Thoughts on Firewatch (Spoilers)

I have already reviewed Firewatch and thought it was a great walking simulator with an emotionally tense, slow burn of a story. I'm not here to review it again, but I do have some points to make about the game and some of the criticism it has received. I will be spoiling major plot points, so steer clear if you intended to play the game and wish to remain fresh.

The opening text selection that allows you to choose your path as Henry prior to the core gameplay is an excellent way to invest the player more personally than just throwing them into the fire, so to speak. The growth of Henry and Julia's relationship is very real and the major life decisions they make are believable enough that I felt involved. The decline of the relationship due to both the long distance period and Julia's mental health made the road much rockier than I anticipated, and since I was so personally linked to Henry's life at that point it was tough to make decisions like putting Julia in a permanent care facility and agreeing for her to move back home to her family in Australia. If I was biting hard on a simple text adventure, I was obviously going all in for the rest of the game.

Some critical arguments about Firewatch claim that these decisions are not crucial to the game's primary plot. I would agree that the story will take its route no matter the decisions you make. But the point of being involved in establishing Henry's past and relationship with Julia is to give the player something to hold onto and decide on rather than being told what came before. You, as the player, made those decisions. They weren't made for you. You are responsible for what Henry chose in that early stage in the game. The same goes for dialogue choices. The story will continue as it's supposed to whether you choose to say A, B or C, but this is still not the point of the decision making process. You develop a working and personal relationship simply by verbal communication with Delilah over the walkie-talkie, and this is after experiencing Henry's personal struggle before joining the fire lookout. The relationship can be cold and harsh, or you can play along and develop a great back-and-forth with Delilah that is supported by stellar voice over work. It all depends on how you play the game.

Firewatch has many decisions but one real story at its core. It's all about how you experience the journey, not the resulting conclusion. If you choose to warm up to Delilah and become somewhat intimate with her you may feel guilty about having left Julia and still being officially married to her even though the relationship is in shambles. The experience isn't just in the game, but in your own head as well because it is how you think, perceive and feel about Henry as a person, the relationships you have built in his place and the way you go about exploring your personal journey in the summer of 1989.

With all of this in mind, and having repeatedly beaten you over the head with the point that the core story isn't what Firewatch is really about, I'm going to say that the core story is actually what Firewatch is about. Now, hold on a second. Think about it this way. You've built a character with a blank page called Henry, you've experienced important life events whether they be in text form or verbal communication. You've explored your sector of the Shoshone National Forest and tangled with strange occurrences and conspiracies that make you feel uneasy. You've experienced them with Delilah and you've built that relationship as well. You weren't at Two Forks Station when Ned and Brian Goodwin were operating that sector, but you know enough about them that Delilah had a connection in the past. That connection may not be as strong for Henry as it is for her, but you can understand her emotional ties. When you discover the lifeless body of the child you are distraught, but more so for Delilah. As you discover more about the Goodwins and their time at Two Forks you and Delilah become critical of Ned. You blame the father for the death of the son and accuse him of being a coward for never telling anyone about the climbing accident that took his life. The disdain you have for Ned is reasonable and not uncommon, but it is more important that many have argued. Ned Goodwin lost his son and it was partially his fault. He internalized the blame and ran from the problems by hiding in solitary confinement in the Two Forks sector for years, avoiding the reality beyond the forest. Delilah called him a coward, and you may not agree with such harsh words but it is clear to you that he should not have done what he did. Ned Goodwin didn't do anything that you as Henry didn't either. Henry felt guilty for putting Julia in a home and leaving her with her family in Australia and he ran off to a solitary job in Shoshone National Forest. Even if you accuse Ned of being selfish, you not clear of the same charges yourself.

The game feels like the main plot line revolves around the Goodwins and their tragedy, but it is really about how Henry projects himself on that reality. And it is how you feel with your position in the story that matters most. Not everything have to be about Henry to reflect on the situation. Not everything has to have a storybook ending. This is what makes Firewatch feel more real than some other stories. This is highly realistic, even if it is set on a artistic backdrop. Firewatch may not be for everyone and the conclusion may not be a explosively satisfying as something like Gone Home but it sure does what its supposed to. You can't fault it for that.

The Future of First-Person Shooters

I know the title is a bit grandiose but these following thoughts are a little more low key. Ever since Call of Duty 4: Modern Warfare, the FPS genre has been predominantly set in modern, near-future and future settings save for the odd surprise like Wolfenstein. Modern Warfare changed the game almost a decade ago and we have seen our fair share of jump-pack, wall-running, sticky grenade, auto-locking rocket nonsense ever since. Call of Duty is one of the biggest video game franchises in existence whether you like it or not and it set the trends for many years. Now that influence seems to be waining with more and more shooters introducing different ideas that have pushed Activision's premiere title to take from other games, we are seeing an overcrowded genre. The market is flooded and something's gotta give.

As these FPS games become more and more convoluted with excessive weapon selections, falsely insightful sci-fi plots that are touted as high-concept storytelling and the need to create unrealistic speed and mobility to be an enjoyable experience is not what I want. I want to go back to a simpler time. I want to see the return of the World War II shooter. And maybe Battalion 1944 will be that game. It's a Kickstarter campaign looking to be your WWII shooter in a world of super-future twitch gaming.

I know that Battalion 1944 sounds like a game that I want, but what about the rest of the FPS audience? A large population of Call of Duty fans jumped aboard with Modern Warfare and the titles that followed. A lot of the players don't know the franchise without the "advanced warfare" element. Could they accept a WWII shooter and the slower gameplay that it would entail? Or is that audience lost for the most part? It may be a mistake for Activision to revert to WWII for fear of alienating their current primary players because the older fans that knew pre-Modern Warfare shooters have all but moved on to other games. I think that leaves Battalion 1944 with a job to do: garner the interest that once existed in the community. Maybe it could be a testing ground.

I think it's just time to throw a little more variety into the genre. All of these FPS games are trying to add more to the experience. I want something that strips it down and makes me feel vulnerable. I don't want to run into a bullet storm. Instead, I'd prefer to think more practically and be forced to survive. These future FPSs won't do that. Bring back the WWII shooter.

What It's Like to Write For No One

Lots of people go to school and get a job in some variation of that order and begin to build an adult life. Lots of people don't go to school and do great for themselves. Lots of people take paths they feel are safest for their wellbeing and futures. Others might dive headlong into uncertainty with the belief that if they don't now, they never will. I, myself, took a semi-safe route by getting a BAH and then on to an MA. Not that there are tons of jobs seeking MA students who wrote about the cultural identity of hockey in Canada and the world, but hey, it's an MA. I can research, I can write and I can tell you about it.

Now that I'm out of grad school (albeit, five months out), working a sporadic and unpredictable job with low future prospects I have begun to think about taking that headlong dive. I have a degree I can fall back on, even if it isn't the most supportive. Why not try to do something I want to do before I have to do something I have to do? So, I write for no one in particular. I nabbed a writing gig on a website where I express my views on certain media that someone else publishes so that I can build a portfolio of such work. I wrote a short novella, I have made headway in a series of short stories for a collaborative project and I'm currently writing a novel with the hopes of getting into a writing program that will improve my work. All of this, considering I have been doing it for free, is self-fulfilling. I can't imagine my articles draw lots of clicks or that my fiction will garner publication interest, but it is getting me somewhere that I would like to be. And that is "better."

I'm writing for myself, really. I guess that means I'm not writing for no one, but it is if I'm not the one who determines whether or not I get a job in the field or published in some form. I write about what interests me and what I think I would like to read. I'm writing selfishly, not necessarily purposely appealing to an audience. I feel that I'm not the most uniquely peculiar person in the world so whatever I write might interest someone. But I'm not concerning myself with that, as to say, I'm writing for no one in particular.

And for now that's okay with me. I'd like to improve. If I have to take a hit financially, that's okay. If I get better, I'm just another step towards a larger goal. If people read my work, that's just an added bonus. If you share my opinion, I hope you appreciate it. If you don't, tell me why I'm an idiot. But I'm not outwardly seeking the attention. I'm really writing this down right now because I'm tired of thinking about it in my head. Getting it out is like an exercise in my personal growth as well as an expressive form of writing. Even if this is just delaying an inevitable acceptance of failure or the defeated walk back onto a standard path, maybe it's worth carving it out on the fringe for a bit.

New Projects Ahead

In the coming weeks I will be bringing some different content to Billy Reads. When I started this blog I intended to deliver features and commentaries about pop and geek culture topics, but that wasn't all. I also wanted to post original content in the way of fiction and art, whether it be created by me or someone else. This is what I plan to do in the near future.

There are things to look forward to and I am excited to show you what's coming. Keep an eye out for new content!

Xbox 2015 Fall Exclusive Line-Up Sells Big

It is no secret that Sony's PlayStation 4 has been consistently outselling Microsoft's Xbox One in the little over two year life-span of the consoles, currently reaching a roughly two to one ratio by comparison. More consoles in the entertainment centre means more games on the living room shelves (or digital collections), and that should also suggest that the Xbox exclusive line-up would struggle to reach sales numbers akin to those of the PS4 catalogue. As if Microsoft needed more adversity, Rise of the Tomb Raider, a major exclusive title for the Xbox fall line-up, released alongside the highly anticipated and competitive multi-platform Bethesda RPG Fallout 4, which many suggested would be the death of Lara Croft's sequel adventure on the Xbox One. 

Xbox has been quiet about its sales numbers virtually on principle as they have trailed the PS4 in a number of categories, but Xbox Wire has chosen to speak up about the success of the 2015 exclusive line-up. Mike Nichols, the Corporate Vice President of Marketing at Xbox, announced that Halo 5: Guardians, Rise of the Tomb Raider, Forza Motorsport 6 and Gears of War: Ultimate Edition each sold over one million copies since their individual releases. This all despite a heavy season of new releases and half the number of units sold as the PS4. PlayStation may not have had any major first-party exclusives for the holiday season, but they did have third-party marketing agreements with EA for Star Wars: Battlefront and Call of Duty: Black Ops III, the former selling over twelve million copies to date and the latter being associated with Xbox for years prior to a new agreement between Sony and Activision. 

Days after the release of Rise of the Tomb Raider, industry voices and entertainment personalities were declaring Microsoft's agreement with Crystal Dynamics and Square Enix a failure simply due to the success of Fallout 4 and other holiday titles. Of course, had the game released on multiple consoles the sales numbers would have been far larger, but that does not spell the end for the reboot of the legendary series. Rise of the Tomb Raider will come to the PS4 in fall 2016, but it won't have to wait until then to be a success. The game itself is a spectacular adventure sure to please fans of the series and the genre alike. The gameplay is smooth and diverse, the puzzles unique and challenging and the story more riveting than the 2013 reboot effort. It is worth purchasing for any Xbox One owner, and even a great choice to buy the console if gamers do not already have one. Surely, this holiday season success for the Xbox exclusive line-up is indicative of the progress towards a better reputation and marketing push for console sales and future titles.

My Year in Books: What I Read in 2015

Now that the New Year has come, it's time for me to begin a new list of works completed in my ever-growing stack of interests. It's worth noting my 2015 reading list really didn't kick into gear until April when I completed my grad school course work. That said, this list does not contain any of the countless titles I read for my own research, but instead the pleasure reading I did on my own time. I'd like to share with you the books I read or re-read in order during 2015 and maybe a few books I know I'll be reading in 2016.

Books Read in 2015:

• "Seinlanguage" by Jerry Seinfeld
• "Star Wars: Kenobi" by John Jackson Miller
• "Star Wars: Shadows of the Empire" by Steve Perry
• "The Lost World" by Michael Crichton
• "Old Man's War" by John Scalzi
• "Gumption: Relighting the Torch of Freedom with America's Greatest Troublemakers"            by Nick Offerman
• "The Ghost Brigades" by John Scalzi
• "Star Wars: Tarkin" by James Luceno
• "The Last Colony" by John Scalzi
• "The Martian" by Andy Weir
• "Total Recall" by Arnold Schwarzenegger
• "Zoe's Tale" by John Scalzi
• "Star Wars: Lords of the Sith" by Paul S. Kemp
• "The Human Division" by John Scalzi
• "Star Wars: Aftermath" by Chuck Wendig
• "Lock In" by John Scalzi
• "Starship Troopers" by Robert A. Heinlein
• "Number Two: More Short Tales from a Very Tall Man" by Jay Onrait
• "The Making of Star Wars" by J.W. Rinzler
• "The End of All Things" by John Scalzi

I read twenty books in 2015. Mostly fiction, some tie-in fiction and a few non-fiction on varying topics. If I had a full year of reading, I'm sure I would have gotten to more, but I'm not disappointed in what I reached. The fall months saw a slower turn around between books as I took more time with work, traveling and the heavy season of video games. I'll kick off the 2016 year early.

So what am I going to read this year? I'm sure the list will change, but I do know I want to read these few books:

• "Star Wars Battlefront: Twilight Company" by Alexander Freed
• "The Children of Hurin" by J.R.R. Tolkien
• "Unfinished Tales" by J.R.R. Tolkien
• "Ringworld" by Larry Niven
• "The Making of The Empire Strikes Back" by J.W. Rinzler
• "Star Wars Costumes: The Origin Trilogy" by Brandon Alinger
• "Inferno" by Larry Niven and Jerry Pournelle
• "The Unincorporated Man" by Dani Kollin and Eytan Kollin
• "The Bassoon King" by Rainn Wilson

I know I'll get to these, but I am also anticipating what I will come across in the months ahead. Check back!

My Top Media Picks for 2015

Now that it is New Year's Eve, I'd like to take a look back on the media releases of 2015. This post is both a "Top 5" round-up as well as a series of recommendations if you were to have missed out on anything I mention. Some of them were hard to miss (I'm looking at you The Force Awakens), while others not so much.

Some categories don't contain five entries because I'm indecisive. One has four, while another would have more than ten if I weren't trying to curb my enthusiasm just a little bit. So, did I miss anything? Probably, but that's your opinion. Share it. Or don't. Just take a second to review my thoughts on the top picks as well as my list of honourable mentions. This list is simply a collection of content I enjoyed in 2015, not a critical analysis of what was the best.

Movies

Star Wars: The Force Awakens


   Come on. There was no way this wasn't going to take the top spot on my list of 2015 movies. Star Wars took over my life again, even more so than it did when I was younger because unlike the prequels, The Force Awakens is great! The Force Awakens reinvigorated a franchise that already had so many fans back on board purely based on the nostalgic hype of the last year. Some people have since complained that it's too much like a rehashing of the original as well as the greatest sequel release of all time, The Empire Strikes Back, but I don't see this as a negative. There are plenty of different paths broached and lots of new characters to explore that were not stolen straight from the original trilogy. In fact, I think more fans would have been disappointed had the film not stuck so closely with the themes and arcs of the originals. Everyone wanted a return to the originals and that is what J.J. Abrams, Lawrence Kasdan, Kathleen Kennedy and many others have painstakingly developed and delivered for our enjoyment. Can't we allow things to be good and accept it? Of course not. Why would anyone be satisfied with anything. That said, TFA isn't perfect, but it sure is a great Star Wars film. It's exactly what we needed in 2015. Something old that is painfully familiar, and something new that seems comfortable but embraces the new direction.


Runner-Ups:
-Mad Max: Fury Road (Stunning visuals, great cast, simple but hard-hitting story, Imperator Furiosa)
-The Hateful Eight (Tarantino's return to form, equally stellar cast, everyone has a secret, well shot)
-Jurassic World (Top-two nostalgia flick this year, great return to the series, Pratt is great)
-The Martian (Faithful adaptation of a great book, Matt Damon, return to form for Ridley Scott)
-Ex Machina (Snuck up on me, thrilling plot, Oscar Isaac, Domnhall Gleeson, Alicia Vikander)


TV Shows

Fargo (Season 2)

   The Coen Brothers film used to be the best piece of Fargo media out there. This was quickly contested by the debut of the television series in 2014. Martin Freeman, Billy Bob Thornton, Allison Tolman, Colin Hanks and the rest of the cast put in performances with help from a tight script that made me reconsider my own thoughts on True Detective as the best show of that year. The second season of the hit TV show took us back to a series of interrelated crimes in 1979 that tangles Fargo outlaws, Kansas City gangsters and Luverne, Minnesota residents. The witty banter dialogue and regional stereotypes are at their finest in this run of Fargo. You hang on every word that these fascinating characters spin, no matter how unbelievable the predicament or outrageous the crime. You question the good guys, you sympathize with villains. Everyone is human, not matter their extreme form. And they all get their chance to shine with a monologue or one-liner. The violence is fitting, sometimes shocking and always gripping. Patrick Wilson, Ted Danson, Kirsten Dunst, Jesse Plemons and Jean Smart make up on a piece of the excellent cast that season two boasts in rivalry with the first. Fortunately, the show has been picked up for a third go around, so I'm looking forward to where Noah Hawley and the crew take us.


Runner-Ups:
-Daredevil (My favour MCU content, that hallway fight scene, tight contained story)
-Parks and Recreation (Satisfying finale, everyone has their moment, not overlong or overstayed)
-Better Call Saul (More Breaking Bad content without relying on Walter White, awesome story)
-Broadchurch (Took show places I didn't expect, twists and turns, David Tenant, Olivia Colman)

Video Games

The Witcher 3: Wild Hunt

   The open-world genre dominated the shelves this year, both to the pleasure and discontent of gamers. I looked forward to The Witcher 3 for a longer period of time than the duration between when people even knew that Fallout 4 existed in June to its release this November. I'm not a Fallout 4 fan, so The Witcher was the game I poured hours into this year. I only spent a month with this title, but I put in more time than I'd like to admit while I explored the world and went down the rabbit hole of side-quests. I really enjoy a good fantasy story, and the crew at CD Projekt Red along with their team of writers and designers know how to plunge you head first into both a dense plot and a vibrant environment. I am typically a science fiction fan, but the colourful landscapes, characters and enemies drew me in. The combat was a little rough at first, and I know many thought it could have been better, but once I figured out the systems and their quirks I managed to get into a rhythm. The game is absolutely massive and the task of dredging into every corner was daunting to say the least, but it was just a beautiful thing to look at and every interaction oozed with character and depth. I think if I were to direct a relatively new gamer towards the best example of a modern RPG, it would be The Witcher 3 because it looks gorgeous, it plays incredibly well and there is so much to experience. CD Projekt would also get Developer of the Year from me as well. What a bunch of beauties they are. They were the first to put a damn thank you note in a game this year for Christ's sake!

Runner-Ups:
-Rise of the Tomb Raider (Excellent sequel, improves on story and mechanics, fun and rewarding)
-Bloodeborne (So hard, incredibly satisfying, brutally violent yet beautiful, unforgiving, faster Souls)
-Halo 5: Guardians (Love the universe, I didn't hate Locke (wanted more Chief), mechanically great)
-Star Wars: Battlefront (So Star Wars, theatrically satisfying, arcade-like shooter, gorgeous, fun)
-Until Dawn (The slasher movie game I've always wanted, tailor your experience, replay value)


Comic Books

Star Wars: Darth Vader 
-written by Kieron Gillen and illustrated by Salvador Larroca

   One story element that Star Wars thrives on is its character relationships. Darth Vader and the Emperor appear to work towards the same goal, but they are very different people and do things their own way. As a result, they clash behind closed blast doors and within the Force. Their relationship is as rocky as Han and Leia's but it is much more volatile and destructive than it is comedic. Kieron Gillen has one of the strongest grasps on this development in any canonical publication to date. If you have read the canon novel Star Wars: Lords of the Sith and enjoyed the dynamic between Vader and Palpatine, this is just as intriguing, if not a little more interesting. Salvador Larroca's art is consistent and dark to match the overall theme of the book that includes other mischievous characters like a psychopathic protocol droid and a violent astromech who join a smuggler who assists Vader in his extra-cirriculars as they avoid the watchful eye of the Empire. The end of the year brought the beginning of the Vader Down storyline that runs across both the Darth Vader book and the main Star Wars title, and it is great to see the fallen Jedi battle it out with the Rebel Alliance single-handedly. And if it helps, being a Star Wars comic book about one of my favourite Star Wars characters, and villains in general, puts it up there pretty high this year.


Runner-Ups:
-Southern Bastards (Gritty storytelling and art, deep character arcs, Jason and Jason are great team)
-Saga (Continues to break barriers, stellar art from Staples, BKV is king, space-fantasy is cool)
-The Wicked and The Divine (Gillen and McKelvie have chemistry, different, fresh story, surprising)
-Batman (Snyder and Capullo are now carving a new path post-Zero Year, consistently thrilling)
-Paper Girls (BKV, Chiang, awesome female characters, mysteriously thrilling, 80s atmosphere)
-We Stand on Guard (BKV [trend?], Canadian content faithful, sci-fi fun, Skroce's art is great)
-Descender (Jeff Lemire doing sci-fi is a good fit, Dustin Nguyen art is gorgeous, interesting world)
-Nameless (Grant Morrison and Chris Burnham team, sci-fi/occult great mix, brutally violent)
-Star Wars (Canonical addition to new universe, furthering original trilogy story, new adventures)
-Wytches (Snyder doing horror is a known hit, Jock's art is creepy and disorienting, actually scary)

Books

"The End of All Things" by John Scalzi

   John Scalzi is the most approachable science fiction author working today. Seriously. Want to get someone into sci-fi? Hand them a Scalzi book, whether it be Old Man's War, Android's Dream or Lock In. They're bound to like it. I, for one, picked it up for the science fiction and stayed for the humour and masterful dialogue. Maybe you're bigger on character-driven stories rather than interesting world building? It's got both, so your bases are covered either way. The End of All Things is the sixth instalment in the Old Man's War series, giving it the advantage of having five excellent books to build upon. That doesn't mean it can't stand on its own because The End of All Things tells you what you need to know about the current state of the galaxy and the relevant players in the storyline, and then its off and running. Scalzi proves he can build a mystery, drive the intense action and continue his trademark sense of humour through both likeable and intentionally unlikeable characters alike. This dude is my favourite author for a reason.

Runner-Ups:
-"Number Two" by Jay Onrait (More stories from a funny guy, Sochi, pooping pants, broadcast ins)
-"Star Wars: Aftermath" by Chuck Wendig (Canon book post-Jedi, frantic Empire, unsure rebels)
-"Gumption" by Nick Offerman (American history through Offerman, anecdotes, humourous)


Albums

"Free" by Hundredth

   I really enjoy following artists through their careers as they progress as musicians and as people. Hundredth has developed into a cohesive group with a tighter sound with each record. Their tracks are hard hitting and aggressive. But what is most important to me is the lyrical content from vocalist Chadwick Johnson. To an unappreciative ear or untrained listener, Hundredth probably sounds like a lot of other hardcore bands out there today. To me, Hundredth shares the message about the struggle for positivity and freedom that isn't common enough in music right now. Yes, a lot of people look for an outlet for aggression and frustration in their hardcore music but Hundredth provides an uplifting message amidst the outpouring of discontent with society and individuals who mean harm. A number of tracks on "Free" share their word on becoming a better person, considering those around you, and the personal journey.
"I don't need validation to define me."

Runner-Ups:
-"No Closer to Heaven" by The Wonder Years (transcends pop punk, continues maturing sound, new)
-"Life's Not Out to Get You" by Neck Deep (Fun sound, positive messages, old pop punk tendencies)
-"The Story So Far" by The Story so Far (Overarching theme, feels more like Under Soil and Dirt)
-"Tragedy Will Find Us" by Counterparts (Best work yet, music is elaborate, melodic, hits hard)
-"Cherry Bomb" by Tyler the Creator (Breaks away from previous themes, great production, variety)


Things I'm Looking Out For in 2016


-Interceptor by Donny Cates and Dylan Burnett (vampires, mechs, and violence, so yeah, it's going to be good)
-Batman V Superman: Dawn of Justice (I don't need to tell you why)
-Captain America: Civil War (Again, self-explanatory)
-AD: After Death by Scott Snyder and Jeff Lemire (Graphic novel from top-tier creators and Image)
-The Dispatcher by John Scalzi (audio-book first release)
-Rogue One: A Star Wars Story (Directed by Gareth Edward [Godzilla], written by Gary Whitta!)
Star Wars Aftermath: Life Debt (Canon follow-up by Wendig, looking to build and improve on the first one)
-The Revenant (Maybe Leo's Oscar? Inarritu's follow-up to Birdman)
-Suicide Squad (First DCCU film to veer of beaten path, new interpretations, expanding the cinematic canon)
-Deadpool (Finally, maybe a suitable adaptation for him)
-The Nice Guys (Ryan Gosling and Russell Crowe in a Shane Black private eye crime thriller set in '70s LA, looks funny too)
-Fantastic Beasts and Where to Find Them (Returning to the Wizarding World, and with Eddie Redmayne too!)
-The Walking Dead (Second half of Season 6 brings Negan to television)
-Daredevil (Season 2 of the show has a lot to live up to, but it will be great)

Is there anything you are looking forward to in 2016? Tweet at me or comment below to share your thoughts on the year to come in media!