hunk’s reduction of character to being a fat joke in season two without touching on any aspects of his personality that have been hinted at from going to the garrison and how he was literally a crucial part in finding the blue lion because he put together the weird alien element map together:
me: screencapped and emailed to my lawyer. She will have filed charges by tomorrow afternoon. By law We must allow you 48 hours to remove the offending material. If not, you will be charged with defamation of character, libel, and criminal mischief, all misdemeanors. You will face a judge trial.
THIS Map created by Max Galka uses data gathere from the National UFO Reporting Center to generate a geographic visualization of where UFO sightings are taking place.
You can click on each green dot and it will bring up a detailed report of the sightings broken down by the number of witnesses. Some of the dots also have pictures or an illustration of the UFO attached to them as well.
Maybe you can use this map to find out if the unidentified flying object you saw was seen by others.
This might be a bit of an odd question, but how would you personally improve Prometheus?
I’m assuming you mean the movie and not, like, the mythological titan.
First improvement: scrap every character except David and start over, because they’re all boring, inconsistent, and terrible. David is also inconsistent and terrible, but he’s at least interesting, so if we just make him consistent and well written, he’d be fine.
Since the expedition consists of scientists, let’s actually make them ACT like scientists, as opposed to either 1. creationists or 2. poorly written strawmen. Let’s have them actually be competent in their fields, instead of, say, having a geologist who gets lost in the building he mapped out or a biologist who’s afraid of a corpse but NOT a hissing nightmare penis cobra. Let’s give them more well rounded personalities than “has an obvious character flaw, like being an asshole or a coward, which shifts in and out of their characterization depending on how we need them to act for a scene rather than being consistent.”
Let’s also have most if not all of the people actually WANT to be on this expedition - it’s a lot more interesting/dramatically ironic if these people are all SUPER PUMPED to explore new worlds and seek out the life they might find there, only to have it all go horribly wrong. Most of the characters in the film seemed disinterested in the expedition at best and downright resentful that they were there at worst, which resulted in most of the character building moments being “MRAAH I DON’T WANT TO BE HERE ADVENTURE SUCKS,” which 1. isn’t endearing and 2. doesn’t really provide a character arc, since they basically go from “I THINK THIS MISSION SUCKS” to “YEP THIS MISSION SUCKS ALRIGHT,” which isn’t really good for character growth.
I don’t want to brainstorm a bunch of entirely new characters to fill up the cast right now because that’s a lot of work for a tumblr ask, but that’s what I’d have to do first and foremost to make this story not suck.
Let’s move onto the plot. The plot of Prometheus is simple at its core but made into a jumbled mess by its execution, which is what happens when you hire Damon Lindeloff. So let’s cut to the core a bit: at its center, Prometheus is about people finding evidence that aliens visited earth, and using ancient clues Nicholas Cage style to track those aliens down. They find an alien world that hides dark secrets and stumble into a whole slew of monsters.
Now, one of the ways Prometheus makes this needlessly stupid and convoluted is that they make the ancient aliens the creators of “all life on earth,” with some bullshit about how humans have identical DNA as the Engineers and all that. It’s the kind of thing that sounds like it makes sense to people who paid no attention in high school biology and thus only know what DNA is from pop culture. While this plot point is technically important for the whole “stressful parent/child relationships” theme that the movie has going on, it’s also intensely stupid and I hate it, so it’s getting cut. Sometimes a theme must suffer for the sake of telling a good story.
But now we have to rejig things to accommodate for that major change, and rejig we shall! So here’s how things start out instead: archaeologists discover evidence of ancient aliens, complete with what seems to be a star map. Their corporate financial backer, Mr. Weyland (or was it Mr. Yutani? I forget which one was involved here), who’s a bit of a wacko, decides to fund a rushed expedition to the planet in the star map. He thinks these aliens must have created humanity (which the other scientists rightly think is a kinda stupid hypothesis), and wants to meet them to bring humanity to the next level. An expedition of ambitious experts is assembled, and off to space they go!
They get to the planet and discover that, while it’s technically habitable, all life on the surface is dead. There are corpses of all sorts of different creatures littering the surface, decayed and partially fossilized. Some look much like terrestiral life, but a good deal more look very Giger-esque. Most of the corpses are not in one piece, showing their deaths were pretty violent. Something horrible clearly happened here.
But our heroes proceed, disturbed but willing to risk the danger in hopes of discovery. They find an Engineer building and search it, discovering vague holotapes showing chaos on the ship and the creation of various Giger-esque monsters. They find laboratories filled with strange monsters - David in particular is intrigued by this, as the idea of other artificial life intrigues him. While the other explorers are trying to find kinship with the Engineers, David finds it all to easily in the monsters they created.
We eventually discover two things: first, the planet isn’t as dead as it looked, as there are a lot of strange monsters living within this building. The many different monsters in Prometheus were, in my mind, its greatest strength, so my take would push that even farther - we’d have an entire ecosystem of Giger-esque nightmare creatures here. When first discovered they’d be in a state of suspended animation, but the explorers broke the “seal” when they entered the tomb, allowing the Giger beasts to get active again. The building quickly turns into a living hell.
Second, we learn the Engineers were nowhere near the benevolent precursors Mr. Weyland/Yutani believes them to be. They didn’t create life on earth, nor did they visit earth to help us out - they’re colonialists who spread from planet to planet like a virus. They did tinker with humanity’s ancestors, but it wasn’t so humanity could have some grand purpose - it was to make us better hosts for their bioweapons. We aren’t children of the Engineers - we’re their petfood. While Mr. Weyland and the other explorers are disheartened by this discovery, David understands it totally - after all, he was created to be a disposable tool, so why wouldn’t humanity follow a similar route? The anger and frustration the explorers have at this revelation inspires him, though - after all, if they won’t accept their purpose, why should he?
The opening of the building has also been noticed by the Engineers, and soon enough an Engineer ship arrives on the planet to figure out who popped open their preserved bio-weapons. The Engineer ship blows up our explorers’ spaceship, stranding them on the planet. A squad of Engineers enters the building to destroy the remaining explorers and seal things up again, wearing biomechanical suits that make the Giger beasts nonhostile towards them. We’d have at least one shot of an Engineer in its elephant-face-mask armor walking calmly through a sea of different nightmarish Giger monsters, all of which treat him with absolutely no animosity, because I think that would be a very eerie and interesting visual.
While the Engineers kill a few of them, the surviving explorers eventually figure out how to retaliate, killing all the Engineers in the building and taking their suits as disguises. The fact that the Engineer’s host form resembles a human very closely is once more a meaningful plot point, albeit in a different way than in the original. David also joins the group, hiding in the Engineer travel craft with some very familiar looking eggs.
Our heroes then sneak into the Engineer’s ship and try to take out all the remaining Engineers so they can use the ship to get home. The plan succeeds thanks to David’s secret weapon, but unfortunately all of our human explorers are taken out in the process - either by the Engineer’s hands or, in the case of the final survivor, by stumbling into one of David’s alien egg traps and getting a good ol’ facehugger.
Now the only person left alive on the ship, David returns to the Engineer Building and basically loads up on eggs and other monstrosities, then sets off with plans to spread them as far and wide as he can.
In 1929, a group of historians, whilst searching old documents in Constantinople, found a map on a dusty old shelf hidden away in the archives. It had been painstakingly created on a piece of gazelle skin.
Research has since confirmed that it is a genuine document drawn in 1513 by Piri Reis, a famous admiral of the Turkish fleet during the sixteenth century.
His passion was cartography. His high rank within the Turkish navy allowed him privileged access to the Imperial Library of Constantinople, from whence he obtained ancient source maps which enabled him to compile an archeological wonder, today known as the Piri Reis Map.
The Turkish admiral admits in a series of notes he wrote on the map that he compiled and copied the data from a large number of source maps, some of which dated way back to the fourth century BC and much earlier
The map was of immediate interest as it accurately portrayed the coastlines of South America and Africa, at their correct relative longitudes and latitudes. As the map was dated 1513, only 21 years after the official discovery of the Americas by Columbus in 1492, it seemed improbable that the map was compiled from cartographical data obtained by Columbus. The legend on the map itself in fact, gave it a source far older than 20 years, revealing that it was a section of a world map composed from more than twenty source maps, some drawn in the time of Alexander the great.
Despite the mystifying problem that the map included accurate longitude measurements – a task deemed impossible until the invention of the chronometer in 1760, there was something else displayed on the map that made its origin and history even more perplexing.
The Piri Reis map, in addition to accurately charting the coastlines of western Africa and eastern south America also included a third continent in its cartography. This map accurately portrays the coastline of Antarctica – a continent supposedly undiscovered until 1820, over 300 years after the maps creation!
However, the mystery doesn’t end there. Not only did the map illustrate accurately the coastline of Antarctica, it illustrated the coastline when the continent was ice free. Only recently, with the aid of satellite technology and GPS mapping, have science and cartographers managed to accurately plot the actual coastline of Antarctica minus the ice. However, if one were to superimpose the Piri Reis map over a modern map of an ice free Antarctic coastline, one would find the outlines almost identical.
But this presents a massive problem for historians. According to recent geological surveys of ice samples taken from Antarctica, the last time it was free of ice was between 6,000 and 12,000 years ago. So whoever created the source maps used by Piri Reis, must have had detailed knowledge of not just the area during this period – a period when, according to mainstream historical accounts, advanced civilizations did not exist – but advanced knowledge of navigation, cartography, and sophisticated mathematics.
Furthermore, not only did the source maps accurately depict latitude and longitude, but also included a mercatorial projection. A mercatorial projection is a geometric formula used to account for a 3D globe being represented as a 2D image. Such high levels of geometry had not been seen since the time of the Greeks and it was not until the work of Gerald Mercator in 1569, that European’s began to include a projection for the curvature of the earth into their maps.
In all probability, the discovery of the Piri Reis map should completely discredit mainstream historical accounts of the origins of modern civilization. Moreover, historians of integrity should be questioning official accounts and investigating the possibility that hitherto unknown highly advanced societies most likely existed thousands of years before our current historical accounts were formulated.
A classic title for Sega Master System released in 1989. The game has just been re-released for modern hardware and plays exactly like the original with revised graphics and sound. It also gives you the chance to play an 8bit version of the game at the press of a single button anytime during gameplay!!!.
You can start off as a Wonder Boy or a Wonder Girl. Just like the original game, you are cursed by the very dragon you went off to defeat and are tranformed into a …………lizard. The only way to break the curse is to find an item called “The Salamander Cross”. This “horrible curse” gives you access to various forms as the game progresses, namely the lizard, the mouseman, the fishman, the hawkman and the lionman. Each form has unique abilities e.g. the mouseman form enables you to walk on walls. Essentially with each form you gain you are able to access areas that you could not with your previous form.
Apart from your basic attacks you also have access to secondary weapons. However the most powerful of all is clearly the boomerang as it passes through walls and obstacles (???) to defeat enemies and makes some parts of the game a lot easier to defeat. Speaking of difficulty there are different difficulty modes to enable players who are not accustomed to the totally unforgiving gameplay of the original to experience the game without having to visit their local psychotherapist. Also, the absence of a map may alienate modern gamers.
Compared to the original, the graphical and sound updates of the game are welcome. Graphics have a hand drawn feeling and are filled with details instead of the generic backgrounds of the 1989 version. Enemy animations are also very detailed and look as if inspired by a children’s comic book (adding up to the nostalgia factor of the title). Also the ability to switch secondary weapons on the fly compared to the original pause-change-resume is also an excellent addition enabling a non-stop action experience.
Score: 7/10. A faithful recreation of the original with graphics, sound and functional updates. Despite some frustrating moments its an old school platformer still fun to play after all these years.
What I scream back:
Gintama is a complex, historical anime based on the transition Japan makes at the end of the Edo Period. This period is marked, historically, by the arrival of "the black ships"; which has brilliantly been mapped onto an alien invasion. While not keeping with history entirely, many characters have corresponding historical figures who the author, Sorachi-sensei, has taken real traits and historical facts about and incorporated them into their character development in a way to fit his own story. The plot follows through the different ways Edo (the planet Gintama takes place on) has been stricken by corruption, each plot arc deepening the complex web of characters and organizations involved in all the conspiracy within or influencing the government and/or universe. The plot, then, is Gintoki and all of his comrades' (sometimes accidental) endeavour to keep their friends, and consequently Edo, safe from the evil influencing the bakufu, all while incidentally uncovering new, more sinister threats to their planet, government, and way of life. Bring this further to before the series began with the war that brought us to where we begin, and you will find a sub-storyline of Gintoki's past and how his former allies have taken the paths they have chosen, justifying the good, evil, and sometimes stupidity they exude. Gintama, however, is now at the very end of the Edo Period, and most recent arcs involving the Shogun and Shinsengumi mark the transition Japan will make into the Meiji Era. Gintama is filled with death, war, tears, laughs, hope, and strong bonds of friendship across all walks of life. This plot is broken up by long chunks of nonsensical, outrageously comedic chapters/episodes and arcs that are meant to either develop characters or their relationships across and within their respective groups or organizations in order to justify their actions taken and teamwork in the plot arcs, or have no purpose at all except to make you laugh and fall in love with all of the silly, beautiful characters. Now, say Gintama has no plot one more time, bitch.