making a decent amount at the box office.

But the true star of both of these months was Godzilla vs Kong.

At 32 milion, Godzilla vs Kong became the largest opening weekend of the pandemic era, beating Tenet’s 20 million. It beat all expectations. Despite being available to anyone with an HBOMAX subscription, people decided that this was the type of film you need to see in a theater. They wanted to see a big gorilla and a big lizard fight each other on the big screen. And while it wasn’t the first movie of the pandemic to gross 100 million at the domestic box office, it crawled its way to the finish line.

May 2021: A Quiet Place Part II

Exactly a year ago, A Quiet Place Part II opened. What was originally meant to premiere March 2020 ended up premiering Memorial Day weekend 2021. As a theatrical exclusive the sequel toppled Godzilla vs Kong’s opening weekend record to open at 47 million. Releasing in far better conditions than any movie had opened prior (this is actually the first time theaters in my state re-opened), it became the first film of the pandemic to cross 100 million domestic. Although it ended up grossing less than it’s predecessor (in normal times it would have out-grossed it), this became a watershed moment for the box office. Godzilla vs Kong gave them hope, but A Quiet Place proved that theaters were on their way to recovery.

Cruella also released on this weekend, having a Premiere Access release just like Raya, it ended up opening to 21 million and grossed 89 million. With how warmly received it was by audiences it’s fair to say it would have had a shot at making Maleficent numbers (700M WW).

Everything was on the rise at this point.

June - August 2021: Rocky Road

In The Heights. Poised Oscar contender, great critical acclaim, and seemingly great audience scores. It was supposed to be a star-making blockbuster. And it could have been, had the pandemic not happened. But the box office tells another story. Initial projections had In The Heights opening at over 20 million. Fantastic for a non-franchise film with no stars, and for a day-and-date film. But as the weekend went on those projections lowered... and lowered... and lowered. Until it opened at 11 million. The musical ended up grossing 29 million domestic. The disappointment of In The Heights told a story here, one of older audiences refusal to return to the theaters. But because it was the first, all people saw was a box-office bomb.

F9. Theatrical exclusive, opened to 70 millon. Again, breaking the opening weekend record for the pandemic. While its domestic reception was lackluster, it’s international reception was wildly better. It ended up grossing 721 million dollars World Wide. At the time, it was seen as a little bit of a disappointment. There was a chance that this could be the first 100 million opening weekend since Star Wars: The Rise of Skywalker. It did not meet that, and it’s legs (that being how it performed week after week) were weak domestically. However, this can’t be seen as anything other than success thanks to grosses in Latin America.

Black Widow. Here we go. The first MCU to be released since Spider-Man: Far From Home. It was originally supposed to be the start of the summer season of 2020 but ended up getting pushed back several times. Disney decided to release Black Widow with Premiere Access. This would lead to Scarlett Johansson suing Disney but that’s a whole other thing. Black Widow, like F9, had a lot of hope of being the first 100 million opener of the pandemic. This seemed plausible all the way up to Friday. Its estimates lowered from 100 to 90, and then it kept lowering until the film opened to 80 million.

What was to blame? Audience reception? Perhaps, with an A- Cinemascore it didn’t have the greatest reception in the world (MCU films usually get an A Cinemascore). There’s a couple things we can blame it on actually. Black Widow released just as the Delta variant was making the rounds. More importantly, in my opinion, it was Premiere Access. Take that away Black Widow would have been the first 100 million opener of the pandemic. This also affected it’s legs. Premiere Access cut down on repeat viewings from fans, and audiences that would have waited to watch the film in later weeks decided to just watch the film at home. Still Black Widow grossed a respectable amount for the circumstances it was released in.

Jungle Cruise. Also a Premiere Access release. The 200 million dollar film opened to a decent 35 million but, somehow, was able to leg its way to 100 million. A rounding success for “original” movies. (The press would refer to Jungle Cruise as an original movie despite being based on a ride. Does that make it IP or Original? It’s been debated.)

The Suicide Squad. Bomb bomb bomb. My lord did this bomb. Not much to say on this. The general consensus is that this would have bombed regardless of the pandemic. Rated R, low audience reception, it just wouldn’t have been financially successful. Which is a shame because it’s such a good movie.

Free Guy. A through and through original movie. Free Guy opened modestly at 28 million, but because it was so well liked by audiences it managed to leg out to 121 million dollars domestically. The Ryan Reynolds comedy then got greenlit for a sequel. While Jungle Cruise didn't make a profit theatrically, Free Guy at least broke even. In normal times both of these grosses wouldn't have warranted sequels, but these weren't normal times. Crossing 100 million during the pandemic was the equivalent of grossing 200 million in pre-pandemic times. As a non-franchise, non-IP film, Free Guy was an important sign of movie theaters health.

Candyman. If there was one genre that was doing well under the pandemic it was horror. Due to low budgets the films were able to gross enough to not be box office failures. During the summer, Candyman ended up grossing the most. It was the 10th highest grossing movie of the summer domestically. At 61 million, it outgrossed The Suicide Squad. Ending the summer on a positive note.

September - November 2021: The calm before the storm

Shang-Chi and the Legend of the Ten Rings. Another MCU film. This time it was a theatrical exclusive. Disney actually used this as a test. It was to determine whether or not they would release the rest of their films as theatrical exclusives or keep doing the Premiere Access thing they did with Black Widow and Jungle Crusie. Lucky for us, Shang-Chi managed to beat expectations. Managing to open at 75 million and legging it out to 224 million domestically and 432 million World Wide. Again, in normal times this gross would be disappointing at the very best, and a bomb at the very worst. But 200 million was the equivalent of grossing 400 million in normal times. Shang-Chi became the first film of the pandemic to meet this threshold.

Venom: Let There Be Carnage. The second movie of the pandemic to reach 200 million domestic. The film managed to beat expectations on opening weekend. Becoming the highest opening weekend of the pandemic with 90 million. It took a big second weekend drop but it ended up stabilizing and ended up having pretty good legs. A pattern that would become common throughout the pandemic, and that continues to this day.

No Time To Die. While the latest Bond film could be considered a disappointment domestically, the film was aiming to open at 100 million for the weekend and ended up opening to half that with 55 million. What No Time To Die did was jump-start the box office in Europe. It broke records in the UK and ended up grossing 760 million world wide. Beating F9 as the highest grossing Hollywood movie of 2021 (at the time).

Dune. Since before the pandemic, Dune was always touted as a future box office bomb. It was too heady, too nerd oriented, in order to be a box office hit. And now it was releasing simultaneously on HBOMAX. There was no way it could do well. The film went on to open to 41 million. And went on to gross 100 million domestic and nearly 400 million world wide. People decided, like they did with Godzilla vs Kong, that this was the type of film that needed to be experiences in cinemas.

The Last Duel and Last Night in Soho. The Last Duel opened to a measly 4 million and grossed only 10 million domestically and 30 million world wide. Last Night in Soho had a similar performance but grossed less world wide with 22 million. This is around the time that the narrative became clear. Older audiences (those being over the age of 25) were not coming back to the theaters. The only things that were making money were movies aimed at younger audiences or (in the case of NTTD and Dune) big budget blockbusters aimed at older audiences. Adult dramas were struggling. This put the performance of In The Heights in an entirely different perspective.

Eternals and Ghostbusters: Afterlife. These are being grouped together because they were the biggest films released in November. Eternals, once again, was thought to be a possible 100 million opener. However, word of mouth came around and it was bad. The film ended up grossing 71 million on opening weekend and a total of 164 million domestically. International reception was a little better and it ended up out-grossing Dune with 402 million world wide. Ghostbusters: Afterlife opened at 44 million and with general positive audience reaction it grossed 129 million domestic and 204 million world wide. It actually out-grossed the 2016 Ghostbuster domestically, and because this one had a smaller budget (Ghostbusters 2016 had a 144 million dollar budget and Afterlife had a 75 million dollar budget) it was far more profitable for Sony. Considering Afterlife outgrossed 2016 which was released pre-pandemic and was a summer movie, it's fair to say had this opened in the summer of 2020 like it was supposed to it would have made a killing at the box office.

House of Gucci. Adult dramas, as I've said, were struggling. In comes Gucci. With Lady Gaga's star power and a Thanksgiving release, it beat all expectations and opened to 15 million for the three day weekend but 21.8 million for the five day weekend. Thank god for Gaga. Adults finally came back to at least one drama. Gucci ended up grossing 53 million domestically and 148 million world wide. While this gross would be considered a disaster for its 75 million dollar budget. Considering the state of adult oriented films at the time, this can't be seen as anything other than a success.

Encanto. On the other side of things. Encanto managed to score the best opening weekend for an animated film during the pandemic. Disney had sent their animated films either straight to Disney+ or Premiere Access. Encanto was the first animated film from Disney to be a theatrical exclusive. With a shortened window of 35 days before being put on Disney+, Encanto managed to gross 96 million domestically and 230 million world wide. The highest for an animated film during the pandemic. Had Disney given the film a longer theatrical window, there would be no question it would have hit 100 million domestically.

December 2021: Release the Spider

Before we get to the big one. Let's discuss some of the smaller releases.

West Side Story and Nightmare Alley. Two big award films releasing wide in December. West Side Story fared better than most adult oriented films. Opening to 10 million but out-grossing In the Heights to a 38 million domestic gross and a 75 million gross world wide. A bomb, technically speaking, compared to its 100 million dollar budget. But as we've learned, these grosses took on a different connotation during the pandemic. Nightmare Alley did not fare so well. A failed attempt at counter-programming opening the same weekend as Spider-Man. The Guillermo del Toro film opened to a shockingly low 2.8 million for the weekend. Grossing only 11 million domestically and 37 million world wide. Even in the context of the pandemic, this was nothing else but an utter disaster for the 60 million dollar film, the most expensive film from Searchlight. All of this signaled that older-audiences were still reluctant to come back.

The King's Man, The Matrix: Resurrections, and Sing 2. The long delayed The King's Man (originally slated for 2019 before being pushed to early 2020, then pushed again to late 2020, and then pushed a few more times due to the pandemic). Opened weak with 5.9 million for the three day weekend and but managed to stay around grossing a total of 37 million domestically and 121 million world wide. A commendable run for a film that wasn't well received and which lost audience interest due to the numerous delays. The Matrix: Resurrections grossed about as much as The King's Man. Difference was that it opened to twice as much. Word of mouth from audiences was toxic. The film fared a bit better internationally grossing 156 million world wide. It would be the last day-and-date release form Warner Bros. Sing 2 surprised everyone. Opening to 22 million, higher than The Matrix and having an incredible run. Due to being the only family film in the market for months. It grossed 162 million domestically and 402 million world wide. The highest grossing non-Spider-Man film that released in December.

Spider-Man: No Way Home. Here's the big one. People were expecting it to be big. But most people did not expect it to be this big. Despite an Omicron resurgence, Spider-Man opened to 260 million for the weekend. Beating the previous December record holder Star Wars: The Force Awakens. Spider-Man would go on to play week after week. Grossing 800 million domestically and a billion internationally for a total of 1.8 billion world wide. Had the film opened in China, it very much would have grossed 2 billion.

Spider-Man was the film that brought audiences back to the cinemas.

As much as I deride trickle-down economics, there might actually be some truth to that theory in terms of this specific example here. There's almost a clear difference between box office grosses before Spider-Man and after Spider-Man. As Paul Thomas Anderson said, "You know what’s going to get [audiences] back in movie theaters? 'Spider-Man.' So let’s be happy about that".

So let's see what the Spider-Man effect brought us.

January - February 2022: Not much

Scream. The only major release of January. The legacy sequel beat Candyman by opening to 30 million and grossing 81 million domestically, 138 million worldwide. Horror movies, especially R-rated horror film, rarely make 100 million domestic, and this getting close was a great sign. Both Scream and Candyman were well received horror films that were part of a franchise. Both films being so similar, shows us the direct difference between audiences pre-Spider-Man and after-Spider-Man.

Jackass Forever, Death on the Nile, and Dog. Jackass opened to 23 million, finished with 57 million domestically and 74 million worldwide. Despite sporting the best reviews for the franchise it did not outgross Jackass 3D. Which brings us to the fact that the Omicron spike started happening quickly around this time. While states had relaxed restrictions, cases were spiking. Depressing turnout for theaters. Death on the Nile grossed less than half of what its predecessor Murder on the Orient Express did, despite a similar reception from both critics and audiences. Another blow to adult dramas. In comes Dog, a PG-13 drama that is still debatable whether it was aimed at families or adults. Dog managed to beat the opening weekend gross of House of Gucci and legged out better domestically. Grossing 61 million, though had less international appeal, grossing only 74 million world wide. Still, this pointed towards a better direction for dramas.

Uncharted. Hot off the success of Spider-Man, Tom Holland drew in audiences for the video game adaptation. Opening to 44 million, getting positive reception from audiences, it legged out to 147 million domestically and 400 million world wide. Although those weren't Spider-Man numbers, it was the numbers that MCU movies were making pre-Spider-Man. This gross is more impressive when looking at other video game adaptations. Uncharted managed to beat Detective Pikachu at the domestic box office in order to become the second highest grossing video game adaptation. It beat Sonic the Hedgehog's world wide gross of 319 million. And is currently more than Sonic the Hedgehog 2's 385 world wide gross. Video game adaptations were never big money makers, but Uncharted manage to outgross several of them while cases were still on the rise. Had the COVID situation been better, there's a chance Uncharted would have unseated World of Warcraft as the highest grossing video game movie ever.

March 2022: He's here. Who? The Batman

The Batman. The DC film became only the second film of the pandemic to have an opening weekend above 100. At 134 million the film went on to gross 369 million domestically. Internationally the film was a disappointment, no doubt due to the situation in Eastern Europe and also the COVID situation in China. Early predictions had the film grossing between 800 and 900 million, but the film grossed 770 million instead. Still it beat No Time To Die, even as a disappointment. Not bad for the first installment in a Batman reboot that was also nearly three hours long.

The Lost City. The Sandra Bullock starring romantic comedy originally titled "The Lost City of D" was set as a test to see if adults, and specifically women, were still hesitant to return to theaters. It didn't disappoint. The film opened to 30 million and became only the second original film (or third if you count Jungle Cruise) to cross 100 million at the domestic box office. Signaling that both adults in general and adult women in specific were in fact coming back to the theaters.

Everything Everywhere All At Once. If there was something that was struggling more than adult dramas at the box office, it was the indie market. Licorice Pizza has done banger numbers while in limited release, but was ultimately a box office disappointment. Grossing less than 20 million domestic. In comes EEAAO. While not specifically targeted at adults, generally speaking it was targeted at young men between the ages of 18 and 25, it still suggests a return of the indie market. The film is still playing today, having small drops week after week. Beating Uncut Gems to become A24s highest grossing film domestically.

April 2022: Flop City

Before we get to the flops, let's talk about the successes from this month.

Sonic the Hedgehog 2 and The Bad Guys. Sonic 2 beat it's predecessors opening gross of 58 million by opening to 72 million. It has outgrossed the first both domestically and world wide (though the first film's theatrical run was cut short due to the pandemic). Sonic the Hedgehog 2 is currently the only film that opened in April that grossed over 100 million domestic. The Bad Guys opened at number 1 with 23 million. The Dreamworks film was warmly received by both critics and audiences. It's been holding well week after week, currently at 81 million domestically and 197 million world wide. While it likely won't hit 100 million domestic, it should get close.

Ambulance, The Northman, and The Unbearable Weight of Massive Talent. All three films had at least somewhat positive reception from critics. Audience reception was good for Ambulance and was decent for The Northman and Massive Talent. All three are considered flops. Ambulance opened to 8 million for the weekend. While this is better than other adult films like The Last Duel, it still signaled that adults weren't coming out. A well received Michael Bay action-thriller would have been a hit a couple of years ago, but today people decided to stay home. The film grossed 22 million domestic and 51 million world wide. The Unbearable Weight of Massive Talent didn't fare much better. Opening to 7 million grossing 20 million domestically and 25 million world wide. The Northman was the most successful of all three films. Slightly beating expectations, it opened to 12 million. Grossed a total of 33 million domestically and 66 million world wide. Although with a budget of between 70 and 90 million it is considered a flop. Though all three films flopped at the box office, I think what they did was get at least some people, specifically some older audiences, back in the mojo of going to the movies. As James Gray puts it, these films were an investment to try to maintain broad base interest. Which is a big reason why something like Top Gun: Maverick was able to open so big.

Morbius and Fantastic Beasts: The Secrets of Dumbeldore. Here we have big franchise films. A Marvel film and a Harry Potter film. Both of them flopped at the box office, but their performances cannot be blamed on COVID. At the very least COVID is only a small reason as to why these films flopped. They are IP movies aimed at younger audiences, at the very least that's the case in Morbius, though Fantastic Beasts audience is slightly older. Morbius opened to 39 million. Originally it was looking to open at 60 million. But, word of mouth was incredibly toxic, so the film dropped dramatically. Had the movie been good it would have crossed 100 million easily. But the film was so bad it didn't even double it's opening weekend grossing a total of only 73 million domestically and 162 million world wide. Fantastic Beasts is a dying franchise. Crimes of Grindelwald, the previous installment, was poorly received by both audiences and critics. It grossed 600 million world wide, dropping 200 million from the first installment. The Secrets of Dumbeldore opened to an okay 42 million, but reception was so tepid it still hasn't crossed 100 million domestic and will not be crossing 100 million domestic. International reception was slightly better, but not by much in places that should have liked it more like the UK. Germany is liking the movie a lot though, so Fantastic Beast will be reaching 400 million worldwide. Though with a 200 million dollar budget, it will not be breaking even. Both of these films would have bombed regardless of COVID. They were bad movies, and they were always destined to flop.

May 2022: Back to normal?

Doctor Strange in the Multiverse of Madness. Benefiting from being the next installment in the MCU. The film opened to 187 million. Disney's first 100 million opener since The Rise of Skywalker (Spider-Man is distributed by Sony). Despite the film's large grosses, it was still seen as a disappointment. It was looking to open above 200 million but word of mouth was pretty bad so the opening weekend fell day after day. The film looked to be making a billion dollars (making it only the second film to hit that mark during the pandemic) but will now be looking to make around 900 million world wide. It's a disappointment through and through. But here's the thing, 1) it had no China or Russia or several Middle East countries, and 2) it's still going to be making 900 million dollars. 900 million dollars world wide being considered a disappointment is fantastic. In pre-pandemic times, it was almost normal to consider movies making this much a money a disappointment. Notable Pirates of the Caribbean 5 made nearly 800 million world wide but was still considered a disappointment. It shows us how far we've come when last year were happy when a movie barely made 100 million, that now a film that will gross 400 million domestic is a disappointment.

Top Gun: Maverick. Top Gun has re-energized older audiences. Being now the fourth film to open over 100 million in pandemic times. It's looking to gross over 400 million domestic (in fact it could outgross Doctor Strange). It is the highest opener for a Tom Cruise, beating War of the Worlds. And is a film that audiences have embraced both domestically and internationally.

Downton Abbey: A New Era also opened in May. The adult-oriented film took a big dive from the first. Opening to half of what that film opened to in 2019 and suffered a big second weekend drop (no doubt due to Maverick's success with older audiences). So older audiences are returning, but just to specific films. Will Maverick lead to older audiences coming back to other films made for them such as Elvis? Maybe. Hopefully.

Things are looking up from here on out. Grosses seem to be hitting pre-pandemic times. And while there's less movies being released in 2022 than there were pre-pandemic (due to the production problems caused by COVD). It's nice to see how much things have bounced back in the past year.

Things like Jurassic World: Dominion, Thor: Love and Thunder, and Avatar: The Way of Water, look to be making 500 domestically. In the case of Jurassic and Avatar we could be looking at 600 million+ domestic grosses and a potential 2 billion world wide grosser in Avatar. It is incredible the journey the box office has had.

I just finished watching it (pirated, because I wasn’t going to give Disney money after all the controversy regarding Taiwan).

Uhh, it.. was bad? I mean I’m usually pretty positive especially about all the Disney remakes, and I liked the general darker mood of this Mulan version. But what’s with the 90s era cgi physics?

Also, and I get the Mulan plot line is entirely about how ridiculous gender-gating is in general, but whew there is a serious case of The Stupids around a lot of the tradition, much more so than in the original. This felt very tropey to me, convenient idiocy. I mean yes okay this takes place 1200 years ago but …

I appreciated not seeing mushu, but the Phoenix could have just been a lot lot lot more subtle.

And I’ve never seen snow look so much like party foam. This is the same studio that produced Frozen?!

Man, this movie felt like it was written, produced and directed in 1998. I would say I watched the wrong one by mistake but the original was actually good for its time.

What happened, did I miss something? This could have been an amazing movie full of great music, awesome choreography, and a super dark take on the original. Instead, I watched the equivalent of a machine learning exercise in turning anime to live action.