Explosion of Paper

Books

Strange Practise by Vivian Shaw

This was one of those books which I picked up in Waterstones entirely on a whim, and I’m incredibly happy I did (as should be obvious with it being on this list). It explores one of my favourite concepts, that of how the fantastical actually operates in the real world. The main character, Dr. Greta van Helsing (descendent of the usual van Helsing) is a doctor to the supernatural, and through her presence causes the monsters who make up her clientele to feel much more grounded and real than they would otherwise.

The book also makes really good use of public domain characters, placing them in the world such that they feel they belong there, without their public domain status being the spotlight. Another thing the book does well is conveying emotions; in particular it does a fantastic job of conveying emotional vulnerability without it being a synonym for weakness.

Dune by Frank Herbert

You know what Dune is. I don’t need to explain it.

Dune has been haunting my reading list and bookshelf for an awful long time. Every time I would pick out a new book to read, Dune would be there, waving it’s pages to catch my attention and calling “Hey! It’s me, Dune! I’m a classic of the genre. I’m beloved for good reason. You’re not having read me causes you to miss out on many references, and you’re well aware of this. I can explain to you what the Gom Jabbar is. Read me!” And every time I would glance at Dune, think about how long and revered it is, avoid eye contact, and pretend that I hadn’t heard or seen it.

Well this year I finally put that right. It felt good to finally have it stop taunting me, but it felt even better to actually read it, because it turns out that Dune is really fucking good.

The way that the world is built, the interactions between the characters, the way things grow and develop in the book, all of it is just so damn good. It’s Dune, go read it.

City of Miracles by Robert Jackson Bennett

City of Miracles was a fantastic end to a trilogy which I’ve loved. Tying up the major loose ends, answering the major unanswered questions, and taking the world and themes to a wonderful ending point.

The trilogy as a whole did some really nice stuff with the perspective and pacing. Each book has a different main character (though they’re each always important), and they’re set many years apart, decades even. This results in the world feeling and characters feeling very alive and functional in that they’re doing stuff even if we’re not seeing it. The books focus on the three major Divine events since the Blink (incidentally, I’m a big fan of this type of post-big-event setting), and just lets us know that stuff happened during the time between.

The book also contains a bit I adore, in which exposition is explicitly and dramatically avoided in a way which ties perfectly into the characters in the scene.

The Bands of Mourning by Brandon Sanderson

I’d fallen a bit behind on Cosmere stuff recently, so I spent a bit of this year catching up. They were all good, but The Bands of Mourning really stood out to me as excellent, and some of Sanderson’s best work. Something I loved in particular about this book was the way in which it managed reader emotions. I don’t want away too much, so I’ll just say that the reader’s feelings are directed in such a way that it maximises impact and catharsis, and really elevates the later parts of the book.

The Tropic of Serpents by Marie Brennan

The first of the Lady Trent books was good, but it really came into its own with The Tropic of Serpents. The way that these books approach dragons, from the perspective of a natural historian viewing them in a scientific manner, is incredibly refreshing; it’s so nice to see Dragons actually fitting in a Victorian era (I think, I get all the eras named after monarchs mixed up) world, and the characters treating them like they belong.

Even leaving the dragons aside, the handling of the era is really good. It deals really well with the struggle of science in the face of politics, as well as the struggles of women and the lower class within the scientific communities.

The Brothers Cabal by Jonathan L. Howard

I love the Johannes Cabal books. Cabal is a real bastard, and that makes him a joy to read about. He’s not evil mind you, he’s certainly not a pinnacle of virtue either, but he’s mostly kind of a good guy. Any shitty things he does are in service of a greater goal, but he’s still a bastard. It brings a texture to his internal conflicts which you don’t really see often.

He’s a great character, but having his brother around elevates him even further. The two of them are fantastic comparisons and foils for each other.

The way in which the Cabal books handle the supernatural is also great. It feels functional and integrated into the world, yet still unmistakably outside of the normal.

Kill All Angels by Robert Brockway

Much like City of Miracles, this was a fantastic end to a trilogy.

The Vicious Circle books are fascinating and notable for a variety of reasons: there’s the way in which they keep two timelines going throughout the whole trilogy; there’s the way it showcases cosmic horror on a human level, as well as placing the horror on that level; there’s the way it handles the idea of humanity, and what it means to loose it; and there’s also the way in which it takes the question “Why is Mario Lopez so weird?” and builds it out into one of my favourite horror series.

I rather not say any more about the series, just know that I really recommend it.

Also when I said “Mario Lopez”, I actually meant to say “A character similar to, but legally distinct from Mario Lopez”.

Games

Doki Doki Literature Club

This game hits like a ton of bricks, and good bricks at that. At this point I think that most everyone knows the deal with DDLC, but I’m still going to avoid big spoilers.

DDLC is one of those games which catches you by surprise, and isn’t what you first expect. It’s got a big old twist, shocks the hell out of you at some moments, and does some terrific integration of mental illness into the plot and characters. All of that is done fantastically, but the thing which really makes DDLC stick out to me is just how good the core game itself is.

The first part of DDLC, before stuff hits the wall, is the best dating sim visual novel I’ve played. That’s super important for setting up and enabling the later stuff, but it’s also just great. If Team Salvato announced that they were doing a pure dating sim, I would be well up for that.

West of Loathing

Considering the amount of time I’ve put into Kingdom of Loathing over the years (spoiler: a lot), it’s should be no surprise that I love this game. However I will say that I was a tad surprised with just how much I loved it.

KoL has always been a game driven mostly by it’s writing and concepts, and this game capitalises on both of those. There’s an awful lot of writing in the game, and all of it is good. Everywhere where there can be a joke, there’s a good joke, and everywhere where there isn’t a joke, there’s some damn good writing which would have had its impact lessened by a joke (to be clear: all of the joke writing is also good; I mean just that there’s always a good reason for jokes being absent).

The story the game tells, and the way it does it, are both incredible; and there’s a real elegance to the game’s art style.

Super Mario Odyssey

This game is a true delight. I’m famously bad at sticking it all the way through games, but this one kept hold of me and I finished it in a weekend. Not that I’ve 100%ed it mark you, but I also didn’t exactly rush through the campaign, I took my time, did a bit of sightseeing and all that.

The game’s also kept me coming back. I keep on finding myself popping back in to pick up a few more moons.

It’s just so joyous, so lovely, so utterly delightful. There’s just so much in the game, and it’s all just so good.

Just Dance 2017

Yeah that’s right, Just Dance. I’d never really played Just Dance before this year, but I have now and I love it. It’s just a whole heap of fun to play, and a nice alternative to going for a run if I want to exercise but don’t want to leave the flat.

I specify 2017 because that’s the one I’ve played.

Monument Valley 2

The first Monument Valley is one of my favourite games, so there was a bit of a worry that the sequel wouldn’t live up to my expectations. Thankfully those worries were unfounded, and I’d put MV2 right up there with the first. It plays like the first, but with twists on the mechanics to keep it feeling fresh. Similarly, it explores the same themes, but from a different perspective. The looks are just as stunning as the first, and go even further in many points, really exploring what the graphic style can do.

Ultimately the game is more Monument Valley, and that’s exactly what I wanted it to be.

Linelight

Linelight was a nice little puzzle game with straightforward, easily understood mechanics and a delightful, simple aesthetic. It managed to excel due to the excellence in puzzle design, and the way in which it conveyed ideas and meaning.

Put simply, if Thomas Was Alone didn’t exist, then these would be the strongest emotions a game has made me feel about such simple shapes. This game however didn’t have a narrator, instead it used just the mechanics to make me attached to some of my companion lines, and did so in a sublime way.

TV Shows

Girls’ Last Tour

I’ll be honest with you; I picked up this show because they dab in the OP. It turned out that was actually a good decision, as it led me to one of my all time favourite shows.

Girls’ Last Tour is a slow paced, intimate show. It’s an exploration of the two main characters travelling through a dead world, and just trying to survive. The world feels empty in a way which few other post-apocalypse things manage, mostly due to the fact that there are so few characters. In the 12 episode run, only 2 supporting human characters are encountered, and each is around for only one episode. This means you really get to know the main characters, and to truly see how their time in this dead world is affecting them.

JoJo’s Bizarre Adventure: Diamond is Unbreakable

It’s no secret that I love Jojo, and Diamond is Unbreakable is without a doubt my favourite part so far.

I loved Stardust Crusaders, but I had several issues with it. Diamond is Unbreakable fixes damn near all of them, and it really feels like Mr JoJo learnt some lessons from SC and applied them here. The characters are great and you really get to know them, the fights are cool and satisfying, and all the Stands feel unique and interesting.

Then there’s the actual presentation of the show, which is absolutely stunning. The unusual colour palette gives the world a whole new depth, and the soundtrack is just incredible. In particular there’s a certain use of a certain theme, which results in one of my all time favourite moments in a tv show.

Cromartie High School

Cromartie’s really damn funny, though it’s hard to put into words exactly why. I think a large part of it is the show’s absolute commitment to inconsistency. It’s committed to the extent that not even the show’s inconsistency is consistent. Things are forgotten, the forgetting is lampshaded, but then some characters will remember things whilst others won’t. Storylines will just stop, but then they might suddenly restart at a later date as if they had been going all along. It’s a show where nothing is ever really forgotten, but nothing is ever really remembered either.

It’s art is what I’m trying to say. Pure art.

My Brother, My Brother and Me

That’s right, this one isn’t an anime. It is a spin-off from a podcast though, so it’s a pretty nice lead in to the next section.

Do you like the MBMBaM podcast? If yes, then you’ll love the show. If no, then there’s a good chance you’ll still love the show. The podcast is used as the basis for it, but it’s built up into something even greater. It’s not just that it has editing and a budget, it also shows us new layers to the relationship between the brothers, and puts them in the real world as opposed to the podcast void which they normally live in. Everything in the show is so funny, and so good. I really do love it.

Podcasts

Wonderful

Wonderful is an aptly named podcast; it’s a true joy to listen to.

In the podcast, husband and wife, Griffin and Rachel Mcelroy, talk about the things they like. That’s the entire premise, and it makes for a truly wonderful podcast because it’s just so positive and sweet and lovely. There are no rules on the kinds of things they talk about, so they could be as general as a genre of film, or as specific as a sequence of notes in a particular song.

This podcast is the second iteration of Rose Buddies, which was a Bachelor fancast, and shares the same podcast feed, so watch out for that if you pick it up. Not that Rose Buddies wasn’t also a great podcast, but it was of a different style. The fact that I picked up Rose Buddies in 2016 does make the podcast’s place on this list a touch more dubious, but I’m the one making up the rules here, so I’m saying it’s fine.

Pretend Friends

This podcast is a delight. It’s an RPG podcast with the Continue? guys, and I have a history of finding them funny, so it makes sense I like this podcast. But what really elevates it is the game that they’re playing, that being Space Kings. Space Kings is notable in several ways, one of those ways being that it isn’t actually out yet. The GM of the podcast is one of the devs of the game, and the podcast is a bit of a beta test for it. That’s a nice novelty, but the thing which is really great about Space Kings is how it’s built around making a good collaborative story and having a laugh, rather than being built around firm mechanics.

It’s a podcast of a bunch of friends trying to make each other laugh, succeeding, and telling a story about a bunch of friends travelling around in space and getting up to some good hijinks. At one point a cat cuts a spaceship in half, at another a mop fires a gun. It’s a good time.

The Worst Idea of All Time

You know how I said that Wonderful’s place on this list was a tad dubious? Well TWIoAT is even more dubious due to the fact that I’ve been listening to it for years. The reason I’ve put it here is that it ended this year. TWIoAT was a fantastic ride the whole way through. If you’ve ever wanted to listen to a pair of skill Kiwi comedians lose their minds over a few years, then this is the show for you. Whilst I’m sad to see it go, I’m happy that the two of them can start the road to recovery now.

Web Shows

Super Beard Bros - Dark Souls 3

Beard Bros is a long time favourite of mine, and I think that this might well be one of their best series. Brett is just such a fantastic addition to the crew, and allows the other two to shift into slightly different roles. All of them are on utterly top form in this series, and it leads to a fantastic atmosphere, and lovely series.

The core of it is how wonderfully positive it is. Alex gets frustrated at times, but never really angry and seems to be having a great time with the game. Brett’s a fantastically encouraging person, and a true delight to listen to. And it’s so nice to get to hear Jirard chilled out, and finally having the time to make the wrap of the day.

Press Buttons ‘n’ Talk - Phoenix Wright 2

I discovered PB’n’T late last last year (2016) with their playthrough of Phoenix Wright 1. From there I worked my way through the rest of their stuff and caught up in PW2, which was a pleasing symmetry.

The channel is always great to watch, but the Phoenix Wright games are where they really excel. The voices given to the characters really bring the games to life, and they’re off high enough quality, and consistently enough applied that they’re now firmly in my head as the cannon voices for the characters. Even Phoenix himself, who’s handed back and forth between the two of them, feels consistent and has a real identity in his voice.

In my proposed timeline, Waluigi and Luigi spent much of their early careers working with each other in a series of B-list (or lower) projects, usually with one of them playing the hero and the other the villain. They worked well against each other, and so the studio often cast them against each other. Maybe they were even an official double act with measure of creative control over their projects. Think of Laurel and Hardy, but with them usually being cast as  enemies (this bit isn’t really necessary, but I like it). They had a bit of a cult following but nothing major, so eventually they each moved on to new things. Luigi managed to find a niche in the Mario show, something which was small when he joined it, but later grew to be a major franchise. Waluigi however took part in a lot of different things, and worked his way to major stardom without being tied to one character (I imagine he got lots of work as villains early on, and was eventually able to parlay this into more starring roles).

With the two now each famous in their own ways, their old work started to get more attention, and the knowledge of the two of them as a pair became more common among fans and many wanted to once again see them against each other.

So when he was introduced in Mario Tennis as Luigi’s evil counterpart, it was as a massive nod to these fans and to their old partnership. Nowadays he’s invited along to all of the fun side shows (which now that I think about it, are probably charity events) because it’s a chance for all of them to hang out together, and it’s a continuing nod to their old work.

Maika is committed to being bad at her job. She has a natural talent for it, but ignores this and puts actual effort into failure. She’s hired to play a character and she knows this, but she keeps on trying her best not to play it. You know that meme of the chap who’s looking at the girl in red rather than at his girlfriend? Well if Maika is the guy, then the girlfriend would be “The clearly defined parameters of Maika’s job”, and the lass in red would be “The job parameters which Maika has made up because she is a bad employee”.

Yes, it’s played for laughs. Yes, it’s part of the joke of the show. It’s still infuriating though. Every time that she looks at Older Sister Character and thinks “I should try to act more like her”, she’s completely ignoring the fact that her and OSC have very opposite roles. She’s blatantly ignoring her position based on an idea of “customer service” which she knows is not important to her job.

Even with her plot-given ability to fuck up every situation in a way which hurts someone she’s still shit at her job. She should be getting taken aside and given an official warning to get her act together, but she won’t be because the manager’s smitten with her and would just shout about her hair.

Think about the bit in the most recent episode when they’re swamped and all the other servers accidentally let their true personalities through, and that’s painted as a failure on their part. Maika does that all the fucking time! Even when they’re not swamped she still keeps on doing that. Thankfully her plot given ineptitude turns much of it into faux-sadism, but she’s still constantly dropping character.

I’m not very far in at the moment, but I’m definitely enjoying it so far. That said, it’s not all great. Let’s go over some specifics.

Clarification. This is a good thing. Things make a lot more sense in this version, the acid lakes don’t drop for no reason after killing a certain number of metroids, instead they’re dropped by machines. In general it feels like it makes more sense. 

Melee counter and the Aeireireirereorrroron system. This is something I’m mixed on. They’re nice additions, but they already feel a bit too central. Obviously I’ll have to see where the game goes with this, but Nintendo doesn’t exactly have a good track record in this area.

Spider ball. Spider Ball! It’s here! It’s good! It’s the same as always! I like it!. The reason I’m highlighting this is that I was really scared that Spider ball was going to be changed to only work in certain areas, something which would have massively disappointed me. I was happy to see that this wasn’t the case.

Graphics. Really good. The world feels really well brought to life, and the environmental storytelling it really well done.

Music. This is not so great. So far there has been exactly one point at which I’ve recognised the music, that being when the new version of SR388 played. That was great. I loved that, it was a perfect nostalgia hit. I want more of that. Instead all I’m getting is environmental sounds. Don’t get me wrong, they’re good environmental sounds, but Metroid II had a fairly impactful and melodic soundtrack. Sure, many of the creepier tracks were probably intended to be environmental, and limited by the hardware they were built on; but I still feel that the constant ambient noise in Samus Returns is a bit of a let down. I want more SR388 and Ruins dammit.