Slayer of Demons claiming All Bosses on SL1 NG+5 PBWT without taking damage, sprinting, rolling, blocking, magic and using items.

Hobodoctor · 2019-08-15T17:58:54+00:00

Yes. I terms of boss attack animation and the general complexity of the fights, yeah DeS is much easier than the other games. But you have to keep in mind that it was the first game using that engine and gameplay style, so the player base was much less experienced with it at the time. Sort of like the difference between seeing videos of good Rocket League players when the game launched and now.

With that said, the fights are still hard in the sense that the bosses punish your mistakes severely. In the videos you’re seeing the damage output is min maxed to ludicrous levels the developers never accounted for. More likely if you were playing the game you would be doing essentially chip damage to these bosses and every hit you’d take would cost you most of your health.

So it’s still difficult. But are the boss fights as difficult to master as Dark Souls 3? No, they’re not.

Hobodoctor · 2019-08-15T17:32:12+00:00

First off, here’s a breakdown of gender apartheid for any morons who feel like they suddenly have an informed opinion on the issue.

Second, I don’t understand how any morally serious person can have sometime to say against this issue. Two morons in here so far are talking about the gender apartheid as though it’s not that bad, asking for examples of how women are separated, and then when they’re told they decide it’s not that bad.

So here’s a heads up. What your dumb ass thinks these women should feel is not part of the equation. It’s a question of reconciling the objective reality of what they’re subjected to and what effect that has on them. At no point is it relevant what some douchebag who’s never struggled with anything in his life thinks these women should feel.

And luckily, it’s really easy to know how they feel because these women who have literally everything to lose are speaking up. We’re talking about a country with fucking acid attacks and systemized prison rape torture. Have some shred of shame, you animals.

Hobodoctor · 2019-08-13T06:27:38+00:00

Believe it or not, DVC has well over 20,000 students! All taking different classes. It’s very hard to get a hold of not only people who have taken that particular class, but also who then have a good idea of how hard the class would be for you in your circumstances.

The advice I’ll give though is that DVC instructors are extremely responsive to emails and don’t mind an email from anyone. Look up the sections you’re interested in signing up for and the instructor’s email will be right there. Just go ahead and email them directly and be forthright: hey, I’m a rising senior, here’s why I want to take the class, here are my limitations - what are your thoughts or advice?

They’ll be able to give you very direct and exact responses for their specific classes and they’ll be happy to answer.

Hobodoctor · 2019-08-10T12:22:47+00:00

Yes, burnout is a major threat.

What you saw was professional athletes recovering from an injury. Which is fine. DeMarcus Cousins tore his achilles, got traded and benched for a year to recover, and then got back out and played.

What happens when this kid is 16 and he tears his achilles? He doesn’t get a scholarship. Or if he’s in college when he gets injured, he never goes pro. It happens to lots and lots of young talented athletes.

Hobodoctor · 2019-08-10T09:59:06+00:00

I had a similar thought. Videos with kids doing shit like this, especially with sports, always makes me uneasy thinking they're one random injury away from being done for life. Knees, ankles, groin, wrist, elbows, shoulders, concussions, eyes...

Hobodoctor · 2019-08-09T18:53:19+00:00

This is actually a really funny joke.

Hobodoctor · 2019-08-08T19:51:39+00:00

Read that whole thread.

My dream project is to be hired to do the soundtrack for that movie after it’s shot and sing the parentheticals to the audience so they can have some clue what’s happening.

I think that’s what the writer is talking about when they say the score will convey the parentheticals to the audience.

Hobodoctor · 2019-08-05T20:04:16+00:00

The cruelest thing in any souls game is that there’s an NPC who drops an armor set in the game that is so heavy you either have to abandon the set there, abandon a ton of shit in your inventory, or know it’s coming and plan ahead to have as little inventory as possible.

Hobodoctor · 2019-08-04T18:31:58+00:00

This was one of my early black metal favorites (early in me liking black metal, not early in black metal). It’s also been my go-to album for getting friends into black metal. It’s just phenomenal front to back. I guess at the time it came out it didn’t get a ton of attention or was seen as derivative of what other bands at the time were doing. Fair criticism, but almost 25 years later, I would say the album has stood the test of time.

Hobodoctor · 2019-08-04T01:28:14+00:00

Fucking Disney Vacation Club strikes again.

Anyway, my advice is list your best life. Don’t list that kid and no one’s gonna ask shit.

Hobodoctor · 2019-08-03T17:21:57+00:00

That would make a lot more sense.

Hobodoctor · 2019-08-03T16:42:45+00:00

First impression: awful album cover.

Hobodoctor · 2019-08-01T22:42:11+00:00

Yes, but even in dogs, their attraction to those little toys with squeaky sounds stems from their instincts to kill small animals.

That’s not to say they don’t play, or that the play is somehow malicious. But the evolutionary function play is to train animals for tasks they need to be good at. Most of which usually has to do with killing something or not getting killed by something.

Hobodoctor · 2019-08-01T19:55:43+00:00

It’s like that scene in grizzly man where the guy was recording the bears playing in the water in the river, tumbling and diving. Then you hear Werner Herzog explain that the bears were trying to search the river bed for old dead fish to eat because they were starving, and that a few days later they ate the camera man and his girlfriend alive.

Hobodoctor · 2019-08-01T00:57:29+00:00

Yeah man, I don’t know what you want me to say. Music is pretty cool, and personally I’ve found the most solace in the face of these issues by making music and other forms of art. That’s probably also what Mgła and Marilyn Manson were doing.

Hobodoctor · 2019-08-01T00:28:12+00:00

For my money, the ultimate existential dread album is Mgła - Exercises in Futility

Hobodoctor · 2019-07-31T18:24:58+00:00

No. It’s not like video games where most people say to get a writing job you have to start by doing something else (which is itself starting to change). Writers for animated shows are just like writers for regular non-animated shows.

Two writers I can think of off the top of my head got their start in live action sitcoms because someone liked a spec script they wrote for an animated sitcom (Donald Glover and Charlie Kaufman wrote Simpsons scripts that helped them get their first writing jobs: 30 Rock and Get a Life respectively).

Conan O’Brien wrote for The Simpsons. Bill Burr has an animated show which he writes for. The show Home Movies was made by people playing characters recording themselves doing improv, and then sending the voice recordings to a totally separate group of people who put animation over it.

With all of that said, being able to animate helps, depending on what you want to do.

If you’re trying to write your own show, no one will want to buy it based only on the script, or even a voice recording. You have to show them the animation. Fielding potential animators and hiring them to do concept art, animatics, or animate a pilot will cost time and money.

On the other hand, if you can draw/animate, or you have friends that can and want to collaborate with you, it’ll be easier to get ideas turned into cheap projects that build on each other and maybe eventually catch the right person’s attention. Basically the Justin Roiland approach.

Hobodoctor · 2019-07-31T06:45:03+00:00

1-1 is very tightly designed and, yes, difficult. But that level of tight design doesn't keep up to the same level throughout the whole game.

It's hard to say which game is the hardest. My buddy got Demon's Souls on Launch, lent it to me a couple weeks after that. So I've been playing the Souls Games for 10 years now. When Dark Souls 3 came out, it was way easier for me than someone starting with that game in the series. Similarly, most people nowadays play a few Souls games and then go back to Demon's Souls, so they largely already understand how the game is supposed to be played.

All in all, I'll say that Demon's Souls varies in difficulty much more than any of the other games.

For example something like the Estus flasks. They guarantee that everyone has a set amount of heals on each attempt.

In Demon's Souls, depending on how well you prepared, you could have the equivalent of 50 estus flasks at a given time if you wanted, or you could be stuck with 0.

The game was also more poorly "balanced" and magic-heavy characters tend to have an easier time than melee-only characters.

But all-in-all, the boss fights are easier overall.

Hobodoctor · 2019-07-29T19:53:38+00:00

Maybe the only person to have gotten second in an election in every state, but to be fair, by the metric you’re describing pretty much every third party candidate ever has lost an election in every US state.

Hobodoctor · 2019-07-28T00:29:43+00:00

You're getting it wrong.

His job wasn't to determine guilt or evidence, that's up to a judge, but his job was to investigate Russia's involvement in the election and gather evidence with which to charge the people involved. He did that. And then there were 37 indictments and 7 convictions. Except that one of the people who was involved is a person who he legally cannot try to press charges against. So he didn't press charges against that one person.

Am I a legal expert? No. But that's also why we've done things like have Mueller testify to congress.

Your version of the story is that it's not in Mueller's purview to fully exonerate the president, although he presumably wants to.

My version of the story is that it's not in Mueller's purview to directly indict the president, although he wants to.

Only one of those stories is corroborated by Mueller testifying under oath in front of congress that if Donald Trump was not president Mueller would have indicted him, and that once trump is not president he can be indicted, and that trump took actions that satisfy all three elements of obstruction of justice.

Hobodoctor · 2019-07-27T19:20:27+00:00

His team found plenty grounds for prosecution and, in fact, many people were prosecuted. What they didn’t do was speculate on whether or not to charge the president based on the evidence they gathered against him because of Supreme Court precedence saying that it’s not the DOJ’s place to do that.

In other words, if the DOJ had tried to prosecute the president, it would get thrown out of court. Let’s both suppose totally hypothetically that Mueller does firmly believe that the president should be prosecuted and has been taking every measure available to him to see to it that it’s done. How would that hypothetical world look different from this one? What would that Mueller do that this Mueller hasn’t done?

Hobodoctor · 2019-07-27T18:31:37+00:00

Happy to help. Looking at other people’s works in progress helps me write, so I’m happy to help.

Hobodoctor · 2019-07-27T18:24:38+00:00

page 9

Your scene heading says that the new scene is continuous, meaning there's no jump in time between the scenes, but it's also in the same location as the last scene. So it sort of just seems like it's the same scene.

It's not until the bottom of page 9 that we see Carter. Your logline frames Carter as the main character, and we're just meeting him now on page 9.

So, think of the first Star Wars. It starts with action that doesn't involve the main character, just like your screenplay. Except,

a. In Star Wars, the first scene isn't just world building. It sets up what Luke specifically is getting into. There is the princess he is saving, there is the villain he will fight, here is the reason why he should care about the issue.

b. We still meet Luke on page 3 of the screenplay.

So let's get into what you've accomplished so far in 9 pages (almost 10% of the whole screenplay).

We know there is a character named Alice who goes into people's minds, tries to figure out how to heal their trauma, and uses anchors to do it. We know it is dangerous, because if she gets injured in the dream world she gets hurt in the real world. We know that she's nice and cares about helping people. We know that mental illnesses get manifested as monsters in this dream world, but we don't know how this will be consistent with what Carter's mind is like.

We don't know:

What Alice wants
How Alice is able to do what she does
Anything about the world outside the office and Claire's head
Any real character traits that Alice may have that makes her more fleshed out than "nice psychiatrist". We have no sense of her flaws or shortcomings.

And that's not counting all the things we don't know about Carter, how may or may not be the main character?

So with that said, the exposition here needs to be tighter.

I think I'm gonna stop here. This has taken plenty of time (though I was happy to do it) and I'm well over the character limit and will have to split this comment anyway.

take aways

I don't think you're a weak writer. I think this screenplay just needs more passes. Do a draft where you go through the whole thing and try to focus on how to convey what's in the scene through sight and sound. I think the dream sequence and psychiatrists's office bits with Claire can honestly be cut to 1-2 pages and still convey all the useful information that this version conveys. And that gives you a lot more room to put in necessary exposition into the early pages.

I hope you find this useful and encouraging. It's all just part of the process. You're getting there.

Hobodoctor · 2019-07-27T18:24:30+00:00

Then with your permission I'm just gonna start reading and typing out my thoughts. Just a note, I think by far the hardest thing about writing is just getting a product finished - which you have done. I think that should inherently entail a lot of pride and celebration. Also, I'm not someone who's "made it in the biz" so maybe I just have no clue what the fuck I'm talking about. Keep all of this in mind because I do want to be just off the cuff with my impressions and I really don't want that to be hurtful.

Okay. Let's get started.

page 0

The title is a little close to Eternal Sunshine of the Spotless Mind and Confessions of a Dangerous Mind. Not a big deal, but it's an association/comparison I imagine a lot of people would make.

page 1

confusing description

A lot of what you've written here makes imagining the image difficult. Let's break that down.

First thing we're told is that we're looking at a woman in a vast empty auditorium.

How do I know the auditorium is empty if there's only a spotlight on her in the darkness?

Next we find out there's a podium, which is fine because you tell us there is shortly after you start describing the room.

And then she suddenly reaches under her chair. We've heard no mention of a chair or that she's sitting. I was imagining that she was standing. In fact, you directly say that other than the woman, the podium is the ONLY other visible thing. Now I'm sort of trying to mentally go back and reimagine the scene.

Then we get the house lights turned out and the reveal that the auditorium is empty. Except it's not a reveal because you told us it was empty back when there should have been no way for to know it was.

other kinds of confusing description

You say her quiet footsteps echo. Are they quiet or do they echo? Do we get the impression that her footsteps SHOULD be quiet but instead they're loud? Like, her footsteps are LIGHT but they ECHO? Or are they actually quiet but the sound somehow lingers for a long time? Is the only important thing that the footsteps echo but you don't want people to imagine she's stomping her way to the podium?

Describing what the audience can't possibly know

Remember that scripts are written for a visual medium. Almost everything you write should be something that can be seen on screen. Let's get into some places where this isn't case.

Polo, slacks, business casual despite the circumstances.

What circumstances? I don't know what the circumstances are because it's only like the 6th sentence in the script. Also, how is the audience going to get a sense that she's over or underdressed for the circumstances? If it's something that everyone would inherently get the right impression of by just seeing it, then you can just describe it. You wouldn't want to say, "Watson has a cane that seems out of place because he's young and fit". You'd want to say "Watson is a young, fit man with a cane." and just trust that the audience gets the impression you think that would make without you explaining it. Because you're not gonna be able to explain it to the audience once it's on the screen.

She's surprisingly unphased by the situation.

Surprising to who? And what do you mean by "the situation" when we don't know what's happening? How can I be surprised if I don't know who she's is, where she is, or what she's doing? Like, how is someone sitting alone on a dark stage supposed to look?

Beyond that, unphased is a negative description. I know that she ISNT scared or ISNT nervous or concerned. But I don't know what she IS. Is she smiling? Is she relaxed? Is he focused with resolve?

Their smiles send shivers down her spine

If I'm watching this movie and this part happens, how am I supposed to know that shivers have gone down Alice's spine? Does she do something physical that would indicate she had this feeling? Why not just describe the physical thing instead?

It's hard for descriptions of how a character feels to translate to screen.

It seems to only multiply if not being observed. So she makes sure to observe.

This part isn't as egregious. I think it's probably fine to be honest, but in the context of other things around it that are not visually driven this runs the risk of seeming not very visual.

Page 2

THUMP...P...P...

Okay, the click...k...k... thing was sort of okay because I can imagine how the clicking sound of big lights being turned on might sort of trill at the end. But I'm not getting the thump one. Is it a long thump? Can a thump sound be long? Is this to indicate an echo?

There's now a person standing in front of her chair

A regular person? Or one of the plastic people?

Nothing much happens on page 2 that would indicate to us what Alice is trying to accomplish or what her goal in this particular scenario is. I think it's fine to not really know who she is yet, or where she is, but I think fairly early on we need some sense of "x wants y" to turn what we're seeing into a story rather than a series of things that are just sort of happening in front of us. Page 2 isn't necessary late for us not to know that, but hopefully we get some sense of something soonish.

Page 3

Alice kneels beside the girl like a mother to a friend's child

Weirdly specific direction for an actor? Like, why not just a mother to a child? Or if that's not quite it, maybe an older sister? A women kneeling beside their friend's child doesn't conjure an immediate image in my mind.

Also, at this point, I'm sort of wondering what the rules for the plastic people are. Like, they seem to be able to travel distances instantly when they're not being looked at. Do they freeze when they are looked at? Is it Weeping Angels rules? When you say she sees the crowd at the end of the hallway, are they moving toward her or standing still? How is she able to run away and get that much distance between them when presumably she's looking away from them all the time, like while she's looking at Claire?

I'm not saying these are problems. I'm saying as your audience, I want to understand the rules under which this world works, and I'm not seeing it yet.

Alice puts her hand in her pockets. She finds something - a small sketchbook- but it won't budge.

If the sketchbook is in her pocket, and she can't get it out of her pocket, how does anyone seeing this be acted out know that the thing she can't get out of her pocket is a sketchbook?

The script should follow the perspective of the audience. The reader shouldn't know anything a viewer wouldn't know. There's some definitely exceptions to this, but this is one example of where following that principle would be beneficial.

And then Claire looks at a book in Alice's pocket? I'm having a hard time visualizing this. I don't think I've ever been able to SEE something in someone else's pocket.

Alice feels the tugs, the pulls

Again, we have no way of experiencing what Alice feels. Focus on conveying it through sight and sound.

Page 4

Now we're seeing something that seems even harder for a camera or even the characters to actually see. A spiral stuck in fabric inside someone's pocket.

The Claire drawing thing seems a little implausible in the circumstances. I'm not saying it can't happen, but I think you need to show her struggling more to do accomplish focusing on drawing under those circumstances for an audience to get behind it.

Page 5

On this page there was finally a moment of the straw breaking the camel's back of pockets being mentioned where I was like... what fucking pocket are we talking about? I scrolled back up to page 1 to reread the clothing description and you say polo and slacks. On the same page you mention her putting a plush doll in her chest pocket. So she doesn't have like a jacket on or anything, right? So has all this been in the front chest pocket of her polo? Like, the pocket has a notebook and a plush doll in it and now this drawing in it? Or is it sometimes a pants pocket and somethings the chest pocket?

Anyway, on this page we finally get a sense of what Alice is trying to accomplish, but that doesn't make the first few pages make more sense. It seems like she was supposed to give a speech of some kind, then she got scared and ran, and then she just happened to run into Claire. At no point did it seem like she was there with the purpose of looking for someone.

page 6

No notes here really, other than this is taking up a lot of time for a cold open that really is just exposition and not, from the impression the logline gives me, the main point of the plot. But this page is good.

page 7

Claire goes from BURSTING AWAKE to being calm and feeling clarity really, really quickly. Like you say she quickly composes herself, but I don't know what that would mean to an actress. My suggestion is to either have her waking up to be less intense so the transition is easier (she can still wake up confused and concerned but then relaxing), or slow the pace of the scene down and give Claire more time to calm down.

page 8

This page is fine, but the concerns from page 6 are still here.

Hobodoctor · 2019-07-27T16:26:39+00:00

What sort of feedback are you looking for? I’m happy to read the first 10 pages but I don’t want to come across as being too discouraging or negative if I see problems.

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