u/Guilty_Ad6764

He’s a producer for a lot of the Hauntedmound songs, and his producer is SpeedBuster’s introduction from nmh1.

Spoilers for both games, obviously.
In the ending for NMH2, Travis and Sylvia have both lost everything, and through that, they can finally love eachother, without the disconnect that comes from a borg, and a prole. The structure of NMH2 is that Sylvia is narrating this, which positions us as closer to her. In RIADM, Romeo starts the game off literally losing his life, so at his lowest unlike NMH2, where Travis is at his most famous, and his highest. The structure of RIADM is after every chapter, we see the Diner, gradually getting emptier, with Juliet leaving. This puts Juliet as colder to us.
With Romeo becoming FBI director, he is now at his highest point. This inverse of NMH2 is the reason I don’t think it’s actually Romeo in the diner at the end.
Also, throughout the game, Romeo is unable to accept Juliet’s whole personality, in my opinion, with the shapeshifter bosses acting as symbolism for this. He kills the 3 of them because they differ from his ideal of Juliet, and he wants the romanticised Juliet to live on his head.
Am I reaching, or surface level? Or both? Lmk if you disagree.

Does anyone know the original Japanese questions that got changed for the English version of the 100 question Kumite.

What’s up with Tokio Morishima? How did he go from being a remnant psyche helping Yuki, to being stuck above space? I don’t dislike this, I think it’s pretty cool, and I like how Riadm is adding some depth to standard video game mechanics, with the returning characters, but with Sumio, Midori, and Shiroyabu, I understand how the characters got to this point. I don’t really get what’s up with Tokio. Is he trapped there? Can he just leave? Who do you think the other people he references with him are?

I’ve had this idea for a show since I first played tsc two years ago. The protagonists would be Sumio, Travis, and Koichi, in 3 overlapping stories like twin peaks the return. Episode 1 would be an adaptation of Case 4.5. Following that, it would be a sequel set in modern day.
Near the start, Kusabi will die, and it’ll cause Sumio to go to lospass, he travels back and forth during the story. Lospass is more just a metaphorical thing, symbolism Sumio’s escapism. The plot of the Lospass segments would be almost the same as flower sun and rain, but with older characters, to portray the theme of escapism stunting you. (With grown characters acting the same as they did 25 years ago)
The inciting incident would be the villain kidnapping Midori, when she’s with Trav and NT Kamui, taking her to Japan. In Japan, a pawn of Kosuke would appear to Sumio, asking him to help Midori. Sumio would ask “is she a good person” while in the bench of Harakiri B.C, and the pawn would nod. Niche luh reference to 25W. Sumio would find Midori, but they would be on the run the whole show. My contrived plot reason for why Kamui wouldn’t be able to just teleport to her, and get her, would be that Kosuke observed him, and he’d lose his powers for this. Another theme of show would be how sometimes a story just needs to end, because it starts cannibalising itself and undoes character moments. So, this ruining the arc of Kamui taking over his destiny is for a reason.
The main antagonists of the show, would be Harman Smith and Kosuke. Harman would think he was in control, but Kosuke would be the one controlling him. Killer7 wouldn’t be canon to this show, but the characters and certain plot events would be. There would be an episode later on explaining what actually happened. I would introduce a MacGuffin called Abraxas Seeds. These would be a being’s desired reality, and they’re in the subconscious. Because Midori is the daughter of Fleming, she’d have unique seeds that act more as fertiliser for all other seeds. Harman wants to get Midori, put her in a contraption, and unite all the seeds via her. This’ll create the perfect world based off of everyone’s perfect world. Harman’s desired reality is the killer7 video game world. Harman would be a Lebensborn child. Him being Lebensborn would inspire his Shelter Kids. I feel that having him being fully responsible for Shelter kids ruins the silver case, so I’ll just have him being a partial part of it. Growing up in a Nazi led children’s home would be what set him on his path for the uniting of everyone, having seen some of the horrors of humanity. His “perfect world” would mirror Sumio in Lospass, both desiring to escape from reality, but they’ll have different conclusions.
Sumio’s arc would be that he’s depressed because everyone he loves has died, so he’s become cold and detached, pretty much the same as we last saw him in 25W, but a bit worse. Being on the run from Harman with Midori, he’ll start off cold towards her, but eventually getting closer to her. Maybe jumping ahead a bit, but i just wanna lay out Sumio’s arc here: in the end, Kamikaze Wateru would have learnt of Harman’s plan, so after Midori gets taken at the end, and Harman is about to complete his plan, but killing Midori would stop the seeds uniting(there wouldn’t be enough time to take her out of the contraption or turn it off), so Wateru shoots Midori, and Sumio jumps infront of it.
Harman’s world would be completed, and all the characters would wake up as their actors in our world. In Japan, a man would die, and his only identification would be a photo on his pocket. This would be Kosuke’a actor. In this world, Sumio’s actor is actually a happy guy. He’ll have a wife, a kid, friends. Some more stuff that isn’t relevant to Sumio’s arc happens, and Sumio goes up to Kosuke’s body, sticks Catherine in his head, and ends the world. This would be Sumio finally rejecting his fantasy world, because he’s realised how people need him. He’d be transported to the start Menu of the 25th ward. There, the essence of Kamui stands. Akira speaks (if you forgot, Akira is mute, and Sumio is deaf, this is symbolic of Sumio finally being understood and finding his place in life) after that, Akira is on a plane next to Sumio (not really, it’s just a metaphorical shot) and he says “lend me 50,000 Yen”, then the world goes back to how it was before Harman ruined it, and the final shot of the episode would be Sumio in hospital, in a coma.
Travis’ story would start with some legal proceedings. The court would be just outside of Santa Destroy, as I don’t want to show Santa Destroy because I feel the end of NMH3 allows the player to imagine their own Santa Destroy after travis saves it, and I wouldn’t want to enforce an objective look for Santa Destroy. The legal proceedings would be a Utopiland guy suing Travis for scuffing his car up while driving to a ranking battle, the final one specifically. After this, Midori, Kamui’s, and Trav’s Separation happens. While Midori is with the Sumio the entire show, Kamui would be with Travis. Through a flashback, I would confirm that Garcian was who Henry killed at the end of NMH1. My retcon would be Harman brainwashed Garcian as a child, and his last mission would be to kill Travis, and Henry stops this, as we obviously see in NMH1). I would basically de-canonise the post credit of NMH3(not that I don’t like, I view it as a humorous culmination of the themes, but I don’t view as necessary to touch on for my story. I’d have it still happen, but Travis just went back home afterward, and Henry had already respawned somewhere through his powers). Since Henry killed Garcian in NMH1, id retcon Garcian as having a silver eye, and when Henry was able to kill him (I’ll explain how later), Garcian becomes a psyche in Henry. Henry’s arc in this show would be seeking redemption from Travis. Naturally, Travis would be very hateful towards him at the start of the show. Towards episode 5 or something, Henry’s time at the cooldown family would get its own prequel episode. The short and narrow of it is, he was given criminal power by a wannabe Shelter kid organiser. He’d brainwash Henry, but it wouldn’t fully work. Henry would have forgotten some stuff, misremembered others, but some stuff he vividly remembered. When Henry was like 16, he escaped, leaving behind the siblings who were also kidnapped. The episode would end with Henry getting into college, and meeting Sylvia. The next episode after that, would be his redemption. After a couple after episodes of helping Travis, he writes a letter, drives to the address of the Cooldown family, leaves the letter in his car, and goes in to the house to kill the guy who kidnapped him, and free the people he left all those years ago. They all run out, and Henry stabs the guy, but he gets shot. Because he can just respawn, it doesn’t kill him permanently, but he’s still slow and weak because of it until he fully dies and respawns. He asks the guy to tuck him into bed, and they lay with eachother, like a father and a son, while bleeding out. (A gag about Henry would be he’s played by a different actor each episode, parodying the recast, but also showing how Everytime he respawns and builds himself up, he forgets what he looks like partly.) in the man’s house, there’d be a picture of Henry on the wall. And he’d smile as he remembers his face. To complete his redemption, he would sacrifice his body for Garcian to come back. Garcian would wake up, with no memory of who he is, but he has a picture of Harman in his pocket. Garcian would go to the car outside, get the letter, and drop it off to Travis. Travis would read it. It would end with Henry saying how Travis was always his older
brother, born first. For catharsis, Travis and Garcian would punch eachother while laughing. It’s important to note, because you may feel Trav and Henry are too similar to Sumio and Midori, that Travis wouldn’t have actually ever gotten a chance to open back up to Henry and have him as his brother again. He would still regain his love for him, but never fully make it up with Henry. This is what Travis extra angry about Henry’s permanent death, he’ll never get to forgive Henry. Garcian’s arc would be knowing he feels a loss toward his photo of Harman, but knowing he is. He eventually gains his memory back, but it brings back the memories of how Harman took control of him. He would have to deal with the feelings that he feels about losing somebody he never knew, and that person having a toxic dynamic with them. I don’t really have much of a plan for Koichi’s story yet, but I have a general plot. I want Koichi to be a cop, in contact with Erika Yukawa, and there’ll be a criminal guy who’s always getting arrested because he’s in love with a cop in Koichi’s department. And I want the visual aesthetic of this to mirror 25th ward. With all the actors in black and white sets, wearing white makeup. The story of Kosuke, the main antagonist, would be slowly revealed over the show. Obviously it’s Kosuke from the 25th ward, but I’ll be expanding a lot to him. He would have played a part in the shelter kids policy (in his observer state. There would be normal guy Kosuke who lives from 1975-2005, and throughout history, there would be him in his observer form.) as a child, Kosuke was bullied, and he felt a disconnect from humanity. Because of this he wanted to see a society where everyone could understand eachother, and help each other for the sake of building a community. Kosuke would often meet with prostitutes, just to talk, In his adult years. He would hate himself so much, it made him unable to die. His desire to hate himself outweighed reality. When he gets shot by the postal federation, his hate for himself transcends him into the observer. In his observer state, he experiences time nonlinearly. He can not experience any of the time spent as regular Kosuke, only what he is currently doing as Observer. He’s like Dr.Manhattan, but without the ability to recall his human life. This doesn’t mean he doesn’t have a similar personality, however, as he’s subconsciously still aware of his past life, and has the same world views and personality. As an observer, he is working on the shelter kids policy, when he puts a piece of the observer in a baby Sumio. This is what lets Sumio revert the world back to normal at the end. He works with Harman to create Harman’s “perfect world” because he believes humans to recognise that they’re flawed to get better, so he wants to let humans see that a “perfect world” will still have suffering and pain. He believes once Sumio stops the “perfect world”, humanity will rebuild from the trauma. At the end, he sees himself in Sumio, and dies because he finally relates to a human, and no longer has the desire to hate himself, so he can stop being an observer.
Some plans I would have for other characters from the games( without their own episodes)
Shiroyabu- transhumanist living in the internet, Sumio kills him.
Mithra- manifestation of Harman’s doubts.
Most killer7 characters- dead because of Harman.
Trav’s family- just chilling
Romeo, shows up occasionally.
Wateru- famous demon Hunter, his life story got turned into shadows of the damned, doesn’t like how it portrays him as comedic when he’s depressed.
Ayame- frequently appears in flashbacks, large part of Sumio’s character.
Shinobu- in her Dojo.
One off episodes:
Episode featuring Juliet Starling, and Mondo Zappa. Features them hunting a vampire, who traffics women. Juliet is expected to suppress her cheer leader tendencies. Ends with Juliet, after being in a suit the whole time, jumping into her cheer leaded outfit from the game and dancing with Zappa as they kill Dracula.
Episode featuring Tsuki, he’s trying to find Maejima and he’s still upset over Osato. Ends with him moving from the entire 25th ward era of his life.
Episode trilogy, scattered over the episodes, not in one continuous stretch, featuring Tokio talking to Yuki as a Remnant Psyche. Yuki shows up is lospass at one point, but not in her own episodes. They’re teaming up to stop ghosts, and letting them reincarnate or pass on peacefully, giving them the choice instead of them being forced into one. Ends with Yuki getting to say goodbye to Ayame (who I’m going to make her mother) while in the hospital with Sumio (she’ll have visited him to let him say goodbye to Ayame) because Tokio let all Remnant Psyche’s pass on. Tokio gets to use Yuki to say one last goodbye to Erika at the end. Passes on himself.
Final episode:
Essence of Kamui sacrifices itself to destroy all silver eyes. The humans who had Kamui inside of them are now free, and essence of Kamui is watching over earth.
Sumio wakes up. Through Sundance Shot, he finds out who Garcian’s parents are, and calls him anonymous to tell him an address(they would’ve met at this point, I just didn’t write why yet). The very last scene is Sumio arranging for Kamui to come to Harakiri B.C, where after a year (I want the show to be 51 episodes, and have it take a year in universe) Midori was finally able to meet with NT Kamui again. They hug, and Sumio takes ashes out, and scatters Kusabi on Harakiri B.C
There’s still a lot more I didn’t write here, I just wanted to give the most necessary details. I didn’t mention any of Kamui’s character or much of Travis’ here, when I have much planned for them.

Should I read Colonel weird and little Andromeda before or after Reborn?
And is this a correct order?
Black hammer omnibus 1
World of black hammer omnibus 1
Black hammer omnibus 2
World of black hammer omnibus 2
World of black hammer omnibus 3
World of black hammer omnibus 4
The last days of black hammer
Black hammer omnibus 3
Black hammer the end
Black hammer spiral city

I’ve read the black and white version, and wanna re read. Is the colour version good, or is it a gimmick? I did have quite a hard time making our certain faces in the original, but I feel the black and white adds a lot to the atmosphere. Would you say it’s worth reading the colour version, or should I stick to black and white?

I see a lot of people say MM is Moore’s best, above stuff like Watchmen, and Swamp thing.
In my opinion, both of those works flesh out the ideas from MM infinitely.
MM is good, but almost all of my main problems with it are improved upon in ST and WM. None of the characters in MM, besides Mike/MM, are well written at all. Evelyn Cream’s writing is just so horribly done to me. Him dying (in a really weirdly done scene)for a white man felt almost disrespectful. I get MM is a deconstruction, and Moore may have been attempting to highlight an issue he has with how minority characters are disregarded.But, if this is the intent, I feel it’s done poorly. We never really see any affect of Evelyn’s death. It’s been about a year since I’ve read it, but I’m not sure if we even see anybody caring about him dying. And Miraclewoman isn’t as offensively written, but she just doesn’t have any character. Same with all the random plot forwarding characters we get in the latter half, like those aliens, and the fire guy.
And that scene in the kid’s home, where KM is assaulted, is just so completely unnecessary for me. In swamp thing, Moore is able to get across the critiques of both Children’s, and elderly, homes, without having a scene of that ilk, that doesn’t really add anything extra to the story that the other children just bullying KM couldn’t have added.
Gargunza as a villain is just trash. Maybe Moore is going with “I can’t give him any character because that would humanise him”, but Moore writes despicable characters in From Hell, Swamp Thing, Watchmen, and can give them an actuality good character.
It just feels to me like MM is a prototype for Moore’s future career, and I really just can’t understand why so many people claim it to be flawless, and above Watchmen, or Swamp thing.