Man, what the hell happened here?

I know the full release of this game just started today, but I've played a decent amount of the beta, and I think after playing the new update I can confidently talk about this because I've got some stuff to whine about. Get ready for another Shem review that I write on an impulse where I just tear into something with no structure

I'm going to say now that I'm not interested in playing fighting games competitively by any means; I usually only play fighters just to screw around. Unlike a lot of other people, I thought Multiversus had the potential to be really good from the beta, so someone please explain to me why they took down the game for a full year only to re-release the exact same thing, but it feels way worse to play?

Every character’s movement and attacks have been slowed way the hell down, so every fight just goes at a snail’s pace now. Even characters who are supposed to be faster, like Finn and Shaggy, just don’t feel satisfying at all. I don’t understand why this change was even made, because one of the big criticisms of the beta nearly two years ago was that the game was too slow and floaty, so why double down on that? Fucking Brawl Ganondorf could DANCE on these characters! That’s not good! It got so slow for me that it almost single-handedly killed the experience.

The only other really big addition to the game is Rift mode, the PvE mode, which basically just boils down to playing a bunch of matches against bots with a few minigames thrown in there. Those minigames are lame as hell, by the way. You could find them in a bootleg Wii Sports-like shovelware game back in 2009. Who played the beta for this and thought, “You know what was missing? A minigame where you control a tank and shoot slow-moving drones to protect a magic crystal, and the character does not change direction at the same time as the tank when you move, so it looks jank AF”. At least they don't really last that long at all, but it all feels so stupid. How they got away with shutting the servers down to focus on "new modes" when this was all they did baffles me.

Outside of a few new characters and stages, everything else is basically the same. The same microtransactions, the same perk system, the same battle pass—the same stuff that I already don’t like about “Live Service” games. What I’m left with is a game that is somehow even more confused than it was in the beta. It just makes me wonder what the hell the point of shutting the game down even was, if they were just going to keep everything the same but make it less interesting to play.

It’s a shame, really. I don’t want to just shit all over Multiversus in another overly drawn out rant, because there are still things to appreciate about it. The actual movesets for each character are really creative and unique. They all behave exactly as I would expect those characters to play in a platform fighter, and I really enjoy the unique character dialogue that happens in certain matchups. They nail the fanservice aspect of this game. Most of what I complained about could still be fixed, but my main point here is that I just don’t care anymore after THIS long of a wait. You can tell these developers really do care about the characters and franchises they’re representing. But considering the time we live in, where crossovers are essentially just being done to shill for dying movie series, Multiversus is just more of that.

Swipes from the best of both boomer-shooters and modern FPS hits to great success. The movement tech alone make me so excited to get started, and it's just short enough that I got through it in two sessions (meaning it didn't have the time to really bore me with the nonstop piss jokes and ancient meme humor).

However the dev deserves big props for turning some of the cringe humor into good mechanics. The player has a designated "piss-button" which sounds atrocious but essentially works like an extra weapon, similar to Mario Sunshine's FLUDD, that can be used to raise gates, destroy electronics, and even alters enemies in several ways, ranging from freezing them to turning them on one another, by using different drinks.

Games like Slayers X hit the gross-out cringe humor better, but mechanically, to my disbelief, this is one of the best titles to come out of the new fixation of the genre.

There's a certain power in dissatisfaction. In giving players bad choices. There are many choice-based crpgs that offer perhaps too much choice in how the world is shaped. In how to influence others. Pentiment wisely pulls back on this to build an aching, intimate yearning. A yearning to make all the right decisions. A yearning to keep everyone safe, to choose a killer that will hurt the fewest people instead of choosing a killer based on evidence. A yearning to protect, and a yearning when we've failed. Our main character is not the hero deciding the fate of the world. He's just a guy, in a place and time. How we all leave our mark on history is subject to so many factors beyond our control.

Mechanically, its hard to say every skill has all the uses it could. Skills mainly make certain investigations easier, but they're always multiple avenues to uncover all the evidence you want. But this also means that every skill choice that does provide a new dialogue path feels all the more rewarding for your commitment. The skill choices in the final act of the game, compared to the others, are much more limited in their scope, but the final act is also much more on the rails than its previous story sections. Less time for choices to matter.

Still. Just kind of a truly banger game with incredible artistic sensibilities.

Interesting how these arcade games do or don't promote choice. These games are designed to cause a lot of damage and use up your credits. They throw in some randomized "choose door 1 or 2 to get health or hurt" kinds of ideas, they let you mix and match levels at your preferred order, little mechanical things like that. With cheap damage tricks bringing players down, the limit is up to the players' own finances. So how do you drag more money out of someone who's at the ending? Well, how about some good and bad endings. A single sequence in the final level determines your ending. Kill all the tiny, difficult to shoot creatures, and you get your good ending. Miss a single one? Bad ending. The final level is only unlocked by clearing all other levels, so you better be willing to put in the time and the cash to chase that sense of accomplishment. Weird feeling on that.

But really, the ideal format is to have a large group of friends rotating around the player seats to keep going as long as possible. Throw in some drinking, and not many people are gonna complain. Its just interesting to pick apart the tricks once you're familiar with them. Gacha games and arcades know the score and they're gonna keep driving forward on 'em.

Trashy as all hell. A riot.

Mechanically much more interesting than Dark Escape. The choices between weapons offers more personalized variety in playstyles. You have one infinite weapon and then two limited weapons. Determining when to use these weapons is where half the fun and challenge comes in. There's not any real major plot divergences you can make, but that's not why I'm there. I'm there to see some goofy cutscenes and see if I can survive with more of myself intact. The power of choice feels more pronounced. Its silly, its dumb, its a charming little date night treat.

JESUS SAVES.

Sometimes a work comes along that feels like it was made for you. I’d like someone to break into the dev's office to confirm whether or not they’ve got satellite images of my house. I’m not certain what I was prepared for, going into this — all I really had to go off of was the ridiculously good box art — but the initial point-and-click exploration blobber gameplay hooked me. It’s a unique method of exploring this castle; most point-and-click games would take you directly to the next screen, while a game that gave you direct movement controls would be even more granular. This is more in the vein of something like Shin Megami Tensei, and it’s a really neat way to handle walking through these dark corridors. While this isn’t an especially frightening title, this is still a good method for building some tension while you explore.

Of course, this only lasts for about as long as it takes you to enter your first combat encounter. You meet a goddess who gives you a rosary to protect yourself, and you’re immediately pitted again a demon with the sole instruction to click the bead color that matches its eyes. A cross engraved with JESUS SAVES slams into its face, the demon’s head cracks open with a little hand-drawn animation, and you get a triumphant jingle on the following results screen which gives you an exorcism ranking. It’s a dramatic tonal shift, and it fucking rules. It marked the exact moment that I knew I was going to fall in love with this game.

I’m a sucker for the mixed-media approach that’s already here — a lot of the enemies look like drawings clipped out of demonology books, contrasting the overworld sprites and the dithered castle graphics — and the back-and-forth swinging between goofy minigames and tense exploration works in a way that seldom does anywhere else. There’s even a massive genre shift near the halfway point, where the game turns into a top-down RPG Maker game where you walk around solving puzzles and exploring dream-like areas beyond the castle walls. There’s so much going on here, and it would be so easy for all of this to feel sloppy and unfocused, and it doesn’t. I don’t know how Odencat and Fuming managed.

I’m just stunned at how perfectly this aligns with my tastes. It desperately needs to be experienced, because discussion without that baseline of having played it is near-meaningless. This is a dense work with a lot of little branches, and there’s going to be a lot that I missed on my playthrough that someone else picked up on right away. I'm surprised at how little I'm managing to come up with. Normally I'm incapable of shutting the fuck up. I've obviously written enough that I can't claim to have been left speechless, but there are only so many ways that I can say "I love everything here". This is my hole. It was made for me.

Oh, the power of friendship saves the day? Splendid.

Battle Circuit is immensely cool. A bunch of space bounty hunters search for the CD of a master program said to be able to control all the technology in the universe, while capturing the baddies who are after the same thing on the way.

I could leave it at that, but I do have a lot to say about this game and how influential and sick it is. Battle Circuit is the swan song of Capcom's classic arcade beat 'em ups, the very last one they released for the CPS2 in 1997. As such it takes a lot of the lessons learned from the best of the genre and applies its own creative spin that ends up being pivotal to character action games. If you don't see how beat'em ups and character action connect into a single evolutionary game design line, this game will show you.

The main thing that sets Battle Circuit apart is its progression system. It adopts a ranking system for each stage that ranges from S-rank to D-rank, which scores you on the time it takes you to defeat the boss of that stage. The faster you are, the higher score you get, and more importantly the more money you're awarded for their bounty.
The progression in fact centers around the shop system that allows you to buy moves and upgrades in between each stage with the currency you acquire from combat and mission rankings. Sound familiar?
Yeah this game literally invented Devil May Cry's progression system.

While there is no live scoring during gameplay, the enemies will drop more coins the more attacks you're able to land on them, which incentivizes long combos, something that is challenging to achieve in a beat'em up where you're always juggling several enemies at once.

Aside from that, Battle Circuit also nails its gameplay, offering all the staples of Capcom beat'em ups, with special moves, invincible superjoy moves that cost your health, invincible throws galore, 8-way dash and the usual. Everything is here including a true juggling system, moves that hit otg, special cancelling your main attack string into either your down, up uppercut attack or your throw by holding down (or down back to throw behind you), and some of the most distinct and fun characters ever seen in a beat'em up.
A lot of time and effort was evidently spent on making the 5 playable characters as deep as possible, so much so that weapon pickups are actually absent from this entry. I don't miss them though, since the baseline movesets are so fun I don't want to disconnect from them by carrying a weapon.

The five characters are great, with Cyber Blue being a spiritual successor to Captain Commando and having access to good tools all around, with a great dash attack and big hype laser charged move. The quintessential beat'em up character.
Yellow Iris is the fast, low-damage combo character, and probably the weakest at the start without any upgrades. She is one of the best characters to farm coins with thanks to her whip special though, making her quickly snowball into a strong combo character. She also has a pet squirrel that can be used to otg enemies with a charged move.
Alien Green is the resident grappler character, lacking acces to some standard tools like an uppercut special, but making up for it with assloads of damage and a ranged vine grab that allows you to land throws from far away. It also gets some very good non-standard tools like an otg projectile that launches enemies, extremely strong all around.
Pink Ostrich is probably my favorite character, as she's extremely safe and easy to play. She can hover in the air with up+jump, and gets some devastating follow ups like an air-to-ground throw and a multihit divekick that's amazing for farming coins. Her superjoy also allows you to move around and cover a lot of ground, making her very forgiving.
Finally Captain Silver is a bit of an oddball pick who I admittedly don't have a lot of playtime on, but he gets ice powers and great range on his attacks.

Each character has access to a power-up install that can be done by pressing attack and jump while in the air, and they will buff the whole team. All of them are useful, and are key to getting S rank clears on bosses. You get damage buffs, faster moves, healing or super armor and all of them have their place in the characters' kit.

While coins for upgrades are important, score also isn't just there to show off, as finishing the game with over 3.2 million score will unlock the true final boss, which is a super tough and satisfying fight. I've only managed to get to it once, but I will surely come back to this game again and get better at it.

With this secret taken into account, Battle Circuit is very much on the tougher side of the genre (other bosses like Zipang can also be quite troublesome), but I never found the game to be unfair. Bosses will often wake up with invincible reversal moves, as is the case for nearly all beat 'em ups, but leave a lot of openings to exploit otherwise, and most can be fully comboed, juggled, thrown or otg'd.

Every animation in this game oozes personality, and it's not afraid to be weird and cooky. I love when sci-fi settings get weird with their aliens, and this game has tons of great designs, down to biker girl enemies that Akira slide all over the screen, giant slugs mounted by annoying gremlins, a big baboon that uses holograms, and much, much more.

The stage design is always fresh and varied. I have to actively stop myself from running through the whole game if I'm just booting it up to experiment with the characters, because it's just so good at naturally inviting play.
The enemy variety is good, every stage has a unique boss and sometime miniboss, Capcom really pulled out all the stops for their final outing.

Battle Circuit gets my heartiest recommendation to everyone, not just fans of beat 'em ups or character action, this is one of the highest peaks of the genre and deserves to be played for its mechanical merits and incredible charm and style.
I really hope we may one day see more from the Captain Commando/Battle Circuit sci-fi bounty hunter verse, but for now this game is more than good enough.

much like life, being trans is awful. having to live your life as a compromised version of yourself, not quite belonging anywhere, even among the people who love you most, and constantly struggling with the feeling that you can't do what you want to do because people won’t let you or won't understand. there is a sense of loneliness, of isolation, a sense that you're not ever going to be understood and that you'll always be just a little off, a little too clockable, a little too different. there is an incredible sadness to the whole experience.

as for the positive aspect? i'm still working that out. i'm not lucky enough to have a family that supports me. i live in a state of constant fear and apathy, knowing that no matter what i do, i'll never be the girl i've always had in my head.

the problem is, i'm a pretty miserable person, and i take it out on everyone around me. i hate my life, and i can't be happy being a man and i don't know what to do about it. but i do know that i hate this situation i'm in, and the idea that i can't escape it. it's like i have an anchor dragging me down, and i can't get out of the water.

i know there's a lot of trans people who are really happy, and i'm happy for them. for me, it's not been a good experience, and i'm not at all sure it's going to get better. but it has given me some perspective on life.

my perspective on gender has led me to have unfortunate habits of psychoanalyzing everyone i see, recognizing patterns and trying to understand why they do what they do. it has given me a sense of being misunderstood and that it's everyone else's fault. because of this, i'm very judgmental. it's like i've dissociated from all of society, there's no human connection or emotions behind the faces and words. it's almost like i'm a vampire. it's not exactly easy being this way, and i wish i had been born different, but at least i know that, at the end of the day, no one is ever going to be able to understand me completely.

my feelings are a complicated mess, and trying to explain them to people who don't understand gender dysphoria is difficult, so it's easier to go without trying, especially if it was easier for everyone to assume i'm cis than have me talk about my feelings. it's just easier to keep people at arms length, let them make their own assumptions and let them feel comfortable in their own bubble. but if i tried to interact with people, i'd just be putting them in an awkward position, trying to understand what i'm saying. it's easier for everyone to just assume.

this isn't really a review so much as it is an emotional plea as to the value and worth of NieR Gestalt. i feel compelled to talk about what made this game so special to me when I played this over 10 years ago now, before NieR becomes completely subsumed underneath the shadow of its vastly more financially successful follow-up. the original nier is an important game to me, and I refuse to let it be forgotten or replaced.

------[a] requiem for smokin' sick style------

the combat is good, actually. and i'm tired of pretending it's not.

maybe it's just because I've spend a disproportionate percentage of my time online hanging with people who think KH2FM and DMC4 are the peak of video games and anything that isn't trying to emulate them is a fundamental failure, but it feels like this is the one stick absolutely everyone beats this game with and it's disappointing.

when Nier hits someone with his sword in this game, there's almost a full second of frame pause as the weapon cleaves into a shade and lets loose abject fountains of blood that paints the environment around the now dismembered spectral body. when he uses magic, he summons a horde of blood spears that obliterate anything they hit. it is one of the most casually violent feeling things in the entire world and it absolutely owns. when this game recontextualises it's violence (refreshingly without falling into "you enjoy the killing" played-out shite), it lands harder than so many other games because of how genuinely violent all this feels, and manages to accomplish it without the cartoonish viscera of something like The Last of Us Part 2.

yes it is stiff and clunky. no, you will not make skillvids of this online. i beg of you, expand your definitions of what makes combat in a game good beyond that narrow field. no other game can be Devil May Cry 4, not even Devil May Cry 4.

------1,312 years [b]efore its time------

representing the satisfying midpoint between the interminable bansky-esqe "makes u think..." philosophy 101 drivel of Automata's lowest points and the insufferable edgelord tendencies of Drakengard 1 & 3 that tended to bury the things about those games that were genuinely interesting, Nier is everything I find enthralling about the DrakenNier games without the things that have ultimately led to me walking away from every other Taro joint feeling disappointed and unfulfilled.

2010 was a really long time ago. NieR came out before The Last of Us, before Bioshock Infinite, before Spec Ops: The Line, before the explosion in indie scene that led to more diverse voices getting a platform on itch.io and steam. maybe taking that into account can help explain why NieR completely changed the way I thought about games. it challenged what i thought video games could be. the way it flirted with different genres and forms was utterly captivating. nier felt like a game from the future or a different dimension. and now it isn't nearly as impressive, sure. it's been mapped out and explained and recapped by people trying to hurry you onto the next, less interesting game. everyone knows about ending D, everyone knows about the drakengard connection, everyone knows about the other routes. but I didn't. when I first played this game, and finishing it unlocked a new game+ that let me hear what the enemies had to say? my tiny 14-year old brain just about exploded, and opened a third eye to just what video games could do. maybe for you the game that did this was killer7, or deus ex, or undertale, or breath of the wild. for me it was NieR.

in a way, this is the real shame about automata, and the way square enix responded to its success. the game itself is fine, good even. but the way in which people have used it to turn this game into a footnote that should be skipped, skimmed, or otherwise treated as a mere prelude to the game about the robots in fetish outfits saying "wot if ur mum ran on batteries and went on about the ship of theseus" is profoundly neglectful.

yes i am being reductive and mean about NieR: Automata. if squeenix wanted me to not do that, they should have been less reductive about this game.

------the [c]ase for papa nier------

when people talk about the story of NieR, it's often the subversive or Lore aspects that are talked about the most, about the details of Project Gestalt and it's implications for the themes and what the ending means and things like that. which is all fine and good. but i think it's worth noting that NieR also just has one of the best parties I've ever seen in a JRPG. weiss. emil. kaine. kaine, most of all. they're all wonderfully well-drawn, complex, and deeply human characters, complete misfits that find a place to fit in each other. it's one of the core appeals of the entire genre and NieR just knocks it out of the park, and (setting aside the fact that I think the game has much more engaging things to say on the subject of parental love and it's toxicity than sibling love) that's why Father Nier matters so much.

because brother nier? he fits. he's a young jrpg hero on his way to save his sister with his party in tow. this is a darkness to him, but he is, overwhelmingly, the normalcy at the heart of the cast. he fits in as a JRPG hero. father nier, though? father nier doesn't fit. nothing about him fits. he's a hideous trollman who makes incredibly earnest speeches about friendship. he is a world-weary and cynical man who takes time to garden and help everyone in his home village. he is just as much of a misfit as the rest of this party, and thus, fits in with them perfectly. he makes this collection of off-the-wall characters, these people that fit absolutely nowhere else in this world, into a family that finds themselves, a place to belong, and people they love, in each other. he is what drives this party dynamic to heights that spoke to me in ways that i didn't really understand at the time, and that is why he will always matter to me.

brother nier is fine. he's cool. he's got some of his own stuff that's interesting.

but he's not my papa nier.

I'm so glad this game came out when it did - I really, really needed it. My job makes me feel like I'm going bald from stress sometimes, and Botany Manor is the absolute best glass of wine after a long day. The puzzles are simple and keep the game from just being a total walking simulator, but are perfect at immersing the player into the environment, and falling in love with Arabella's manor. While I'm glad the puzzles add complexity to the game, I did still play Botany's Manor not too differently from a walking simulator by just walking around the house and admiring the different architecture, room decorations, and of course, the flora. There's lots of chairs to sit and enjoy the ambiance with as well... I adored it, often sitting in the chairs for longer than I originally intended and just going totally zen and letting my head go empty. It's nice, because walking around and just exploring does naturally lead to you solving a lot of the puzzles, as well.

There's no rush to beat Botany Manor, it took me around 5 hours, which for a $20 price tag I can understand not being the best deal, but for me it's something I absolutely will return to after a rough day at work, even after finishing the game, just to sit in Arabella's house and enjoy the scenary.

4/5

All I have to say is wow. This game was created in the 1980s by a Caribbean French black woman named Muriel Tramis. You play as a slave on a Caribbean plantation in the 1700s. It is your job to rally your fellow slaves and stage a successful slave rebellion and escape to freedom. It combines strategy, combat from Sid Meier's Pirates, and a hint of RPG. It is also brutal in difficulty, and it does not shy away from the horrific realities that were faced by slaves. Given how this game deftly handles its subject matter with respect to history, I can't but feel like we might have regressed a bit in terms of narrative. in video games. Try it, play it in a DOS or Amiga emulator that has the option for save states, and experience one of the single greatest artistic expressions in gaming.

If you thought that the hidden-cat-like games were thriving this year, wait until you see how the introspective-cooking genre did this year; we got a ton of them and the ones I played were bangers!... Sure, I might just have played two, but still!

There's a sweetness to Venba that feels distant and incredibly familiar both at the same time: the elements that comprise its story aren’t anything new, these beats and themes have been seen time and time again in a myriad of ways, but what makes this little tale so special is how it uses all off them to create something unique, so deeply personal, like a delicious meal which contains ingredients time and time again, but prepared in such a way it forms its own special flavor… or like tasting food that now only persists in your childhood memories.

I’m completely alien to Tamil culture, a statement which I sadly could repeat when talking about many others, and I was raised in the land my family and ancestors were born, and yet nothing is lost on me; far more capable and intelligent people than me have talked about this in great length, but the globalization and specifically the ‘’Americanization’’ of the west is a sight that bears terrible results in the long run; instead of different cultures interacting with one another and understanding each other’s traditions and evolving and changing together, we see how little by little everything changes into not an unification, but to a macroculture of sorts imposed by multinationals and enterprises in every facet of the day to day life, only taking what sees of value and implementing it while treating the rest as lesser or nothing more that a novelty to look at and treat as a toy, like a hoarding dragon burning everything on its wake but adding the shiny stuff he finds to its pile. Venba doesn’t analyze these problems directly, but it speaks about its consequences through the life of a immigrant Indian family in Canada. Kavin neglects its culture not because he doesn’t care, not because he likes that his schoolmates call him Kevin, but because he’s terrified at the idea of being cast away by his peers and society because of it, he’s deeply scared of presenting himself as ‘’odd’’, as something that doesn’t fit, something alien. That sentiment persists through adulthood, only now its peers treat his past which he couldn’t really never connect as something ‘’neat’’, a cool thing to put on TV that’s aesthetically pleasing, something that can only exist on its vacuum, being judged while expected to be nice to look at. The moment Kavin finally reconnects with his mother and what he didn’t want to face is beautiful for many reasons, but one of them is that is an act of defiance and perseverance, and even if he doesn’t know everything about his roots, it doesn’t matter, he’s learning, he’s improving what came before and completing it, all through just having a nice cooking session with his mother, and that’s just… beautiful, there isn’t any other way to put it.

Preparing said dishes isn’t nothing really complicated or actually involved, but it manages to make it feel like it; you aren’t merely clicking and dragging on sone stuff, you are deciphering and learning ways to prepare plates of Venba’s past, seeing her remember in what order everything is needed to be done until everything is second nature to her, and it’s appetizing as it is cathartic. The game has achievements for making everything perfect, but also for screwing up, and I cannot think of another way of showing what this is all about beyond the game itself; it doesn’t matter if you fumble de bag, you are cooking, you are learning, and maybe you’ll do that mistake 4 times more but it doesn’t matter, ‘cause it’s still fun and fulfilling… and that’s what brought back memories.

I was originally gonna make fun of a moment that reminded me of that scene in Ratatouille (you know the one) but then I realized how insincere and condescending I sounded, ‘cause it’s also a moment I myself have experienced, the memory of my parents, my mother, my father, showing my how to prepare food, how to make desserts that to this day I cherish, but some that I haven’t tasted since then. Venba is not only a story about culture and its loss, it also can be seen about family and bonds, about sharing the little moments, both good and bad, and of ultimately you yourself deciding what you want to do or who you want to be, but your true loved one being always there during the whole process. It’s about regrets, the regrets of Venba, the regrets of Paavalan, and the regrets of Kavin, and the hardships of them all.

A stroll through the steam reviews shows just how many people have connected to this story, many driven to tears, to remember their past and their lives, reflected through this little 90 minute experience. I myself connected to it in a different way, and I just look at Venba wishing it sometimes was a bit slower, that it took the time to explore certain ideas, because I really wanted to see more, to experience more passages of this fragmented story, to see this family’s life, both in its happy and sad times.

And still, in just seven chapters, Venba makes me relish the past, my own memories, and it’s simple worth being seen, worth being valued… and why nor, worth crying for.

This year, over here a staggering amount of kids and even teenagers celebrated Halloween during the 31 of October and 1st of November, effectively making the festivity that would usually take place in Galicia during those days, Samain, completely ignored, and with it, its specific plates and traditions. As I said, at the end, everyone is free to choose what they wish to do, what they wish to celebrate it, and I’m not villainizing this fact whatsoever… but I want to truly appreciate those that still kept the tradition because they truly wanted too, because they really like it, because they consider it a part of themselves, and that goes for everyone in the world, of every country, of every culture.

That isn’t something to be ashamed of.

That’s something to be celebrated unlike any other thing.