Crunchnoisy

I think the Philosopher's Stone is a deadly lure. I think Brough put it in to tempt us into our doom. On the other hand, I've boosted the high score on 2 characters with it. The two new characters are two new clever ways to play. One is the day-night, which is high-strung and awesome. The other one... the monk... verrry interesting but not my favorite to play. It's a huge change to not be able to kite enemies, and it's not always a change I enjoy playing with. And I'm really struggling to effectively use the new charge mechanic. But I agree, I went to Cinco Paus, and I still go back because it has a magical feel that I love, but Cinco Paus can only really be played one way. I haven't purchased 868-HACK yet...

Also worthy of note: yesterday (4/9/18) Michael Brough released another Imbroglio expansion: http://mightyvision.blogspot.com/2018/04/phlogiston-preview.html

As I listened to this episode, suddenly slid into place with an audible click, like that Nintendo Switch *snap* sound... Chris: "... sitting here next to Robot Nick..." robot nick... oh my god.... CLICK I'm sure I'm the last one to realize this.

We miss you, Nick. I look forward to Nick2.

I got in an elevator while listening to the podcast, and I learned the truth about elevator-close buttons as I rode to my floor. Neat coincidence, and I was able to immediately try it for myself. Can confirm - our buttons do nothing but hoist. MJD

This episode was Lynchian. Great work. I'm a big fan of the post-production effort you're putting in Chris. It reminds me of the early days of Thumbs. And I, too, close my eyes when flicking a lightswitch. I think it is to ease my eyes, just a little, into the sudden change in brightness.

Much like the deepest lodge lore, Jake's requests for the Pissing Wizard last week have led to an entire pissing wizard discussion this week! And this drawing. Which, like this episode, ejected more and more madness the more I proceeded. In defiance of the episode title, the wizard herein was reused.

Thank you. And thank you for the Jakest of reactions :D.

Oh heavens. Now that you said that, even I am trying to solve this as a rebus, and I know that's my own name. crunch noisy So... an over-loud crunch? I guess? With a Pissing Remo wizard next to it... sparkle urine magical crunch noi-- Madness! Please accept my apologies. Also... heh.

But what gives life meaning? I think it is a happy ending. There lives aren't that sad. Nice house, nice cars, high-up connections in the community. They have a child who probably goes to an OK public school who will grow up and make Janey-E proud. Plus, their neighbors are well armed.

So one might say that Coop was the driving force behind the finale.

Freddy! Not James! I love it. My favorite thing at the moment is Freddy. James could have been The Hero in a conventional narrative. All the pieces are in place across the corpus of the show. It would have been an excellent arc. Everything Freddy did could have been written for James (they were literally standing next to each other for all of Freddy's scenes). But Frost and Lynch were having none, none of that. All of the heroes, all possible tidy arcs, are subverted. And in these final two eps, we were instead given much needed additional emotional resonance. Very happy. Also, maybe Freddy is James' Tulpa. Or what James dreams of being.

Only had time for a rough sketch but I thought I'd throw this in this week...

So, now that Richard Horne is dead, we can look back at his legacy. Assault in the Roadhouse bar Destroys a child with a car Attempted murder of neighbar Not all of this was necessary to depict the character. I almost checked out after the lazy cruelty of the hit-and-run. But similar to the unfortunate, underwritten use of "he raped me" for Diane, I think you have to take the good-bad with the bad-bad in Twin Peaks. If Frost and Lynch are going to go to these dark places and come back with rich fictional constructs, they are also going to delve into those dark places and come back with shallow plot devices, sometimes. The point is, they go there. It doesn't always work out. Sometimes you end up with "get some potatoes" and sometimes you get "i am the fbi." AND YET. The thing that makes Diane's scene double disappointing was the potential layers were right there in the text. She herself mentioned that he kissed her and it had happened "one time before." Hey, really? Now, that's interesting. They'd had a romantic moment as Good Coop! There's a bittersweet-to-dark tale to unwrap there! Instead of unwrapping it, they just blasted right to lazy horror. AND YET. Armchair rewrites on pieces of text in an 18 hour screenplay... geez. I am just gonna give Flynch a break and move on. Good-bad, bad-bad -- we got 18 hours of Twin Peaks.

Has anyone else tried "talking Dougie" in real life? Try it when you are with a large group, or at a loud party. I'm an introvert, and so it was a helpful device... ... and holy fuck it works frighteningly well. Just be careful trying it on a spouse. Anyway, a moment of silence for Dougie. When he arrived, he seemed like an unworkable gimmick. Reality had to warp so hard to accomodate him. But it grew into a rich story, and watching the drama dance around it was the fun. How the story is told matters so much. And, of course, that's easy to remember when when things are backwards-talking or monochrome or special effects. But a doofy mute in a suit? How can this make for good TV? Oh, it did.