TheOnlyGuyEver

I recently picked up a pretty little CRT for cheap. Thing's in great shape and had a good owner. So I took it upon myself to replay OOT. This was my 3rd time playing it, though my 1st time in about 15 years. You know that bell curve meme? Yeah, that's basically how I feel about the game. Throughout life you go from "OOT IS ONE OF THE GREATEST GAMES EVER!" to "OOT is overrated!" to "OOT is one of the greatest games ever.
 
There's just so much to find in this game. This was my 3rd playthrough and I was still finding secrets and areas I had literally never seen before -- partly because since then I had gotten a rumble pak, which the Stone of Agony utilizes to indicate nearby hidden grottoes. Some of these grottoes you literally will not find without it because there's no way you'd know they were there otherwise, and honestly I kind of like that, hidden secrets that are where you'd least expect them, in the middle of nowhere, right under your feet. There's also a whole secret multi-room segment of the Fire Temple I discovered, which I had never seen before in my life and most other people probably haven't either.
 
OOT just has so much shit in it. The good type. Shit that exists purely for you to discover, for the joy and sake of discovering; items that exist purely because they are fun and cool. There's an entire sidequest you can do where you unlock a bunch of masks that you can wear for neat extra dialogue, the grand prize of which being a mask that lets you talk to Gossip Stones, revealing hidden secrets and world lore to you -- and you even get a few bonus masks for completing it. You can get mobile explosive Bombchus to use, you can acquire optional spells for combat or utility, you can get hidden elemental arrows, you can dive deeper with a Golden Scale, you can buy a fuckhuge sword that breaks, you can acquire a PERMANENT version of said fuckhuge sword -- even one of the very first items you get, Deku Nuts, are optional for you to use. Every consumable item in the game even has two capacity upgrades for you to find as well, some of which I had never discovered until this playthrough. As you ever going to need that many Deku Sticks? No, but it's cool that you can now! I feel like this is something that's seriously lacking later games -- just cool, entirely optional, unique items for you to find. Instead, so many items in later installments are just a lock for a key, and have no use or reason outside of that one specific thing.
 
OOT-specific section ends here, for additional dialogue concerning the series as a whole, click below:
 
TL;DR: OOT is one of the greatest games ever it's true.

The (robot) girl next-door. Her name is ABI:

 
It was fun to design a character with less strictly-human proportions for once. Fun detail: If you look veeeery closely at the long blue parts of her arms, legs, and torso, you can see that they're slightly translucent, because that's cool. I imagine they're also slightly squishy.

The (robot) girl next-door. Her name is ABI:

 
It was fun to design a character with less strictly-human proportions for once. Fun detail: If you look veeeery closely at the long blue parts of her arms, legs, and torso, you can see that they're slightly translucent, because that's cool. I imagine they're also slightly squishy.

The (robot) girl next-door. Her name is ABI:

 
It was fun to design a character with less strictly-human proportions for once. Fun detail: If you look veeeery closely at the long blue parts of her arms, legs, and torso, you can see that they're slightly translucent, because that's cool. I imagine they're also slightly squishy.

I was looking around my emails since I've been getting massive amounts of spam these days, and I found an email from December 2010.
 
It was the original pics of the DemoPan thread.
 
 
 

I played the demo for this game called Peripeteia recently. It's an "immersive sim" game set in a sort of bleak cyberpunk-ish post-Soviet Poland. You play as soulless cybernetically-augmented girl who lives in a crummy apartment and takes on various hits for a living. I don't usually blogpost but I feel like writing about this game so...
 
By far the biggest thing in the demo I enjoyed was the independence it gives you. I guess I get what they mean by immersive -- you can really just do anything. The guy you talk to at the start to get your first job? You can just kill him instantly with the gun he gives you. Or you can steal the stuff behind him and get shot instead. I was immediately surprised by how I could just pick up all the bottles lying around and keep them in my (tetris-style) inventory, after which I went outside, stacked some boxes, and climbed up an entire skyscraper just because (and accidentally ended up out of bounds henceforth). You play as a character, certainly (named Marie), but you're not steered down any particular path. The first person I killed for instance was a random homeless man I shot from a rooftop. I didn't even know he was an innocent homeless guy until I got down to check his corpse, and when I did, I actually felt bad. I had gotten so used to the videogame style of just shooting every person I saw that I just did it there without thinking. And he didn't even have anything on him. That's when I felt the sense of agency that Peripeteia creates.
 
Mechanically, the game has some interesting ideas. Like I mentioned, you can climb. Pretty much any surface that has a defined edge, you can cling to, shimmy along, and leap up. This means that there are virtually infinite ways to reach your mission objective, and the game is designed with this in-mind. For the first mission, you have to infiltrate a building, crack a safe, get a keycard inside, and bring it back. There's probably a more "intended" way inside, but I ended up sticking to the rooftops and then leaping down to a small metal balcony. I was a bit strapped for ammo so I played it more stealthily, using some of the bottles I picked up earlier to distract guards and whatnot so I could dispatch them quietly. There are also a variety of cybernetic augmentations you can toggle at the expense of a gradual energy drain, though I feel like I didn't make good use of these during my gameplay. Once I took out the boss and got the code for the safe, I got the keycard, began heading out, and along the way ended up in some tunnel underground where I found an arms dealer. I sold all the guns I took from the guards I killed and bought some new weapons. I also think I found a secret room? Then I went back, and mission complete. Also a cool thing worth mentioning is that your inventory is persistent and carries over between missions, so what you do exactly and how you go about completing levels does have an impact on future levels in that sense.
 
Criticisms and such
 
Now conceptually, I feel like there is an amazing game in Peripeteia. I love the ideas, the concepts, and atmosphere. But I feel like the systems in the game don't serve those ideas to their full potential. For instance, in the first mission, I tried to play it stealthily, but all the weapons you're given are very loud. In the second mission, there are rooms full of enemies where it was much simpler to just go in guns blazing than try to play tactfully. The enemies also can't open doors, so I ended up exploiting this a couple times, which just felt bad and cheesy. As it stands, it feels like there's little reason to not just go ape with all your guns and kill everybody; there is no difference in the outcome, even killing random bystanders produces no effect. The game gives you all the agency in the world, but no consequences around it. For instance, that arms dealer I mentioned? He has a bodyguard blocking the door to a back room. The only way to loot the back room is to kill the bodyguard, and hence the dealer, who will then aggro on you. There is no way to go about it stealthily. The optimum "videogame" play here IS to kill the dealer, take what he was selling, kill the bodyguard, and loot the back room, because, as is, there are absolutely no consequences for doing so. You just get a ton of stuff for free.
 
I also do feel like the game could use a liiiitle bit more direction in its mission objectives. I'm not talking Ubisoft shit, but for instance, in the first mission, you're told to go to a building, to the west, by the canal, with scaffolding around it, and retrieve a keycard. I feel like that's very clear yet non-intrusive. The second mission, however, has much less direction. You're told to blackmail or kill a certain politician, and that's it. I ended up wandering around lost for a long time, because I had no idea where this guy might be in this huge map (where you can traverse almost any vertical surface mind you), or how I might even begin to blackmail him. I ended up on a very, very distant rooftop where there was a random clue, which only raised more questions than answers. Tangentially, I feel like the game also needs better out of bounds safeguards. That may seem antithetical to the game's approach of letting you go pretty much anywhere, but I'd argue that being able to go out of the bounds of what is intended is antithetical to the game's core principal of creating immersion. I ended up getting out of bounds in the first mission when that wasn't even my aim, I was just wanting to climb up a building, because it was possible.
 
Final thing
 
Now, this was just a demo I played. The gameplay was a little rough and crusty in some places, but from what I understand, the demo is several years old by now and the internal state of the game has gotten a lot nicer since then. And it's worth mentioning that in regards to my criticism about there being no consequences or weight to your problem-solving, that the demo does have a relations system, it just wasn't really utilized in that brief demo snippet. I'm really looking forward to this game still, it feels very ambitious and unique in its ideas and I love its weighty atmosphere.

Marie from Peripeteia:

 
I like her creepy doll face

Marie from Peripeteia:

 
I like her creepy doll face

I played the demo for this game called Peripeteia recently. It's an "immersive sim" game set in a sort of bleak cyberpunk-ish post-Soviet Poland. You play as soulless cybernetically-augmented girl who lives in a crummy apartment and takes on various hits for a living. I don't usually blogpost but I feel like writing about this game so...
 
By far the biggest thing in the demo I enjoyed was the independence it gives you. I guess I get what they mean by immersive -- you can really just do anything. The guy you talk to at the start to get your first job? You can just kill him instantly with the gun he gives you. Or you can steal the stuff behind him and get shot instead. I was immediately surprised by how I could just pick up all the bottles lying around and keep them in my (tetris-style) inventory, after which I went outside, stacked some boxes, and climbed up an entire skyscraper just because (and accidentally ended up out of bounds henceforth). You play as a character, certainly (named Marie), but you're not steered down any particular path. The first person I killed for instance was a random homeless man I shot from a rooftop. I didn't even know he was an innocent homeless guy until I got down to check his corpse, and when I did, I actually felt bad. I had gotten so used to the videogame style of just shooting every person I saw that I just did it there without thinking. And he didn't even have anything on him. That's when I felt the sense of agency that Peripeteia creates.
 
Mechanically, the game has some interesting ideas. Like I mentioned, you can climb. Pretty much any surface that has a defined edge, you can cling to, shimmy along, and leap up. This means that there are virtually infinite ways to reach your mission objective, and the game is designed with this in-mind. For the first mission, you have to infiltrate a building, crack a safe, get a keycard inside, and bring it back. There's probably a more "intended" way inside, but I ended up sticking to the rooftops and then leaping down to a small metal balcony. I was a bit strapped for ammo so I played it more stealthily, using some of the bottles I picked up earlier to distract guards and whatnot so I could dispatch them quietly. There are also a variety of cybernetic augmentations you can toggle at the expense of a gradual energy drain, though I feel like I didn't make good use of these during my gameplay. Once I took out the boss and got the code for the safe, I got the keycard, began heading out, and along the way ended up in some tunnel underground where I found an arms dealer. I sold all the guns I took from the guards I killed and bought some new weapons. I also think I found a secret room? Then I went back, and mission complete. Also a cool thing worth mentioning is that your inventory is persistent and carries over between missions, so what you do exactly and how you go about completing levels does have an impact on future levels in that sense.
 
Criticisms and such
 
Now conceptually, I feel like there is an amazing game in Peripeteia. I love the ideas, the concepts, and atmosphere. But I feel like the systems in the game don't serve those ideas to their full potential. For instance, in the first mission, I tried to play it stealthily, but all the weapons you're given are very loud. In the second mission, there are rooms full of enemies where it was much simpler to just go in guns blazing than try to play tactfully. The enemies also can't open doors, so I ended up exploiting this a couple times, which just felt bad and cheesy. As it stands, it feels like there's little reason to not just go ape with all your guns and kill everybody; there is no difference in the outcome, even killing random bystanders produces no effect. The game gives you all the agency in the world, but no consequences around it. For instance, that arms dealer I mentioned? He has a bodyguard blocking the door to a back room. The only way to loot the back room is to kill the bodyguard, and hence the dealer, who will then aggro on you. There is no way to go about it stealthily. The optimum "videogame" play here IS to kill the dealer, take what he was selling, kill the bodyguard, and loot the back room, because, as is, there are absolutely no consequences for doing so. You just get a ton of stuff for free.
 
I also do feel like the game could use a liiiitle bit more direction in its mission objectives. I'm not talking Ubisoft shit, but for instance, in the first mission, you're told to go to a building, to the west, by the canal, with scaffolding around it, and retrieve a keycard. I feel like that's very clear yet non-intrusive. The second mission, however, has much less direction. You're told to blackmail or kill a certain politician, and that's it. I ended up wandering around lost for a long time, because I had no idea where this guy might be in this huge map (where you can traverse almost any vertical surface mind you), or how I might even begin to blackmail him. I ended up on a very, very distant rooftop where there was a random clue, which only raised more questions than answers. Tangentially, I feel like the game also needs better out of bounds safeguards. That may seem antithetical to the game's approach of letting you go pretty much anywhere, but I'd argue that being able to go out of the bounds of what is intended is antithetical to the game's core principal of creating immersion. I ended up getting out of bounds in the first mission when that wasn't even my aim, I was just wanting to climb up a building, because it was possible.
 
Final thing
 
Now, this was just a demo I played. The gameplay was a little rough and crusty in some places, but from what I understand, the demo is several years old by now and the internal state of the game has gotten a lot nicer since then. And it's worth mentioning that in regards to my criticism about there being no consequences or weight to your problem-solving, that the demo does have a relations system, it just wasn't really utilized in that brief demo snippet. I'm really looking forward to this game still, it feels very ambitious and unique in its ideas and I love its weighty atmosphere.

I played the demo for this game called Peripeteia recently. It's an "immersive sim" game set in a sort of bleak cyberpunk-ish post-Soviet Poland. You play as soulless cybernetically-augmented girl who lives in a crummy apartment and takes on various hits for a living. I don't usually blogpost but I feel like writing about this game so...
 
By far the biggest thing in the demo I enjoyed was the independence it gives you. I guess I get what they mean by immersive -- you can really just do anything. The guy you talk to at the start to get your first job? You can just kill him instantly with the gun he gives you. Or you can steal the stuff behind him and get shot instead. I was immediately surprised by how I could just pick up all the bottles lying around and keep them in my (tetris-style) inventory, after which I went outside, stacked some boxes, and climbed up an entire skyscraper just because (and accidentally ended up out of bounds henceforth). You play as a character, certainly (named Marie), but you're not steered down any particular path. The first person I killed for instance was a random homeless man I shot from a rooftop. I didn't even know he was an innocent homeless guy until I got down to check his corpse, and when I did, I actually felt bad. I had gotten so used to the videogame style of just shooting every person I saw that I just did it there without thinking. And he didn't even have anything on him. That's when I felt the sense of agency that Peripeteia creates.
 
Mechanically, the game has some interesting ideas. Like I mentioned, you can climb. Pretty much any surface that has a defined edge, you can cling to, shimmy along, and leap up. This means that there are virtually infinite ways to reach your mission objective, and the game is designed with this in-mind. For the first mission, you have to infiltrate a building, crack a safe, get a keycard inside, and bring it back. There's probably a more "intended" way inside, but I ended up sticking to the rooftops and then leaping down to a small metal balcony. I was a bit strapped for ammo so I played it more stealthily, using some of the bottles I picked up earlier to distract guards and whatnot so I could dispatch them quietly. There are also a variety of cybernetic augmentations you can toggle at the expense of a gradual energy drain, though I feel like I didn't make good use of these during my gameplay. Once I took out the boss and got the code for the safe, I got the keycard, began heading out, and along the way ended up in some tunnel underground where I found an arms dealer. I sold all the guns I took from the guards I killed and bought some new weapons. I also think I found a secret room? Then I went back, and mission complete. Also a cool thing worth mentioning is that your inventory is persistent and carries over between missions, so what you do exactly and how you go about completing levels does have an impact on future levels in that sense.
 
Criticisms and such
 
Now conceptually, I feel like there is an amazing game in Peripeteia. I love the ideas, the concepts, and atmosphere. But I feel like the systems in the game don't serve those ideas to their full potential. For instance, in the first mission, I tried to play it stealthily, but all the weapons you're given are very loud. In the second mission, there are rooms full of enemies where it was much simpler to just go in guns blazing than try to play tactfully. The enemies also can't open doors, so I ended up exploiting this a couple times, which just felt bad and cheesy. As it stands, it feels like there's little reason to not just go ape with all your guns and kill everybody; there is no difference in the outcome, even killing random bystanders produces no effect. The game gives you all the agency in the world, but no consequences around it. For instance, that arms dealer I mentioned? He has a bodyguard blocking the door to a back room. The only way to loot the back room is to kill the bodyguard, and hence the dealer, who will then aggro on you. There is no way to go about it stealthily. The optimum "videogame" play here IS to kill the dealer, take what he was selling, kill the bodyguard, and loot the back room, because, as is, there are absolutely no consequences for doing so. You just get a ton of stuff for free.
 
I also do feel like the game could use a liiiitle bit more direction in its mission objectives. I'm not talking Ubisoft shit, but for instance, in the first mission, you're told to go to a building, to the west, by the canal, with scaffolding around it, and retrieve a keycard. I feel like that's very clear yet non-intrusive. The second mission, however, has much less direction. You're told to blackmail or kill a certain politician, and that's it. I ended up wandering around lost for a long time, because I had no idea where this guy might be in this huge map (where you can traverse almost any vertical surface mind you), or how I might even begin to blackmail him. I ended up on a very, very distant rooftop where there was a random clue, which only raised more questions than answers. Tangentially, I feel like the game also needs better out of bounds safeguards. That may seem antithetical to the game's approach of letting you go pretty much anywhere, but I'd argue that being able to go out of the bounds of what is intended is antithetical to the game's core principal of creating immersion. I ended up getting out of bounds in the first mission when that wasn't even my aim, I was just wanting to climb up a building, because it was possible.
 
Final thing
 
Now, this was just a demo I played. The gameplay was a little rough and crusty in some places, but from what I understand, the demo is several years old by now and the internal state of the game has gotten a lot nicer since then. And it's worth mentioning that in regards to my criticism about there being no consequences or weight to your problem-solving, that the demo does have a relations system, it just wasn't really utilized in that brief demo snippet. I'm really looking forward to this game still, it feels very ambitious and unique in its ideas and I love its weighty atmosphere.

I played the demo for this game called Peripeteia recently. It's an "immersive sim" game set in a sort of bleak cyberpunk-ish post-Soviet Poland. You play as soulless cybernetically-augmented girl who lives in a crummy apartment and takes on various hits for a living. I don't usually blogpost but I feel like writing about this game so...
 
By far the biggest thing in the demo I enjoyed was the independence it gives you. I guess I get what they mean by immersive -- you can really just do anything. The guy you talk to at the start to get your first job? You can just kill him instantly with the gun he gives you. Or you can steal the stuff behind him and get shot instead. I was immediately surprised by how I could just pick up all the bottles lying around and keep them in my (tetris-style) inventory, after which I went outside, stacked some boxes, and climbed up an entire skyscraper just because (and accidentally ended up out of bounds henceforth). You play as a character, certainly (named Marie), but you're not steered down any particular path. The first person I killed for instance was a random homeless man I shot from a rooftop. I didn't even know he was an innocent homeless guy until I got down to check his corpse, and when I did, I actually felt bad. I had gotten so used to the videogame style of just shooting every person I saw that I just did it there without thinking. And he didn't even have anything on him. That's when I felt the sense of agency that Peripeteia creates.
 
Mechanically, the game has some interesting ideas. Like I mentioned, you can climb. Pretty much any surface that has a defined edge, you can cling to, shimmy along, and leap up. This means that there are virtually infinite ways to reach your mission objective, and the game is designed with this in-mind. For the first mission, you have to infiltrate a building, crack a safe, get a keycard inside, and bring it back. There's probably a more "intended" way inside, but I ended up sticking to the rooftops and then leaping down to a small metal balcony. I was a bit strapped for ammo so I played it more stealthily, using some of the bottles I picked up earlier to distract guards and whatnot so I could dispatch them quietly. There are also a variety of cybernetic augmentations you can toggle at the expense of a gradual energy drain, though I feel like I didn't make good use of these during my gameplay. Once I took out the boss and got the code for the safe, I got the keycard, began heading out, and along the way ended up in some tunnel underground where I found an arms dealer. I sold all the guns I took from the guards I killed and bought some new weapons. I also think I found a secret room? Then I went back, and mission complete. Also a cool thing worth mentioning is that your inventory is persistent and carries over between missions, so what you do exactly and how you go about completing levels does have an impact on future levels in that sense.
 
Criticisms and such
 
Now conceptually, I feel like there is an amazing game in Peripeteia. I love the ideas, the concepts, and atmosphere. But I feel like the systems in the game don't serve those ideas to their full potential. For instance, in the first mission, I tried to play it stealthily, but all the weapons you're given are very loud. In the second mission, there are rooms full of enemies where it was much simpler to just go in guns blazing than try to play tactfully. The enemies also can't open doors, so I ended up exploiting this a couple times, which just felt bad and cheesy. As it stands, it feels like there's little reason to not just go ape with all your guns and kill everybody; there is no difference in the outcome, even killing random bystanders produces no effect. The game gives you all the agency in the world, but no consequences around it. For instance, that arms dealer I mentioned? He has a bodyguard blocking the door to a back room. The only way to loot the back room is to kill the bodyguard, and hence the dealer, who will then aggro on you. There is no way to go about it stealthily. The optimum "videogame" play here IS to kill the dealer, take what he was selling, kill the bodyguard, and loot the back room, because, as is, there are absolutely no consequences for doing so. You just get a ton of stuff for free.
 
I also do feel like the game could use a liiiitle bit more direction in its mission objectives. I'm not talking Ubisoft shit, but for instance, in the first mission, you're told to go to a building, to the west, by the canal, with scaffolding around it, and retrieve a keycard. I feel like that's very clear yet non-intrusive. The second mission, however, has much less direction. You're told to blackmail or kill a certain politician, and that's it. I ended up wandering around lost for a long time, because I had no idea where this guy might be in this huge map (where you can traverse almost any vertical surface mind you), or how I might even begin to blackmail him. I ended up on a very, very distant rooftop where there was a random clue, which only raised more questions than answers. Tangentially, I feel like the game also needs better out of bounds safeguards. That may seem antithetical to the game's approach of letting you go pretty much anywhere, but I'd argue that being able to go out of the bounds of what is intended is antithetical to the game's core principal of creating immersion. I ended up getting out of bounds in the first mission when that wasn't even my aim, I was just wanting to climb up a building, because it was possible.
 
Final thing
 
Now, this was just a demo I played. The gameplay was a little rough and crusty in some places, but from what I understand, the demo is several years old by now and the internal state of the game has gotten a lot nicer since then. And it's worth mentioning that in regards to my criticism about there being no consequences or weight to your problem-solving, that the demo does have a relations system, it just wasn't really utilized in that brief demo snippet. I'm really looking forward to this game still, it feels very ambitious and unique in its ideas and I love its weighty atmosphere.

I was digging the depths of my hard drive and I just want to dump some old TF2 media here.
 
It's not the Black Box we got, but has ideas later used for the Beggar's Bazooka.
 
BUT THERE IS ONE THEY FEAR
 
Gang Garrison Engineer
 
The Holy Canteen
 
Part of a Fake Engineer update. Never got a nailgun, but the Cloak draining and EMP ideas were used in the Pompson and Short Circuit.
 
How tob eat spycicle
 
Pirate Fortress, Someone made models for them, don't know if they were ever released.
 
Before Collector's quality weapons, there was Science Achieved.
 
What if we could burn like... way more stuff?
 
I don't know if this was ever released as a mod.
 
Behold this ancient crossword puzzle.
 

This is something that I have thought about for a long time and discussed in other places, so allow me to give you a tl;dr essay:
 
The 80's was the last "nostalgia" era.  See also the 50's, the roaring 20's and the gay (18)90's.  For a long time (at least a couple centuries) people would get fixated on some time period which happened pretty reliably every 30 years or so.  It's not that there is no nostalgia for other decades, but if you look at the number of works of fiction set in these time periods it dwarfs the surrounding ones.  These decades also picked up nostalgia pretty quickly too: there were "80's days" events in schools by the mid 90's.
 
The trouble is that culture started stalling out in the late 90's, slowed to a crawl in pretty much everything but video games (which had a golden age then) during the early 00's, and basically froze around 2007.  The only way to distinguish works from 2007 compared to works from today is to see what politics they kowtow to, and even that is more a question of degree than type.  Very little has changed in terms of fashion, the use of technology (ex. how the internet effects things), styles of music, etc.  So the 2010's couldn't become a nostalgia decade, since they are practically the same as right now.  If you doubt this, look up people engaging in "10's nostalgia."  It's always going to be one of two things: Either personal nostalgia, i.e. "I miss being a kid" from people born in the 00's, or nostalgia for something which has been in steady decline through the 10's, meaning it was better then than now, but it was even better before that (ex. internet animation culture.)
 
Hollywood absolutely needs name recognition and nostalgia to work now.  The suits never cared much about quality, but now they don't even recognize it as something that can be in movies.  But they do know that if people recognize what something is then you can catch them more easily with an advertising campaign to at least break even before people catch on to the fact that something sucks.  And every once in a while you'll get something actually good (or at least above the low bar set by modern films) and make tons of money.  In contrast original properties are a huge gamble: they need to be groundbreaking in terms of quality to make a profit and even then there's a big risk that people won't see them because the marketing campaign doesn't work.  (Even stuff like The Shawshank Redemption bombed on release, and things are much worse now.)  So they need to grab something that is "safe" which usually means going back to the 80's in some way, as things stalled out since then (i.e. they should be able to go back to the 10's for new content, except there really isn't non-derivative new content from the 10's.)
 
As a consequence of all of this we've been running on 80's nostalgia for literally 30 years at this point.  People are graduating college who have lived their entire lives in an 80's nostalgia boom.  And like anything if you keep copying it over and over and over again, the quality will decrease and you'll lose track of what you were trying to do in the first place.  It's the same reason that so many Isekai stories are crap: they are usually copying another Isekai, which lazily lifted things from a JRPG, which in turn lazily lifted things from another JRPG, which in turn stole its mechanics from a pen and paper RPG, which in turn stole its ideas from classic (pre-80's) fantasy fiction.  You're so far removed from someone trying to be creative that the result feels hollow. The same thing has happened with the 80's: modern works set in the 80's are often rip offs of stuff which are in turn a rip off of Stranger Things which in turn is based more off 80's movies than the actual 80's itself.  The original is obscured.
 
I think the process is more obvious in attempts to make 90's movies.  There's not a lot of these, but occasionally Hollywood tries it do to realizing that the 80's are pretty played out and they probably should look for another vein to mine.  (Not that this realization will stop them: we figured out that zombies were overdone in what, 2010? And yet we still have plenty of zombie crap.)  The trouble is that 90's nostalgia has never really been a mainstream thing, unlike 80's nostalgia.  So they try to apply this lazy copying process to the 90's but they don't have the cliches to work off of.  For example, in the 80's you'd automatically do neon lights/pastel colors, new wave or synth heavy music, make nerdy kids the stars, have bikes and retro technology be front and center, etc. What do you do for the 90's?  Hollywood has decided it's the "grunge" decade, with maybe some old school hip hop culture.  What makes this particularly absurd is that "grunge" was a fake concept at the time and so it can't guide anything.  So in the end "90's nostalgia" movies end up being modern culture, just people have flip phones instead of cell phones and the internet is dialup.
 
When it comes to the 80s though there is another complicating factor: 80s science fiction in particular has captured the imagination of many young people.  Imagine that you are 16 (which I'm pretty sure that no one here is.)  Then you were born about 2007.  What significant progress have you seen in terms of technology?  I'll give you the recent stable diffusion type AI stuff (which isn't being used for anything worthwhlie) but everything else hasn't advanced noticeably throughout your entire life.  Skyrim came out when you were 4.  What, are you supposed to be amazed by the futuristic possibility of playing Skyrim Special Edition or Skyrim VR?  In contrast, suppose you were 4 when Super Mario Bros. came out.  Then when you were 16 it'd be about 1997; you'd be playing Goldeneye, Symphony of the Night, Final Fantasy VII, Diablo, Quake II, etc.  No one would have to convince you that video games had been revolutionized during your lifetime, and your expectations for the next decade would be sky high.  The same would be true in every other avenue of technology.  But if you were born in 2007, the best you can really hope for is "the same stuff, but with somewhat better graphics."  This isn't getting into the "mud genre" (i.e. the same "open world" template applied to 90% of AAA games) and "story based" games which provide little to expand upon other than another (by the books) story.
 
So if you are in this age group, it's hard to have high expectations of the future.  If things keep going the way they are going, it's just going to stay 2007 forever.  But when you watch 80's science fiction you are being offered a different vision of the future.  Back to the Future: Part II, Blade Runner, Bubblegum Crisis, Dune (David Lynch), Akira, etc. are all offering you something very different than what you've seen in your life.  So it is easy to get obsessed with those ideas.  Yet the result is not the 80's, but the 80's as experienced by someone living through current year +8.  It's much like how steampunk is ostensibly based on 19th century ideas but in reality has very little to do with it beyond aesthetics.  This gives you the "synthwave" style of 80's nostalgia, which is not really 80's nostalgia (since most people active in it were little kids or not born in the 80's) but rather has more in common with longing for medieval fantasy worlds.  That is, you know it isn't real, but you wish it was.

Nay, it's -core. 80score

Fahrenheit: 0 = really cold, but commonly experienced, temperature.  100 = really hot, but commonly experienced, temperature.
 
Celsius: 0 = kind of cold but it gets colder than this in most places. 100 = お前はもう死んでいる (i.e. you ded.)
 
And yet Celsius apologists will defend their system on the basis of finding it easier to remember the temperature that water boils at, as if you wouldn't be able to tell if water was boiling without putting a thermometer in it.

Why did you ever leave

Ho-lee shit. What a labor of love. They even got the original voiceactors.

Ho-lee shit. What a labor of love. They even got the original voiceactors.

Ho-lee shit. What a labor of love. They even got the original voiceactors.

Just two dudes in a cave:

 
I tried out a new paint-y, lineless style here, and I think it looks pretty good! I felt that drawing without clear lines forced me to understand light and shadow better to convey the shapes of things, so I think I learned a good bit, but it's something I still struggle with so I also got a lotta ways to go.
 
Bonus worldbuilding no one probably cares about:
 

Just two dudes in a cave:

 
I tried out a new paint-y, lineless style here, and I think it looks pretty good! I felt that drawing without clear lines forced me to understand light and shadow better to convey the shapes of things, so I think I learned a good bit, but it's something I still struggle with so I also got a lotta ways to go.
 
Bonus worldbuilding no one probably cares about:
 

Decided to watch some cartoons. Man, how far these channels have fallen.
 
There are like 10 cartoon channels, 6 of them are for babies/toddlers. Disney is either live action sitcons or Loud House. Nickelodeon is either Spongebob, Patrick, Spongebob Babies or live action sitcom.
 
Cartoon Network is a shadow of its former self, I looked at the channel schedule and it was 3 hours of Teen Titans GO, followed by Bare Bears Babies, Total Drama Babies, Gumball and some shitty obligatory by law brazillian cartoons, followed by another 3 hours of Teen Titans Go. ITS ALL THEY SHOW, THE ENTIRE SCHEDULE WAS 70% TEEN TITANS GO. THIS SERIES HAS 400 EPISODES WHAT THE ACTUAL FUCK
 
Dreamworks has an entire channel to "low quality shows of our animated movies".
 
The only channel worth watching is Tooncast because it only runs old cartoons (early 2000s ones), shame that the Boomerang channel that used to show really old cartoons changed into live action sitcoms then was nuked.
 
Its times like these that I really miss the old schedule, weird cartoons played early in the morning (I remember some show about Tripplets and a witch), at the start of the afternoon they started with shows like Shaolin Showdown, Toonami started at 17:00 with Pokemon, followed by Dragon Ball, Inuyasha and Zatch Bell. Followed by Cartoon Cartoons from 19:00 to 22:00, having a mix of Dexter, Cow and Chicken, I Am Weasel, Johnny Bravo, Megas XLR, Time Squad, Samurai Jack, Powerpuff Girls, Ed, Edd n Eddy, and several others. Then after that, it was Bugs Bunny and Daffy Duck Show for one hour, ending with the Tex Avery Show.
Adult Swim wasn't from my time, but I remember stuff like Evangelion and other animes playing after midnight.
 
Was the Locomotion channel available in other countries? I remember it was mostly adult anime, I still remember stuff like Agent Aika, Burn Up Excess and Saber Marionette from there.

When you think about it, foxgirls are kind of an unsettling and disgusting concept, aren't they?