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itsclydebitches · 4 years ago

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RWBY Recaps: Volume 8 “Dark”

Welcome back, everyone! Can you believe it's been six weeks already? I can't. Something something the uncomfortable passage of time during a pandemic as emphasized by a web-series.

But we're here to talk about RWBY the fictional story, not RWBY the cultural icon. At least, we will in a moment. First, I'd like to acknowledge that shaky line between the two, growing blurrier with every volume. A sort of good news, bad news situation.

The bad news — to get that out of the way — is that we cannot easily separate RWBY from its authors and those authors have, sadly, been drawing a lot of negative attention as of late. This isn't anything new, not at all, but I think the unexpectedly long hiatus gave a lot of fans (myself included) the chance to think about Rooster Teeth's failings without getting distracted by their biggest and brightest production. There's a laundry list of problems here — everything from the behavior of voice actors to the quality of their merch — but as a sort of summary issue, I'd like to highlight the reviews that continue to pop up on websites like Glassdoor, detailing the toxic, sexist, crunch-obsessed environment that RT employees are forced to work in. A lot of these websites requires a login to read more than a page of reviews, but you can check out a Twitter thread about it here.

Now, I want to be clear: I'm not bringing this up as a way to shame anyone enjoying RWBY. This isn't a simplistic claim of, "The authors are Problematic™ and therefore you can't like the stuff they produce." Nor is this meant to be a catch-all excuse for RWBY's problems. If it were, I'd have dropped these recaps years ago. I'm of the belief that audiences maintain the right to both praise and criticize the work they're given, regardless of the context in which that work was produced. At the end of the day, RT has presented RWBY as a finished product and, more than that, presents it as an excellent product, one worth both our emotional investment and our money (whether in the form of paying for a First account, or encouraging us to buy merch, attend cons, etc.) I'll continue to critique RWBY as needed, but I a) wanted fans to be at least peripherally aware of these issues and b) clarify that my use of "RT" in statements like, "I can't believe RT is screwing up this badly" is meant to be a broad, nebulas acknowledgement that someone in the company is screwing up, either creatively (doesn't have the skill to write a good scene) or morally (hasn't created an environment in which other creators are capable of crafting a good scene). The real, inner workings of such companies are mostly a secret to their audiences and thus it's near impossible for someone like me — random fan writing these for fun as a casual side hobby — to accurately point fingers. Hence, broad "RT." I just wanted to clarify that when I use this it's as a necessary placeholder for whoever is actually responsible, not a damnation of the overworked animator breaking down in a bathroom. Heavy stuff, but I thought it was necessary (or at least worthwhile) to acknowledge this issue as we head into the second half of the volume.

Now for the good news: RWBY has reached 100 episodes! For any who may not know, 100 is a pretty significant number in the TV world because, when talking about prime time programming, it guarantees syndicated reruns. Basically, networks don't want audiences to get burned out with a show — changing the channel when it comes on because ugh, I've seen this already, recently too — and 100 episodes allows for a roughly five month run without any repeats, making it very profitable. RWBY is obviously not a television show and doesn't benefit from any of this (hell, modern television doesn't benefit from this as much as it used to, not in the age of streaming), but the 100 episode threshold is still ingrained in American culture. Beyond just being a nice, rounded number, it is historically a measure of huge success and I can't imagine that RT isn't aware of that. Regardless of what we think of RWBY's current quality, this is one hell of a milestone and should be applauded.

All that being said... RWBY's quality is definitely still lacking lol.

Our 100th episode is titled "Dark" — keeping with the one word titles, then — and I'd like to emphasize that, as a 100th episode, it definitely delivers in terms of plot. There's plenty of action, important character beats, and at least one major reveal, everything we'd expect from a milestone and a Part II premiere. The animation also continues to be noteworthy for its beauty, as I found myself admiring many of the screenshots I took for this recap. There are certainly things to praise. The only problem (one we're all familiar with by now) is that these small successes are situated within a narrative that's otherwise falling apart. It's all good stuff... provided you ignore literally everything else surrounding it.

But let's dive into some examples. We open on Qrow starting, awoken by the thunder outside. Robyn has been watching him and makes a peppy comment about how none of them will be sleeping tonight, followed by a more serious, "Sounds bad out there." Yeah, it does sound bad, especially when they all know — thanks to Ruby's message back in Volume 7 — that this is due to Salem's arrival. I think a lot of the fandom has forgotten that little detail because people often discuss Qrow as if he is entirely ignorant of what is going on outside his cell. Even if we were to assume that he's forgotten all about the pesky Salem issue (the horror of Clover's death overriding everything else, perhaps) he still knows that Tyrian is running loose in a heat-less city with a creepy storm going on and, from his perspective, the Very Evil Ironwood is still running the show. So it's bad, which begs the question of why Qrow (and Robyn, for that matter) hasn't displayed an ounce of legitimate worry for everyone he knows out there. Thus far, their interactions have centered entirely around Qrow's misplaced blame and Robyn's terrible attempts to lighten the mood, despite the fact that a war is raging right beyond that wall. It's another example of RWBY's inability to manage tone properly, to say nothing of balancing the multiple concerns any one character should be trying to juggle. Just as it rankles that Ruby and Yang don't seem to care about what has happened to their uncle, Qrow likewise doesn't seem to care about what might be happening to his nieces. When did we reach a point where these relationships are so broken that someone can be arrested/chucked into a deadly battle and the others just... ignore that?

So Robyn's otherwise innocuous comment immediately reminds me of how badly the narrative has treated these conflicts and, sadly, things don't improve much from here. We are thankfully spared more of Robyn's jokes when Qrow realizes that what he's hearing can't be thunder. A second later, Cinder blasts through the wall — called it! — and Qrow instinctively transforms.

The only downside to this moment is that the whole ceiling falls down on Qrow and the others because APPARENTLY these cells don't have tops on them. Seriously. As far as I can recall we don't see the stone breaking through the forcefield somehow and this looks pretty open to me.

If it is... you're telling me these crazy powerful fighters who practice landing strategies and leap tall buildings in a single bound —

— can't just hop over this mildly high electric fence to get out? Qrow can't just fly away?

We're, like, two minutes in, folks.

We transfer to Nora's perspective as she wakes up, seeing Klein giving her the IV. He tells her not to worry, that "you and your friend are going to be just fine." What friend? Penny? Klein went upstairs prior to Weiss hugging Whitley or Penny crash landing outside. I had thought them bursting through the door with another unconscious friend was the first time he learned what the big bang outside was, but apparently not.

Penny is, obviously, a mess. While I now understand the choice to make her blood such an eye-catching color when that's crucial to the Hound's hunt, I still think it looks strange visually. Like someone has taken a copy of RWBY and painted over it. It doesn't look like it fits the art style. More than that, it implies some rather complicated things about Penny's humanity, especially in a volume focused around her being a "real girl." Real enough for Maiden powers, but with obviously inhuman blood that isn't even referred to as "bleeding." Penny "leaks" instead.

Toss in the fact that she's literally an android who is made up of tech — recall the running gags about her being heavy, or it hurts to fist-bump her, to say nothing of keeping things like multiple blades inside her body — yet Klein says that her "basic anatomy" is the same and he can "stitch up that wound."

I'm sorry, what? Whatever Penny looks like on the inside, it's not going to resemble a human woman's anatomy, and Klein might be able to stitch the outer layer of skin she's got, but that won't do anything to fix whatever metal bits have been broken underneath. Penny isn't a human-robot hybrid, she's a robot with an aura. Penny has knives in her back, rockets in her feet, and a super computer behind her eyes. When our clip introduced that Klein would be the one to help Penny, my initial reaction was, "Seriously? He's a butler and a doctor and an engineer?" But RWBY didn't even try to get away with a Super Klein explanation, they just waved away Penny's very obvious, inhuman anatomy. Yeah, I'm sure "stitching up" an android wound is just like giving Nora her IV. I hope the surgical sutures he used are extra strong!

In an effort to not entirely drag this episode, I do appreciate that Whitley is allowed an "ugh" moment about the non-blood covering his shirt without anyone calling him out on it. That felt like the sort of thing the show would usually try to make a character feel guilty about and I'm glad that, for once, he was just allowed to be frustrated without comment.

Then the power goes out and May calls, which raises questions about what state the CCTS is in and when scrolls are available to our protagonists vs. when they're not. But whatever. She's checking in because she just "saw another bombing run light up the Kingdom" and —

Wait. Bombing? Salem is bombing the city? I know we've seen explosions in the sky, but I'd always just attributed that to evil aesthetic. Why does this dialogue sound like it's from a World War II film and not a fantasy sci-fi show about literal monsters launching a ground attack?

May looks pretty against the sky though. I like her hair color against that purple.

I'm admittedly grasping at positives here because we finally return to her "You have to choose" ultimatum and — surprise! — May has pulled back completely. Ruby says that once they've helped Penny, "We'll...we'll do something!" which is once again her avoiding making a decision. Ruby still refuses to choose, instead falling back on generic, optimistic pep talks. They'll figure out how to stop Salem later. They'll think about the impact of telling the world later. They'll choose who to help later. Ruby keeps pushing these problems into the future where, she hopes, a perfect, magical solution will have appeared for her to latch onto. When that continues to not happen, others pressuring her to actually do something and stop waiting for perfection — Ironwood, Yang, May — she panics and continues stalling for time. Wait an episode and the narrative supports her in this.

Because initially May was forcing Ruby to decide. Now, May enables her desire to keep putting things off. "Don't beat yourself up, kid. At this point, I don't know how much is left to be done." That's the exact opposite of what May believed last episode, that there was still so much work and good to do for the people of Mantle. This is precisely what the show did with Yang and Ren's scenes too, having people call Ruby out... but then return to a message of, 'Don't worry, you're actually doing just fine' before Ruby is forced to actually change.

None of which even touches on May calling her "kid" in this moment. That continues to be a convenient way of absolving Ruby of any responsibility. When she wants to steal airships or Amity Tower, she's an adult everyone should listen to, the leader of this war. When the story wants to absolve her of previously mentioned flaws, she becomes a kid who shouldn't "beat herself up." I said years ago that RWBY couldn't continue to let the group be both children and adults simultaneously, yet here we are.

So that was a thoroughly disappointing scene. Ruby gets her moment to look sad and defeated, listing "the grimm, the crater, Nora, Penny" as problems she doesn't know how to solve. Note that 'Immortal witch attacking the city I've helped trap here' isn't included in that list. Ruby is still ignoring Salem herself and no one in the group is picking up where May left off, challenging her to do more than wring her hands over things others are already trying to take care of: Ironwood is fighting the grimm, May has gone off to help the crater, Klein is patching up Nora and Penny. Ruby, as one flawed individual, should not be expected to come up with a solution to everything, but she does need to stop acting like she can come up with a solution to everything when it matters most (office scene) and rejecting others' solutions when they ask for her help (Ironwood, May).

If it feels like I'm dragging the flawed, traumatized teenager too much, it's not in an effort to ignore those aspects of her identity. Rather, it's because she's also the licensed huntress who wrested control from a world leader and violently demanded she be put in charge of this battle. Ruby, by her own actions, is now responsible for dealing with these problems, or admitting she was wrong and letting others take the lead, without purposefully derailing their plans. She doesn't get to suddenly go, "I don't know," cry a little, and get sympathetic pats.

But of course that's precisely what happens, courtesy of Weiss.

During this whole scene I kept wondering why no one was celebrating Nora waking up, especially when Ruby outright mentions her. Have they just not noticed given all the Penny drama? Because Nora absolutely woke up.

Aaaand went back to sleep, I guess. What was the point of that POV shot? No worries though, she'll wake up again in a minute.

Willow arrives and announces that they can fix the power (and Penny) using the generator at the edge of the property. I'm convinced RT doesn't actually know what a generator is because the characters are acting like it's some super special device that only richy-rich could possibly have. Whitley says that it's the SDC executives who have their "own power supply" and that it's "extremely unfair." Now, don't get me wrong, a good generator powering large portions of your house can run you 30k+, but you can also get one that plugs into your extension cord and powers your fridge for a couple hundred. There's absolutely a class issue here, just not the one Whitley and Weiss seem to be commenting on. They make a generator sound like the sort of device that only a politician-CEO could possible have and it's weird.

Likely, it sounds weird because it's a choppy way of getting Whitley to bring up the wealth disparity so he can then go, 'That's right! We're crazy rich with a company housing tons of ships! We can use those to evacuate Mantle.' Awkwardness aside, I do like that the Schnee wealth is being used for good purposes, but... evacuate where? To the city currently under attack by a giant whale? In a RWBY that wasn't determined to demonize Ironwood, this would have been a great plot point during the office scene instead, with Weiss offering her services to Ironwood, even if the group decides that a continued evacuation still isn't possible.

Instead, we get it here from Whitley. Do I need to point out the obvious? That Whitley is the MVP of this episode? He's done more good in an HOUR than the group has managed in a year. Give this kid some training and make him a huntsmen instead.

We're given a (very pretty!) shot of the shattered moon because it wouldn't be RWBY if we weren't continually reminded that gods once wiped out humanity before destroying part of a celestial body... and absolutely no one talks about that lol.

Blake's coat might not make any sense for her color scheme, but it does make her easy to spot as she and Ruby run across the grounds. Oh my god, they're actually doing something together! It only took eight years. They even get a lovely talk where Blake admits how much she looks up to Ruby, despite her being younger, and once again I'm struck at how much more I would have loved this scene if it had appeared elsewhere in the series. It is, indeed, as sweet and emotional as all the RWBY GIF-ers are claiming... provided you overlook that this is the exact opposite of what Ruby needs to hear right now. She doesn't need to hear that she's more mature and reliable than her elders when she's functioning under a "We don't need adults" mentality. She doesn't need to hear that not knowing what to do is totally fine, not when that led to her turning on Ironwood, despite not knowing how to stop Salem. She doesn't need to hear that "doing something" — doing anything — is a strength, because Ruby keeps avoiding the big problems for smaller ones she's comfortable with, like standing by Penny's bedside instead of deciding between Mantle and Atlas. Blake's speech is heartfelt, but it's a speech that suits a Beacon days Ruby who is having some doubts about her leadership skills, not the girl whose impulsive — and now lack of — actions is having world-wide repercussions. Everyone is babying Ruby to a staggering degree. It's like if we had a med show where the doctor is standing by the bedside of a coding patient, fretting between two treatments. 'Don't worry,' their colleague says, patting their shoulder. 'I've always looked up to you. You'll do something when you're ready' and then they continue to watch the patient, you know, die.

Also: who does Ruby look up to? Everyone talks about how much they depend on and trust Ruby, but who does Ruby look to for guidance? A number of her problems stem from the fact that she has rejected the advice of everyone who has tried to help her improve: Qrow, Ozpin, Ironwood, even Yang. Ruby is presented as the pinnacle of what to strive for in a leader, rather than a leader who has only been doing this for two years and still has a great deal to learn.

Anyway, they get the generator on and the Hound shows up.

I am begging RT to just make RWBY a horror story. All their best scenes the last three years have been horror I am bEGGING —

Anyway, while Ruby waits to be eaten we cut to Willow and Klein, the former of which is reaching for her bottle, pulling back, reaching again, all while her hand shakes. This is good. This is what we should have gotten with Qrow. Which isn't to say that their (or anyone's) addiction should be identical, but rather that this is a far more engaging and complex look at addiction than what our birb got. Willow tells us that she doesn't drink in the dark despite bringing the bottle with her; tries to resist drinking when she's scared and ultimately fails. Qrow just decided to stop drinking after decades of addiction, seemingly for no reason, and that was that. Why is a side character we only met this volume written better than one of the main cast?

Blake manages to call Weiss about the Hound and she asks if Whitley can handle the airships without her. I mean, I assume so given that Weiss is looking at the bookshelves while Whitley does all the work lol. He makes a teasing comment about how he can if she can handle that grimm and she comments that they still need to work on his "attitude."

No they don't. Weiss stuck a weapon in her kid brother's face. Whitley made a joke. Even if Weiss' comment is likewise meant to be read as teasing, it's clear that we've bypassed any meaningful conversation between them. That hug was supposed to be a Fix Everything moment even though, as I've laid out elsewhere, it didn't even come close.

We cut back to Ruby getting thrown through a wall into the backyard and the Hound creepily coming after her. She's freaked out by this clearly abnormal grimm and Blake is weirdly... not? "It's just a grimm. Just focus!" Uh, it's obviously not. Have we reached the traumatized, sleep-deprived point where the group is sinking into full-blown denial? I wouldn't be surprised. They've been awake for like... 40+ hours.

Because the Hound knocks Ruby out with a single hit. Just, bam, she's down. "Focusing" is not the solution here.

Weiss calls to warn the others about the grimm, telling them to stick together. Willow (understandably) starts freaking out and flees the room (classic horror trope!). Klein is left alone when Penny wakes up with red eyes. Oh no!

Don't worry. You know nothing meaningful happens.

She shoves Klein before (somehow?) resisting the hack, her Maiden powers going wild in the process. Just when it looks as if Penny might cause some serious damage, Nora wakes up, takes her hand, and says, I kid you not:

"Hey... no one is going to make you do anything you don't want to do... It's just a part of you. Don't forget about the rest."

Okay. I want to re-emphasize that I love hopeful, uplifting, victory-won-through-the-power-of-love stories. Istg I'm not dead inside, it's just that RWBY does this so badly. I mean, what is this? It has similarities to the character shouting, 'No! Resist!' to their mind-controlled ally, but this is not presented as a desperate, last-ditch effort by Nora. She just speaks like this is the most obvious truth in the world. If you don't want to have your mind taken over... just don't! It's that simple. The problem definitely isn't that Watts has changed her coding and has implemented a command she can't override, it's that Penny has forgotten about the "rest" of her personhood.

And this works. Granted, not for long, but we leave Nora having successfully calmed Penny down and until her eyes unexpectedly go red again scenes later, we're left assuming that this is a permanent solution. That, imo anyway, is taking the Power of Love too far, overriding the basic reality of Penny being hacked. It’s not a personal failing she must overcome, it’s an external attack. I would have rather had Nora react to the scars she saw on her arm, or have a moment with Klein, or get some love from the group. Not a wakes up, falls asleep, wakes up again to save Penny with a Ruby level 'Just ignore reality' pep-talk, then back to sleep again.

So Penny isn't attacking her allies, or mistakenly hurting her allies with wild Maiden powers. Not that the group doesn't have enough to deal with, but still. Weiss arrives to help with the Hound and attempts a new summon, only to fail when two minor grimm burrow up into her glyphs. I really enjoyed that moment, both for the wing visual and the knowledge that Weiss' glyphs can fail if you break them somehow (which makes sense). Also, I just like that she failed in general? Weiss is, as per usual now, about to demonstrate just how OP she is compared to the rest of the team, so it was nice to see her faltering here.

The Hound tries to make off with Ruby and Blake does an excellent job of keeping it tethered. Ruby finally wakes, only to realize that the grimm is actually after Penny since it's staring at her power up through the window, no longer trying to escape. Moments like this remind me that there's someone on RT's writing team that knows what they're doing, at least some of the time. The assumption that the Hound is after Ruby as a SEW, the surprise that it's actually Penny, realizing it holds up because Ruby is covered in Penny's blood and Blake is not... that's all nice, tight plotting. More of that please!

The Hound drops her and Ruby's aura shatters when she hits the ground. I want everyone to remember this moment as an example of how strong the Hound is. The group may be tired, but unlike YJR they've been sitting around in the Schnee manor for a number of hours, regaining strength. We saw the Hound hit Ruby twice — once through the wall and once to knock her out — and then she falls from a not very high distance for a huntress, yet her aura is toast. That's the level of power and skill the Hound possesses. Decimating YJR, knocking Oscar out, same for Ruby, avoiding Blake and Weiss' hits, soon to treat Penny like a ragdoll. Just remember all this for the episode's end.

Blake tells Weiss she'll take care of Ruby, you go help the others. Yay breaking up the duos more! Bad timing though as the new acid-spitting grimm pops out of the ground and Blake is now left alone to face it.

Weiss re-enters the mansion, knowing the Hound is somewhere nearby, but not where. Suddenly, Willow's voice sounds through her scroll with an, "Above you!" which... doesn't keep Weiss from getting hit lol. But it's the thought that counts! Willow has accessed the cameras she's set up throughout the manor, watching the Hound's movements, and I have to say, that is a WAY better use of her separation from Klein than I thought we were getting. I legit thought they'd have Willow run away in a panic, meet the Hound, die, and then Weiss could be sad about losing her mom.

It does say something about RWBY's writing that this was my knee-jerk theory, as well as my surprise when we got something way better.

The Hound runs off, uninterested in Weiss, and she asks Willow to keep tabs on it. It heads for Whitley next (also covered in Penny's blood) and very creepily stalks him in the office with a, "I know you're here." Whitley is seconds away from being Hound chow before one of Weiss' boars pin it against the wall. He runs, then runs BACK to finish deploying the airships, before finally escaping assumed death. Goddamn this boy is pulling his weight.

I assume all these ships are automated then? I hope someone takes a moment to call May. Otherwise it's going to be super weird for the Mantle citizens if a fleet of SDC ships just show up and hover there...

I don't entirely understand how Weiss saved him though. She's nowhere to be seen when Whitley leaves and he runs a fair distance before he and Willow encounter Weiss again. We know her summons don't have to keep right next to her, but are they capable of rudimentary thought, attacking an enemy — and an enemy only — despite Weiss being a couple corridors down and unable to see the current battlefield? I don't know. In another series I'd theorize that this was a deliberate hint, a way to clue us into the fact that Willow, someone who we currently know almost nothing about, had training in the past and summoned the boar herself. Weiss and Winter certainly didn't get that hereditary skill from Jacques. Hell, we might still get that, Weiss reacting with confusion next episode when Whitley thanks her for the boar, but I doubt it. That scene with Ruby and the Hound aside, the show isn't this good at laying groundwork and then following up on it.

Case in point: Weiss says, "I didn't forget you" to Whitley after he gets away from the Hound, the moment trying to harken back to her promise to Willow. Key word is "trying." Because she absolutely forgot him! Weiss threatened and ignored Whitley until he proved his usefulness. I also shouldn't need to point out that, "Don't forget your brother" does not mean, "Don't let your brother die a horrible death by abnormal grimm." Weiss acts like her saving him is a fulfillment of her promise, rather than just the most basic of human decency. And also, you know, her job.

So that part is frustrating. The entire Schnee dynamic is a mess, from Weiss making a joke of her father's arrest, to Willow (presumably) fixing their relationship by putting a hand on her daughter's shoulder. Okay.

Then Weiss cuts off the Hound by summoning a giant wall of ice. My brain, every time this happens:

YOU COULD HAVE FIXED THE HOLE IN MANTLE'S WALL.

Moving on, Blake's fight against the acid... thing has some great choreography, including Blake using her semblance which we haven't seen in AGES.

I really like the fight itself, just not what Blake is shouting the whole time. "I need you, Ruby! We all need you!" This has really gotten ridiculous. Ruby is presented as everyone's sole savior despite failing time and time again. It's not that I don't think Blake as a character should have faith in her leader, it's that I don't think the writers should be crafting a story where everyone puts their unshakable hopes in an untrained, disloyal, impulsive 17 year old. I mean, Ruby is currently unconscious, yet Blake is acting like if she doesn't wake up — she, as an individual, if Ruby Rose does not re-join this fight — then all is lost. If Ruby doesn't save them, no one can. Which is, of course, absurd on numerous levels. Blake doesn't need the passed out, aura-less Ruby right now, she needs the still very healthy Weiss pulling out multiple summons and an ice wall! Use your scroll and call for backup again.

But of course, Ruby wakes up and kills the new, terrifying grimm with a single hit. It's a preview of what's to come with the Hound and it's just as ridiculous here as it will be there.

Speaking of the Hound, am I the only one who thought this was... cute?

I can't possibly be the only one. That head-tilt is exactly what my dogs do and my brain instinctively went, "Aww, puppy!"

Murderous puppy.

The Hound realizes none of the Schnees are who it's looking for and runs off. Penny, meanwhile, has been fully taken over because, well, that's just what's convenient now. She resists long enough keep Amity up, then succumbs, then resists to apologize to Ruby, then succumbs, then resists because Nora asked her to, then succumbs once it's time to knock her out. If RWBY was willing to commit to consequences, Penny would have been taken over and that was that. The characters would need to deal with whatever outcome happens as a result. Instead, the show very carefully avoids any of those pesky consequences by having Penny successfully resisting at key moments, despite no explanation of how she's managing that.

She shoves Klein again (Klein is having a Bad Time) and starts walking down the main steps. When Whitley wants to know where the hell she's going, Penny mechanically responds that she must "Open the vault, then self-destruct." I suppose the change Watts made was the self-destruct order? Ironwood obviously wants the vault open, though not necessarily Penny's death. Think what you will of his moral compass, she's a damn powerful ally — a research project, perhaps — and a Maiden to boot. At the very least, her death may give the powers to someone even worse.

God, please don't let them have brought Penny back and made her a Maiden just to kill her again.

The Hound arrives though and, as said, knocks Penny out. We're back to square one with her, then. Note though that this attack is near instantaneous. She grabs its hands one second, is hanging limply the next. Wow, the Hound sure is a terrifying antagonist!

Not for long.

"That's enough," Ruby says and one-shots it with her eyes.

Now, I want to talk for a moment about the implications of that line. "That's enough." Obviously Ruby is #done with this situation and emotionally unwilling to let the Hound kidnap Penny (congratulations, Nuts and Dolts shippers), but there's a meta reading here as well. Not intentional, but glaring to me nonetheless. Basically, the idea that the Hound has, from a plot perspective, done enough. It has served its singular purpose. It kidnapped Oscar and now it dies. Never-mind how insanely powerful we've established the Hound to be, never-mind how Ruby's eyes also work or don't work according to whether anything of actual import is on the line. From a plot perspective "that's enough" and the Hound can be disposed of instantly. It got Oscar and gave us an episode of filler creepiness. Move along now.

The idea behind Ruby's eyes isn't bad, but the execution absolutely is. RT has undermined a huge portion of the stakes by giving their protagonist an instant kill-shot that always works precisely when she needs it to. Starting with the Apathy, we have yet to get a moment where Ruby's eyes fail to save the day when she really needs them to, no matter how incredible the challenge. The Hound was very intentionally written to be a grimm outside of the group's current power level. It thinks, it talks, they literally can't touch it. This creates the expectation that the group will need to grow stronger — or at least become smarter — in order to surmount this new obstacle, yet Ruby's eyes undermine all of that. The group hasn't grown in years, the show just makes enemies weaker as needed (Ace Ops), or has Ruby pull out her eyes as a trump card. It wouldn't be that bad if we'd at least gotten a good battle out of it, one where the group gets close to defeating the Hound on their own, but needs Ruby's eyes to finish it off. Instead, she literally walks up without any aura, announces to the audience that this antagonist's time is up, and blasts it out a window.

Granted, Ruby's eyes don't completely finish it. The Hound pulls itself to its feet and we see this.

Yup, that's a guy and yup, those are silver eyes.

I would like to issue a formal apology to the "It's secretly Summer!" theorists in the fandom. I mean, I still think it would be ridiculous (and at this point highly improbable) that Ruby's dead mother has actually been a grimm mutant this whole time, just hanging out in Salem's realm while she waits for the plot to start before attacking the world, and then sends some no-name faunus dude after the group instead of their leader's mother for extra, emotional torture... but you all were definitely right about the “It's a person” part! I... don't know how I feel about this. Admittedly, it seems to be a logical continuation of the other grimm-human hybrids we've seen — namely Cinder and Salem herself — and it finally explains why Salem wants Ruby alive (even though it actually doesn't because WHY did she want more SEWs for Hound grimm when she wasn't even attacking back then? And already has all these other insanely powerful tools??), but at the same time, it feels like it's complicating a story that doesn't need further complications. The group fights monsters and has an immortal enemy. You don't need to add 'Some of those monsters are secretly human' to the mix.

It doesn't hurt that this twist is giving me Attack on Titan vibes, which, ew. A dark time in my fandom life, folks.

The Hound staggers a few steps before Whitley and Willow dump a suit of armor on it. That's all it takes to kill the most dangerous grimm we've ever seen: a single flash of silver eyes and some heavy metal. This also wreaks havoc with the implication that Salem wants SEWs alive because they create such powerful grimm. Obviously not. I mean yeah, normal huntsmen are going to have serious problems, we’ve seen that this volume, but any other SEWs nearby will take a Hound out instantaneously. For a villain with so many other powerful abilities — immortality, magic, endless normal grimm, her nifty soup — Salem would be much better served just killing SEWs straight out. Clearly, creating Hounds isn't worth the effort.

The Hound leaves some bones behind and Ruby collapses to her knees, overcome with the knowledge that this was once a person. Again, uncomfortable Attack on Titan parallels.

We finish our premiere with Cinder clearing away rubble to reveal Watts. Honestly, I like that we ended on this because her rescue is hilarious. She just slings him over her shoulders like a sack of potatoes and blasts off with her magic fire feet. Fantastic.

Note though that with this scene we've seen almost everything from the clip and the trailer. What's to come in the rest of Volume 8? No idea. Outside of Winter leading the charge with the bomb, we got it all here.

Time to update the bingo board!

I'm crossing off "Introducing new grimm that are quickly abandoned." Between the Hound and acid-dude both falling to a single blast/cut from Ruby, we've more than earned this square.

It doesn't look as if we'll get another Watts-Jacques team-up now that he's left, but you never know.

Maria's got me worried. I feel like her Yoda fight against Neo is the one thing she'll be allowed to do this volume, but given that we didn't see anyone except Ruby's group this episode, we don't yet know whether the story is now ignoring her and Pietro, or if they'll re-appear in another episode like YJR.

Qrow is free. Will he get a drink before trying to murder Ironwood? Perhaps.

Still no bingo :(

All in all, the episode was by no means horrible. I think there were lots of horrible parts, but also some legitimately well executed moments, fun action, and scenes that I can easily imagine as squee worthy if you lean back and squint. Everything is comparative and in the growing collection of bad RWBY episodes, this one isn't securing a top slot. Which doesn't mean I think it's good, just... not as bad as it could have been and primarily only bad due to long-running problems, not things this specific episode has done. That's my bar then, so low it has officially entered the underworld.

Still, RWBY is back and a part of me is eager to see where this volume takes us, for better or for worse.

Until next week! 💜

[Ko-Fi]

#rwby #rwby spoilers #rwby volume 8 #mymetas #rwby recaps #rwby dark

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aflyingcontradiction · 4 years ago

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The Magnus Archives Relisten: Episode 59 - Recluse

First of all: The title, oh my! I hadn't even spotted the spider-y pun before! That's great!

It’s like it never existed. I mean, this was a long way pre-digital, and files got lost plenty, but it still bothers me. The most traumatic thing that ever happened to me, and as far as any official record is concerned, I couldn’t have even been there. - Statement of Ronald Sinclair

Yeah, I can see why that would be awful. If something bad happens to you, at least you'd want people to acknowledge your truth, believe that you're not making it all up, have something black-on-white that'll let YOU believe that you're not making it all up. And obviously Ronald Sinclair can't have that for the supernatural part of his trauma, but he doesn't even have the paperwork to prove that ANY of it ever happened or look for other survivors, maybe. Yeah, that would do more than just "bother" me, for sure.

A lot of ex-military types who would lecture for hours on how their wasted life had been saved by the discipline of the army, and did their best to impose it on us. Ray, as he insisted we call him, was different.

It's kind of ironic that you've got all these military types trying to instill unquestioning obedience in children and then you have Ray, who is different, AND ACTUALLY INSTILLS UNQUESTIONING OBEDIENCE IN CHILDREN. It's a little funny in all its awfulness. (Also, having an ex-military stepdad who, while fortunately never much of a disciplinarian, also had a tendency to give lectures about the healing power of military discipline, I can't hear "military discipline" anymore without wanting to make retching noises behind the back of whoever is talking.)

The one thing that surprised me was how rare it was to see anyone come back.

... how many of them ended up in that basement full of spider eggs, exactly? All of them? Were there others who got away?

It was never bad or dangerous stuff, just… things I wouldn’t normally have done, like brushing my teeth.

You've got mind control powers and a steady supply of helpless teenagers nobody will miss. What do you do with them? YOU MAKE THEM BRUSH THEIR TEETH! If we didn't know that most of them end up as spider food, this would be oddly wholesome (you know, as mind control goes, so still a horrifying violation of personal autonomy, but - well - the bar is low.)

A suited man would come around – though, rarely the same one twice – Ray would sign some papers, and my former house sibling would head out the door and into the wide world.

Are the suited men being controlled by the Web in the same way Ray is controlling the kids or are they maybe former halfway house kids, now filled with spiders? Or are they actually government officials in full control of their own actions, who just don't give enough of a shit to even stay around for long enough to check that the child in question makes it safely off Hilltop Road? Because that last one would somehow be the most horrifying option.

Agnes came to the house two months before my birthday, in the middle of winter.

Okay, so I wasn't misremembering the timeline. I was wondering about that in my relisten post for Burned Out because part of that episode claimed the kids stopped causing trouble on Hilltop Road AFTER Agnes came (which made me think "Huh, did Raymond not become a Web Avatar with mind control powers until after Agnes had arrived?). But no, he was, as I had remembered, already thoroughly webbed, so I've got no explanation for why the kids would gradually cause less trouble after Agnes's arrival. It kind of clashes with what Ronald is describing, too. I'll just blame Hilltop Road time-wibble!

And once, I could have sworn that he looked at her with something in his eyes that, even in my dull state, I recognized as fear.

Agnes must have been INSANELY powerful, if even another Avatar looks at her Yes-Avatar-but-still-a-child self with terror.

It was all a bit surreal, watching pens sign my life into its different stages without holding any of them myself.

Damn. "A bit surreal" is putting it lightly!

Something in the back of my mind, a frantic, scuttling terror.

A very fitting description in context!

His brown leather coat seemed to shift around his body. The texture in the dim light seemed more like coarse fur.

Erm. NO, THANK YOU!

All at once, my cheek erupted in pain. It was like someone had pressed a hot branding iron into my face, and I could swear that I heard the flesh sizzle as I let out a scream and fell to my knees.

Agnes helps Ronald, specifically. None of the other kids. Why is this? They don't have a relationship before her kiss. Did she just happen to decide this was the moment? Was Ronald actually the first kid doomed to become a human egg-sac after she arrived? ... You know, he might well have been, actually.

I didn’t look back, and to this day, I pray every night that the others down in the basement were already dead.

GRAH! YEAH, YEAH YOU WOULD!

I have done my best to prevent Martin reading this statement in too much detail. I have no interest in having another argument about spiders. In fact, after reading this statement, I have no interest in thinking about spiders any more than is professionally required. - Jon

You know, that is ENTIRELY FAIR! (Also Web!Martin would've been a fun development at some point in the show, given how his affinity for spiders keeps being hinted at and how he does develop a very clear manipulative streak later on. Just saying.)

Between Ronald Sinclair, Ivo Lensik, and Father Burroughs, it appears there’s still much to learn about Hill Top Road.

OH YOU DON'T EVEN KNOW!

Everyone’s avoiding me. They’ve taken to working farther away from me than normal, and when I call them for any reason, they’re always keen to leave as soon as possible. They share furtive glances when they think I’m not looking. I don’t like it. I feel like they’re planning something.

YEAH, PROBABLY A FUCKING INTERVENTION CAUSE YOU REALLY NEED ONE! JEEZ, JON, LISTEN TO YOURSELF!

My impression of this episode

A lot of the Hilltop Road episodes are primarily interesting because "Oooh, ongoing plot!" and this one has plenty of that, but it's also a terrifying stand-alone episode. This is the first episode that the Web really gets to shine in - previous episodes that featured the Web were either mostly about spiders (which, meh, I mean, they scare me too, but they're just a bit too concrete and physical to work as a TMA fear, imho) or the mind control powers were being viewed from an outsider's perspective. But here you get the full blast of what it would feel like to have your personal autonomy completely wiped out. And the fact that it's being done to a kid in the foster system is just ... yeah, TMA was definitely plenty political before the obvious allegories of season 5.

#tma relisten #the magnus archives

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zachsgamejournal · 4 years ago

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PLAYING: Resident Evil 7

I know I'm about 3 years late to the party, but I was hesitant to trust that Capcom could get back in touch with their Survival Horror roots.

My very regrettable mistake...

So: Resident Evil for PS1/Saturn was great!

Cinematic Storytelling: The game could be completed in under 2 hours (if you knew what you were doing). So that means you're not spending days to get through a feature-film level story (unlike SOME games). It makes the plot and characters a more crucial part of the experience.

Puzzles: Sure, the puzzles are little wacky: like clicking buttons under pictures in chronological order or you get attacked by well-trained zombie birds. But it made the game more than moving from point-a-to-b. It's about exploring and understanding your environment. Speaking of which...

The Environment: The Mansion (and it's other areas) was a character unto itself. It had secrets and a past. And since the game wasn't designed as a series of sequential levels, you really get to know the environment.

Zombies: Zombies were not the mainstream success they are now. Hell, Vampires were just barely getting attention through Interview the Vampire. I became obsessed with zombies and bought all 3 major films in existence.

Such a different time...

Anyway, the point, RE1 was great, RE2 was better, RE: Code Veronica was pretty good, and RE4 is stupid.

Well...not stupid, but it completely changed Resident Evil, and not for the better. While folks loved RE4, it really was the start of a new franchise, which RE5 and RE6 followed. And that's fine--except they sacrificed what Resident Evil was to make way for this new product.

Succinct, mystery-driven storytelling was replaced with nonsensical twist and turns that did little to grow the overall world or its characters. They just stretched contrived cliffhangers across overlong campaigns of mass murder.

Puzzles, as best i can remember, were sacrificed for challenge rooms filled with enemies while the player looked for the exit switch.

The environment, as great as the graphics were, simply became battle zones meant to offer shallow context to the bloodbath gameplay. RE4 did have a strong aesthetic, but you don't get to know each room and hall like you do in the classics. Nothing but well-dressed strangers to high-five as you pass by.

And what happened to the Zombies. I mean, they still had zombies--but they weren't zombies. Whatever. Resident Evil has always had a diverse set of monsters. They didn't have to sacrifice zombies...

All this to say, Resident Evil 7 is awesome!

The opening was a little cheesy with poorly synced dialog and a helicopter shot of Louisiana swampland I'm sure they stole from True Detective stock footage.

But once I took over the character, I was hooked. The game looks great on my phone and TV via Stadia. I enjoyed walking through the woods and house, looking at every little detail the artists meticulously placed.

I've seen most of a playthrough on Youtube (though I was distracted). So I kind of knew what to expect. It's way more intense when you play. Having dialog and cutscenes playout without leaving the first person camera is great at making you feel "there". So all that goes down and I end up in the house for dinner.

Watching this bit on YouTube, I was a little turned off by the obvious Chainsaw Massacre connections: but original RE was heavily influenced by horror films, why not this? (I also have a better understanding of this family cause I know some things.)

Once I gained control, roaming around the kitchen/dining/living room area was great. I was seeing hints to future puzzles, scavenging for supplies, and finding notes giving clues to events that were happening. Very Resident Evil.

I struggled a bit trying to get away from Jack. Since they gave me a hiding spot, I assumed stealth was gonna be a major component. Nope. Not really. Eventually I get to the save room (A SAVE ROOM!!) and then on to the garage fight.

I wasted all my ammo when I probably just needed to grab the car keys. Lesson learned. Jack trying to run me over was kind of crazy, and maybe a little laughable since I was just swiping at him with a pocket knife for five minutes.

After that, more of the house opens up. It's insanely huge and illogically designed. While it creates some great hallways, and helps the designers break the home up into controllable sections: there's no house build like this: wtf...

Going into the basement reminded me of RE2. The molded, I think, are people the family has kidnapped and infected with something. Some change and some don't. Know they've turned into very lethal zombie-esque creatures. Since they're infected people stumbling about, I'm gonna say they've rekindled the zombie. Kinda.

To fight these guys, I've resorted to my pocket knife. Saves ammo. I basically dance around them like I did guards in Thief, wacking where I can. Eventually I chop off their hands, often without taking damage. But the crab guy in the incinerator required a shotgun blast.

One of the fights, he cut off my leg and I was crawling around. I thought it was a scripted scene (I mean, I lost my arm already). Nope. You're supposed to pick it up and reattach it. Ah-well.

Jack wandering around the new area was frustrating. It seemed I could never lose him, so wasted a lot of health and ammo stunning him. His boss fight was pretty rough. I nearly gave up. It took some time getting used to the chainsaw. Right as I was about to switch to easy, I had a near perfect run and defeated him. My wife laughed at the way I was squirming on the couch trying to get a hit in without being cut in half!

Made it to the old house with the bugs. This went way faster. It reminded me of the guard house from RE1, which also had giant wasps. Without Jack or molded zombies, it was actually really easy to explore the house and solve its secrets. Once the old lady showed up, I thought I could lure her away from the exit room. She didn't buy it, so I just ran past her.

When it came to her boss fight, it reminded me a lot of Laughing Octopus in Metal Gear Solid. Which that boss was practically a horror movie in of itself. I thought the flame thrower was gonna be the way to go, but a guide suggested focusing on her belly. And I kept running out of fuel, then being harassed by flies. So I opted for the shotgun and had a successful run.

About a year and a half ago, I played through the original RE as Chris. I remember there was a point about a third of the way through that I had about seven rounds of pistol ammo, and a single green herb--yet several zombies stood in my way. I wasn't sure I was going to make it. But then, I unlocked the shotgun and the game became a breeze. Suddenly I had too much ammo, and too many healing items!

That has kind of happened here. I'm doing well on healing items (though I've used up my shotgun). Still, I feel confident sprinting around and doing quick searches of spaces. I don't even fight the molded much anymore.

Getting into Zoe's trailer was interesting, but you can interact with her bra. I thought that was kind of pervy. I'm guessing Zoe is a part of the family? I imagine she's some how the source.

I think it's great they keep putting the grandma in different places without explanation. The way she looks at you sometimes is creepy...

I'm not a huge fan of the VHS flashbacks. Often, they have you play areas you've either already played or will play. While it's inspired some game ideas of my own, it just feels like a cheap gimmick to get more playtime.

Anyway, this really does feel like a reboot of Resident Evil. It's capturing the strong environmental storytelling of the originals, and making it more about the horror, less about the action. I'm actually getting into the plot and mystery. I look forward to getting my answers.

#Zach's Game Journal #PLAYING #Resident Evil 7 #Stadia

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saltoftheplanet · 6 years ago

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Why I’m skeptical about the Final Fantasy VII Remake

I’m skeptical that the remake will be good because there will be a lot of changes that will impact the direction, tone and narrative of the game, and Square Enix’s track record suggests to me that those inevitable changes will destroy and undercut what was special about the original game.

An essay breaking that down piece by piece is under the cut.

There will be a lot of changes

The remake will represent a huge and doubtlessly beautiful graphical update. With these updates, however, comes the need for a variety of new directorial decisions. For example, how should the camera behave during cutscenes? Who should they frame, and how? What will their body language and facial expressions show? Now that all the cutscenes will be voice acted, what tone will characters speak familiar lines with?

Likewise, the game is switching to a third-person, over-the-shoulder view. The original FFVII used a fixed camera and prerendered backgrounds to create a world that felt rich, full, and often cluttered. Every level will require redesign to account for the new way of moving about the world, and the amount of assets required to create the same feeling and to direct your attention in a same way will be exponentially higher. Likewise, there will need to be changes to account for the new combat system, as stages will need to be designed for both exploration and combat in many cases.

The episodic format of the game will necessitate changes to the pacing. Successful episodic games excel at creating self-contained rising and falling action and narrative arcs within each episode. Conversely, Final Fantasy VII was plotted and paced as a single complete narrative. Either the pace and order of events will need to be changed to make each episode stand strongly on its own, or the episodes on their own will be gawky and suffer pacing issues as they are pulled out of context from the greater whole.

Finally, the narrative itself will change. We have yet to see a verbatim line in each of the trailers, so the script itself is being rewritten, and with it many nuances will change. Square has stated point-blank that story changes are on the table. Finally, the compilation of Final Fantasy VII and the various Ultimanias released over the years have added a variety of changes to the narrative and to the lore. The teaser trailers we’ve seen so far have been in-line with the Midgar we see in Advent Children, itself a massive change to the famously ambiguous ending of the original game.

Direction and tone will be affected

All of these changes will not be neutral. In just about every decision of how this story is retold, some things are necessarily going to be emphasized and de-emphasized. Each of these decisions will carry and shift meaning in subtle ways. In that sense, the remake should more truly be considered an adaptation.

Examine the opening of FFVII; a meandering view of the stars fades into Aeris’ face. A single long shot pulls back to the city of Midgar. The tone here is mysterious, and the amount of time dedicated to the environment equals or surpasses the time spent on a character. This direction in cinematography echoes the game’s focus, as it is very much a story about the interplay between the characters as they exist inside of larger, overwhelming forces and environments.

The remake does have the opportunity to give us more meaningful cinematography in its cutscenes, but it may also make directorial decisions that change the meaning or impact of scenes. Especially likely is an increased focus on the characters and the action, and implicitly, the “cool” factor of both of those things, seeing as how the Remake and Square Enix as a company largely foreground great visuals and cool sequences. There’s absolutely room for that, of course, considering the bike scene in the original - but the broader point here is that no intervention can be neutral, and the Remake will inevitably have a different focus from the original.

One influential decision the writers have made is in their audience. All promotional material thus far has been aimed squarely at “returning” players, with no explanations offered for newcomers. What we’ve seen so far is in line with the marketing material - they are not simply trying to recreate FFVII as it was, but also tap into our collective sense of familiarity about it. The direct engagement with an expected audience means they will likely try to recreate the feeling of the experience rather than the experience itself, which would then necessitate certain story changes to keep things surprising or mysterious. This approach will inevitably widen the gulf between the remake and the original game.

SquareEnix’s Track Record

SquareEnix has been behind many beloved games, but they are not the company they were when they released FFVII. Their track record over the past decade, maybe even closer to the past 15 years, has been one of spotty quality, half-baked ideas, poor execution, and a narrative flexibility that suggests a lack of commitment to telling a story with singular vision and protecting the integrity of that story. Whatever your opinion or personal enjoyment of more recent Final Fantasy entries, they objectively lack the clarity and direction that made older entries of this series so beloved. To be completely clear, it is not that I believe these stories could never get there; it is that I’m keenly aware of the fact that they came short.

But more relevant than Square’s entries in the mainline Final Fantasy franchise are the entries to the Compilation of FFVII. These, two, have come with a variety of directorial changes that the new format and technology demanded. They’ve built their own lexicon that will likely be drawn upon in the creation of the remake, and that bring subtle changes along with them. For instance - Advent Children’s visually spectacular fight scenes introduced us to the idea that the characters were all able to leap vast distances and perform acrobatics mid-fight, and we’ve seen this idea carried forward into all subsequent entries of the series, even though it’s somewhat at odds with the more grounded, cyberpunk tone of the original game that earmarked these kinds of superhuman abilities as specifically unusual.

That may seem like a minor quibble, but I would argue that it’s a series of minor changes that have led to the difference in tone and focus between the compilation and the original game, and it comes down to a variety of directorial decisions that continue to be pertinent. For example, in Advent Children, the writing team made a decision to base Cloud’s character around what people would most remember from the game, and decided that would probably be the Cloud that we see at the beginning of the game. This decision was in play as early as his cameo in Kingdom Hearts, and for as inconsequential as it may have seemed then, it’s carried a rippling effect with it. By choosing to write the character in a way that they felt most fans would recognize, they also chose to downplay the growth and the specific quirks that wound up making that character interesting - a repeated issue with many of the characters.

Likewise, because the compilation prioritizes its returning Final Fantasy VII fans, it also tends to prioritize fanservice and recognizable, digestable moments over the overarching narrative of the world of Final Fantasy VII. One memorable example would be a cute Yuffie cameo in the midst of the Wutai War in Crisis Core, a war we are told repeatedly was extremely brutal and which actually destroyed Yuffie’s home and embittered her for years thereafter. The result is a story that’s at odds with itself due to tonal and character inconsistency. The prioritization of a quick moment of familiar joy robs the character of her impact in the long term, and this pattern is repeated for many other characters throughout.

Of course, the compilation has changed more than tone and framing of characters, and has also contributed several ideas to the world of Final Fantasy VII that are now in play. For example, the idea that upon death, people return to the Lifestream, whereby their spiritual energy is used by the planet to create new life. This is a distinctly animist idea that the Compilation has leaned away from, as they cannot cameo dead characters if those characters have since been reincarnate as trees. The compilation has since introduced the notion that a person’s soul and consciousness not only stays intact, but that they can come into contact with the living - an idea that’s fundamentally at odds with the themes of life, loss, death, existentialism and uncertainty that are extant in the original game.

Finally, though not least significantly, Polygon’s An Oral History of Final Fantasy 7 reveals that the reason Advent Children and subsequently the compilation was created was to save Square Enix from financial ruin, not to continue the story for its own sake. It is important to acknowledge the reality that Final Fantasy VII is bankable, and the reason for the remake to begin with may very well be that bankability rather than a good faith intention to retell a story that touched many. The episodic nature of the release does nothing to help that faith, nor does the fact that initial development was outsourced to a third party.

What was so special about FFVII

“So what?” you might ask. Even if there are a ton of changes, and those change the direction and tone of the game, does that really mean it won’t or can’t be good? To that - the jury is out. But I don’t particularly care if the FFVII remake is a good video game - I care if it’s a good representation of FFVII.

I admit without reservation that FFVII is, to use a technical term, anime trash. It has lots of rule of cool sequences that keep the game light, bits of spotty translation, and narrative stumbles. It is not a perfect work. But there is a reason why it was enduring; there was meaning to it, and that meaning was what made it special and unique.

FFVII was a ponderous game. It seldom presented an idea without later exploring and unpacking it. Its characters are seldom what they appear, the mission they undergo is hardly as noble as it seems, and what you expected to happen simply didn’t. It’s rife with deliberate ambiguity and doesn’t work overly hard to explain itself. Its story is shot through with uncertainty, about identity, faith, morality, justice, and every other waymark we use to navigate our life. Its most memorable moments rest in the loss of that certainty, and its most triumphant in the character’s perseverance regardless.

Though FFVII is primarily remembered and beloved for how it made people feel, it wasn’t written to be deliberately provocative or emotionally manipulative. The story was deeply impacted by a real-world loss, and the mandate of the team at the time was to convey that loss for how it truly felt, without the celluloid gloss and tropes like a dying speech that have since proliferated through the compilation. There was an honesty, an integrity and a complexity to this story that caused people to argue in earnest that it was the first video game that could truly be considered a piece of art.

I think the ephemeral nature of these qualities often leads people to conclude that FFVII is mainly loved due to “nostalgia,” but that’s a dismissive take that fails to acknowledge the deliberateness and consistency of its themes and ideas. The same care has very obviously not been given to any of the subsequent FFVII games.

In other words: this was never going to be an easy game to remake. A remake worthy of standing on the same pedestal as the original would require the same careful dedication to thematic consistency and integrity, to tone and feeling as the original. It would require careful thought to the impact and presentation of each of the monumental changes demanded by the new technology and platform.

Square-Enix has yet to do anything to suggest that it is up to this task. I have tremendous empathy for the development team that is taking on this task, but that doesn’t mean I have faith in their ability to really, truly, pull it off.

#final fantasy vii #final fantasy vii remake #ffvii #e3 #ff7 remake

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gaming-rabbot · 7 years ago

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Salmon Run and Presentation

A (not so) brief dissertation on narrative framing in video games, featuring Splatoon 2

With the holidays in full swing, I took advantage of a deal one day when I went into town, and finally got my hands on Splatoon 2. Having loved the prior game as much as I did, waiting this long to get the sequel felt almost wrong. But like many another fellow meandering corpus of conscious flesh, I am made neither of time nor money.

Finally diving in, I figured I might take this excuse to remember that I write game reviews, sometimes. You know, when the tide is high, the moon blue, and the writer slightly less depressed. I ended up scrapping my first couple drafts, however. You see, a funny thing was happening; I kept veering back into talking about Salmon Run, the new optional game mode the sequel introduces.

Also I might look at the Octo Expansion later, on its own. After I get around to it…

Look, the base game already has a lot of content to explore, and as previously stated, I am sadly corporeal, and not strung together with the metaphysical concept of time itself.

My overall thoughts, however, proved brief, so I’ll try to keep this short.

(Mild spoilers coming along.)

Gameplay wise, I think the story mode is much improved upon by handing you different weapons for certain levels which were specifically built with them in mind. Whereas the prior game left you stuck with a variant of the starter splattershot all the way through. This keeps things interesting, pushes me outside of my comfort zone, and it’s a good way to make sure players will come from a well-informed place when deciding what weapon they want for multiplayer; which, let’s face it, is the real meat of these games and where most players are going to log the most time.

I also love the way bosses are introduced with the heavy drums and rhythmic chants and the dramatic light show. It endows the moment with a fantastic sense of gravitas, and manages to hype me up every time. Then the boss will have an aspect of their design which feels a bit silly or some how rather off, keeping the overall tone heavily grounded in the toony aesthetics the series already established for itself.

Narratively, I felt rather okay about the story aspect of Story Mode. The collectible pages in the levels still have a certain amount of world building, though this time it seems more skewed toward explaining what pop culture looks like in this world, such as, an allusion to this world’s equivalent to Instagram.

Cynical as it is…

That’s definitely still interesting in its own right, though perhaps it’s less of a revelatory gut-punch as slowly piecing it together that the game takes place in the post-apocalypse of Earth itself, and the inklings copied ancient human culture.

We still got some backstory for this game’s idol duo, though. And that, I appreciate. It means Pearl and Marina still feel like a part of this world, rather than seeming obligatory for the sake of familiarity, given the first game had an idol duo as well.

Meanwhile, perhaps it is a bit obvious that Marie’s cousin, Callie, has gone rogue, and that she is the mysterious entity cracking into the radio transmissions between her and Agent 4. If I recall correctly, that was a working theory that came about with the first trailer or two. That, or she had died.

As soon as Marie says aloud she wonders where Callie has gone, I knew right away. And that’s just in the introduction.

That said, on some level, after stomaching through certain other games and such that actively lie or withhold information to force an arbitrary plot twist for plot twist sake, it feels almost nice to go back to a narrative that actually bothers to foreshadow these things. Plus, having gotten already invested in Callie as a character from the first game, I still felt motivated to see the story through to find out why she went rogue. And, loving the Squid Sisters already, there was a hope in me that she could be redeemed, or at least understood. In terms of building off the prior game’s story, Splatoon 2 is moderately decent.

Also, I mean, c’mon. The big narrative drive might be a tad predictable, but hey, this game is for kids. It’s fine.

That, I think, is something I love the most about Splatoon. Despite feeling like you’re playing in a Saturday morning cartoon, and being aimed primarily at children, it doesn’t shy away from fairly heavy subjects. Such as the aforementioned fact that the humans are all long dead and you’re basically playing paintball in the ruins of their consumerist culture.

Which brings me to what fascinates me so much about Splatoon 2: the way in which Salmon Run is framed.

You see, on the surface, Salmon Run appears to be your typical horde mode; a cooperative team (typically comprised of randoms) fights off gaggles of foes as they take turns approaching their base in waves. Pretty standard for online shooters these days, as was modernly popularized by Gears of War 2, and Halo ODST.

I say “modernly,” as the notion of fighting enemies as they approach in waves is not exactly a new concept for mechanical goals within video games. Rather, the term itself, as applied to multiplayer shooters, “horde mode,” became a point of game discussion when Gears of War 2 introduced the new game mode by that same name back in… 2008?

No, no that can’t be right. I played Gears 2 back in high school (I had worse taste back then, okay?). Which, from my perspective, was basically yesterday. That game being ten years old would mean I myself am old now, and that just can’t be. I’m hip. I’m young.

I am, to stay on theme here, fresh.

But okay, existential crises and game talk terms aside, the writing team behind Splatoon 2 probably decided to absolutely flex when it came to the narrative surrounding Salmon Run. It is one of the most gleaming examples of the nontraditional things you can do with writing in video games, to really elevate the experience.

Let me explain.

You see, narrative in video games typically falls into one of two categories: either the story sits comfortably inside of the game, utilizing it like a vehicle to arrive at the destination that is its audience’s waiting eyes and ears. Or the narrative, on some level, exists rather nebulously, primarily to provide something resembling context for why the pixels look the way they do, and why the goals are what they are.

Not to say this is a binary state of existence for game writing; narrative will of course always provide context for characters, should there be any. It’s primarily older, or retro games that give you a pamphlet or brief intro with little in the way of worrying over character motivation, and the deeper philosophical implications of the plot, etc (though not for lack of trying). These would be your classic Mario Bros. and what have you, where the actual game part of the video game is nearly all there is to explore in the overall experience.

Then you have games like Hotline Miami that purposely sets up shop right in the middle to make a meta commentary about the state of game narrative, using the ideological endpoint of violent 80’s era action and revenge-fantasy genre film as inspiration and the starting point to draw comparison between the two. It’s bizarre, and I could drone on about this topic.

But I digress.

Despite falling into that latter category, that is to say having mainly just an introduction to the narrative context so you can get on with playing the game, Salmon Run is a stellar example of how you can make every bit of that context count (even if it does require the added context of the rest of the game, sort of, which I’ll explain, trust me).

First, a (very) brief explanation of how the game itself works, for the maybe three of you who haven’t played it yet.

A team of up to four inklings (and/or octolings) have a small island out in open waters. Salmonid enemies storm the beaches from various angles in waves. Each wave also comes with (at least) one of eight unique boss variants, who all drop three golden eggs upon defeat. Players are tasked with gathering a number of said golden eggs each round, for three rounds, after which their failure or success in doing so shows slow or fast progress towards in-game rewards.

And it’s all an allegory for the poor treatment of labor/workers, utilizing the fishing industry as both an example and a thematically appropriate analogue. Yes, I’m serious.

First, Salmon Run is not available through the main doors like the other multiplayer modes. Rather, it is off to the side, down a dingy looking alley. And when you’re shown its location, either because you finally entered the Inkopolis plaza for the first time, or because the mode has entered rotation again, Marina very expressly describes it as a job.

A job you should only do if you are absolutely, desperately hard strapped for cash. You know, the sort of job you turn to if, for one reason or another, you can’t find a better one.

An aside: technically, playing Salmon Run does not automatically net you in-game currency, with which to buy things, as regular multiplayer modes do. Rather, your “pay” is a gauge you fill by playing, which comes with reward drops at certain thresholds; some randomized gacha style capsules, and one specific piece of gear which gets advertised, to incentivize playing.

The capsules themselves drop actual paychecks in the form of aforementioned currency, or meal tickets to get temporary buffs that help you progress in the multiplayer faster via one way or another. Which, hey, you know, that helps you earn more money also. Working to get “paid,” so you can get things you want, though, still works perfectly for the metaphor it creates.

When I first saw it open up for rotation, I found out you had to be at least a level four to participate. Pretty par for the course, considering it’s the same deal with the gear shops. But, again, it’s all in the presentation; Mr. Grizz does not simply say something akin to the usual “you must be this tall to ride.” He says he cannot hire inexperienced inklings such as yourself, because it’s a legal liability.

After returning with three extra levels, I was handed off to basic, on-the-job training. Which is only offered after Mr. Grizz (not ever physically present, mind you, but communicating with you via radio), the head of Grizzco, uses fairly typical hard sell rhetoric when it comes to dangerous, or otherwise undesirable work: calls you kid, talks about shaping the future and making the world a better place, refers to new hires as “fresh young talent,” says you’ll be “a part of something bigger than yourself.” You know, the usual balancing act of flattery, with just the right amount of belittlement.

Whoa, hang on, sorry; just had a bad case of deja vu from when the recruiter that worked with the ROTC back in high school tried to get me to enlist… several times… Guess he saw the hippie glasses and long hair and figured I'd be a gratifying challenge.

The fisher imagery really kicks in when you play. Which, I figure a dev team working out of Japan might have a pretty decent frame of reference for that. A boat whisks you out to sea with your team, and everyone’s given a matching uniform involving a bright orange jumper, and rubber boots and gloves. If you've ever seen the viral video of the fisherman up to his waist in water telling you not to give up, you have a rough idea. Oh, and don't forget your official Grizzco trademark hats.

It’s on the job itself where a lot of what I'm talking about comes up the most; that is to say, despite buttering you up initially, Mr. Grizz shows his true colors pretty quickly. While playing, he seems to only be concerned with egg collecting, even when his employees are actively hurting. This is established and compounded by his dialogue prior to the intermediate training level, in which informs you about the various boss fish.

Before you can do anything remotely risky, even boss salmonid training, Mr. Grizz tells you he has to go over this 338 page workplace health and safety manual with you. But, oops, the new hire boat sounds the horn as you flip to page 1, so he sends you off unprepared. “Let’s just say you’ve read it,” he tells you, insisting that learning by doing is best.

This flagrant disregard employee safety, in the name of met quotas; the fact we never see Mr. Grizz face to face, making him this vague presence that presides over you, evaluating your stressed performance with condescension; that we are not simply given the rewards as we pass thresholds to earn them, having to instead speak with another, unknown npc for our pay… It all drives toward the point so well.

The icing on the cake for me is when a match ends. You, the player, are not asked if you’d like to go back into matchmaking for another fun round of playtime. Rather, you are asked if you would like to “work another shift.”

The pieces all fit so well together. I shouldn’t be surprised that, once a theme is chosen, Splatoon can stick to it like my hand to rubber cement that one time. It has already proven it can do that much for sure. But it’s just so… funny? It’s bitterly, cynically hilarious.

Bless the individual(s) who sat in front of their keyboard, staring at the early script drafts, and asked aloud if they were really about to turn Mr. Grizz into a projection of all the worst aspects of the awful bosses they’ve had to deal with in life. The answer to that question being “yes” has led to some of my favorite writing in a video game.

All of these thoughts, as they started forming in my skull, really began to bubble when I noticed Salmon Run shifts become available during my first Splatfest.

Splatfest is, to try and put it in realistic terms, basically a huge, celebratory sporting event. Participation nets you a free commemorative t-shirt and access to a pumping concert featuring some of the hottest artists currently gracing the Inkopolis charts.

The idea, the notion, that a hip young inkling (or octoling) might miss out on one of the biggest parties of the year because they need money more than they need fun? It’s downright depressing.

It got me thinking. I looked at my fellow egg collectors. In-universe, we were a bunch of teen-to-young-adult aged denizens missing out on all the fun because we desperately needed the cash. We became stressed together, overworked together, yelled at by our boss together. But in those sweetest victories, where we’d far surpassed our quota? We celebrated together.

Spam-crouching, and mashing the taunt, something changed. I felt a greater sense of comradery with these squids and octos than I did in nearly any other coop game. And it’s all thanks to the rhetorical framing of the game mode.

It accomplishes so many things. It’s world building which wholistically immerses you in the setting. But mainly, its dedication to highly specific word choice does exactly what I mentioned earlier: it elevates the experience to one I could really sit down and think about, rather than use to while away the hours, then move on to something else. So many games make horde modes that feel inconsequential like that; it’s just for fun.

There’s nothing wrong with fun being the only mission statement for a game, or an optional mode of play. But this is exactly what I mean when I say this is the nontraditional writing games can do so much more with. And Splatoon 2 saw that opportunity, and took it. And what a fantastic example of bittersweet, cold reality, in this, a bright, colorful game meant mainly for children…

Happy Holidays, everyone!

#Rabbot Reviews #video games #review #Splatoon 2 #Salmon Run #narrative #framing

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squirenonny · 7 years ago

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Clone Shiro Theory in Season 5

Okay, so this mess was inspired by talking with several people on Tumblr and discord about the Clone Shiro Theory in the wake of Season 5, as well as seeing posts in the fandom tags. And...I’ve noticed some common themes in arguments against this theory.

Please note that this is not meant to be a direct rebuttal to anyone, more... working out for myself why I’m so convinced that Shiro is a clone because I’ve got all these nebulous thoughts running around in my head and I need to organize them somehow. So feel free to read, respond, reblog, ect, but also feel free to ignore this completely if Clone Shiro isn’t your thing.

Season 5 spoilers and a very long post under the cut.

I’m going to break this down into three parts:

I. Why a clone and not something else (mind control, magical spyware, ect)

II. Why I won’t accept anything but clones at this point without crying foul

III. Clone Shiro vs Galra Keith

I. Why a clone?

I think at this point there’s no way to deny that something happened to Shiro in Operation Kuron. We’ve seen Haggar spying through him, the headaches are a recurring theme, and his behavior has changed to the point that he’s going behind his team’s back and lashing out at the team in ways he hasn’t before.

With most of the proof, you can make several arguments. Haggar’s mind-controlling him directly, but he still is Shiro. Haggar’s spyware is giving him headaches that’s making him more testy than usual, but he’s still acting under his own free will. Ect. But I think there is enough evidence to give the clone theory specifically an edge over other explanations.

Shiro’s hair grew roughly a foot during his captivity between seasons 2 and 3. There’s no clear answer on how long this was, but it seems like a fairly short time period. At the start of the season, Keith is still raw over Shiro’s disappearance, and though they’ve done a few missions without Shiro, they haven’t run up against anything that required Voltron. Which... considering how often they form Voltron both before and after this period, suggest to me that we’re talking a time frame of weeks at the longest. Then episodes 1-3 happen in pretty quick succession, with the lion switch and Keith immediately charging off, almost out of spite. We pick up with Shiro a day or two before episode 3 (which is where Shiro finds Voltron and then loses them.) He spends another week chasing them before Keith and Black find him. All told, this is probably in the realm of one month since his disappearance, maybe two. For reference, human hair grows on average half an inch per month. Shiro is shown to have significantly more hair growth in this time frame than anyone else gets in the entire series--even people who have been prisoners for extended amounts of time. Matt and Sam each get maybe a few inches, and Shiro’s hair was kept short during his stint in the Arena. This tells me that Shiro’s hair growth for The Journey is not an artist’s exaggeration to show that he’s had it rough. If it is, then it’s sloppy, and the animators on this show are typically pretty attentive to detail. If this is intentional, I can only conclude that Shiro has been in captivity for far longer than the timeline allows and/or the clone was grown in a short time and the accelerated growth also affected his hair.

Calling attention to the difference between Shiro(s1-2) and Shiro(s3+). These, I’ll admit, are more suspicious than damning, but they’re worth mentioning. The animators made a deliberate decision to give Shiro a new look after his return. We’ve seen people in different outfits, and Allura has a few different hairstyles (up, down, mice poofs), but no one has changed their “default” outfit like Shiro has, only their armor or other special outfits (pajamas, swimsuits, ect), and no one has gotten a new haircut, except Pidge (in backstory, as a plot point) and Sam and Matt (compare to Shiro on the Kerberos mission vs post-escape in s1.) They want you to be able to tell the difference between Shiro 1 and Shiro 2. At the same time, they call attention to this change by having Shiro comment about his “weird headache.” The writers also made a point of having the Galra refer to Shiro differently in the context of Operation Kuron (Subject Y0XT39 vs Prisoner 117-9875.) From a writing standpoint, this is a strange choice--not necessarily significant, but likely so because both designations are mentioned in passing and without context, so tossing both out there without reason is more confusing than world-building. And in-universe, it tells us that the people in charge of Operation Kuron couldn’t or didn’t want to refer to prisoners by their already-assigned number. Possibly this is for internal organization--i.e. if not all subjects were prisoners or if they had completely random prisoner numbers. But if it is clones, they would need new ways to identify them, since they’d all have the same prisoner ID. Again, not proof, but suspicious.

Shiro appeared in the Voltron bond. And it seems as though the Shiro with the team didn’t. Not just his head is fuzzy about it. He wasn’t there. Did you notice how Shiro-in-the-bond was translucent, only seen from a distance, and almost completely lacking in detail in the head area? Maybe to obscure the fact that he has his old haircut (both from us and from Lance)? Did you notice that he didn’t appear with everyone else, and how desperate he was to communicate with his team? There are two Shiros. The only question is whether the distinction is physical (clones) or mental (mind control with the real Shiro’s mind completely suppressed by Haggar’s persona)

Following up on this point, Shiro himself is questioning things. If this was a case of mind control, of Haggar taking over Shiro’s body, there is no way she would allow her puppet to question his own identity. If she has direct control, she certainly wouldn’t mention it to Lance, and if the real Shiro is still in there waiting to take his body back, she absolutely would put safeguards in to make sure her controlled personality stays in place.

And of course, the single biggest argument in favor of Clone Shiro: Operation Kuron = literally, “Operation Clone.” This can’t be a coincidence. It can’t. With everyone working on the show (how many of whom are anime fans and have at least a rudimentary familiarity with Japanese pronunciation?), and with Lauren Montgomery having talked about how Laith is a much better ship name for Keith and Lance, because Laith means Lion, I do not believe that they accidentally chose a name for this major plot point that means “clone” in Japanese (which is either Shiro’s native language or at least connected to his heritage.) I also don’t believe that it was chosen as a red herring to make us think this is all about clones when it really isn’t, because the target audience (which is, what 8-12 year olds?) will not pick up on that hint. It fails as a distraction for the core demographic, which makes me think it’s far more likely that it was meant as an easter egg and the writers didn’t necessarily intend for people to pick up on it. It’s like... This post about English name symbolism in FMA. It’s a clever nod to character traits for people who are in the know, but then you give that same name to an English speaker and it’s almost laughably on the nose. For people who don’t speak Japanese (most of Voltron’s audience) and don’t have social media to point it out (unfortunately, comparatively little of the fanbase), “Operation Kuron” is a subtle nod. In a novel, where people likely won’t engage with the fandom until they’re finished, it would work. Hell, for people not actively engaged in fandom, it works. The problem is that we’ve had months upon months and the power of the internet, so now everyone knows that JK Rowling named her werewolf Wolfy McWolfenstein the Galra named their secret clone project Project Clone. That isn’t bad writing. It’s perfectly fine writing tossed to the wolves of a global fandom that loves to theorize.

(Also, I was curious, so I checked, and “Operation Kuron” is called the same thing in the Japanese dub, so lol if it’s not clones, Dreamworks is going to have some explaining to do.)

II. Why having the answer be “Not Clones” at this point would be bad writing

Okay, see, this is way more subjective than part I, which was already pretty subjective. But here’s the thing. Dreamworks has set up Clone Shiro, almost blatantly so. I can forgive the fact that this twist is obvious to the Tumblr fandom, at least, because (a) the show is for kids, so the foreshadowing has to be a little bit more obvious, and (b) you cannot judge subtlety based on thousands of people working together to figure things out. Most of the fandom figured out Galra Keith before season 2 dropped. Some people hated it, but then, some people were incredibly resistant to the Clone Shiro Theory--still are. It feels like everyone and their grandmother figured these twists out way in advance, but if you took away the part where we all screamed about it and laid out our arguments? If you somehow reached out to the viewers who aren’t involved in fandom? I’ll bet you good money that a lot fewer of them have picked up on the hints. (And if they have, they aren’t nearly as certain about it.)

But if we get to season 6 and suddenly find out Shiro has been Shiro all along, just with magic in his head letting Haggar watch him? I’m going to be disappointed, because that resolution is almost guaranteed to leave plot holes. How did Shiro get recaptured/how did he disappear from the Black Lion in the first place? Why did his hair grow so fast? What’s with the change in behavior (I’m not talking about the snappishness and arguing with Keith and Lance, I’m talking about directly undermining the very teamwork he’s been the single biggest proponent of from the start by going behind the team’s back again and again)? Why didn’t Black accept him at first? Why did he have to prove himself to her again, after they’d been more closely bonded than anyone? Why was the project named Operation Kuron? Why did Shiro see another, hollow-looking, him on the exam table in that flashback? Why hasn’t he used the bayard yet?

The show might explicitly answer some of these, but I think we all know by now that it won’t slow the pace long enough to explain all of them. The clone theory explains or implies answers to almost all of these (especially if you couple it with “the original Shiro is stuck in the astral plane” or some such.)

So, no. Clone Shiro isn’t a twist at this point. Maybe it’s just me, because I’m usually pretty good at picking up on foreshadowing and figure out most twists ahead of time, especially if I’m given time to ruminate. But I’m fine with not having big, shocking reveals. Something doesn’t have to be a surprise to be interesting. I don’t have to feel like I was clever for figuring it out. I can’t wait for season 6 because I’m desperate to know that both my sons (Shiro and Ryou) are going to be okay--because I think, at least, that the Shiro with the team right now is not being set up as a villain. He may become a martyr, but he’s meant to be sympathetic, regardless of where he came from.

In the end, I don’t mind that the Clone Shiro Theory seems obvious, because the foreshadowing is aimed at kids and the adult fandom is bound to pick up on those hints faster. And clones explain everything so well that I honestly don’t think any other answer would make for a satisfying conclusion to the Kuron arc.

III. Clone Shiro vs Galra Keith

Okay, now this is interesting, because these are the two main theories that the fandom swarmed. One turned out to be true, and I honestly think the other will be proven right in June.

Also interesting is that, in terms of episode count, they both are paced about the same. It’s just that the Galra Keith plot happened over the course of 1.5 full seasons, while the Operation Kuron plot is going on 3.5 half seasons. Same number of episodes, but more spread out and with more breaks in between. Galra Keith was dropped into a single seven-month gap with a growing fandom and then confirmed immediately with the next batch of episodes. Operation Kuron was introduced in August, fans jumped on it, season 4 dropped, the fandom was split on it (because, admittedly, s4 didn’t add anything to the argument that couldn’t be explained by trauma and/or mounting pressure on Shiro), fans wrote a shitton of Ryou hcs/fic and drew a lot of Ryou art, season 5 dropped, with major new developments but no confirmation, and now we’ve got another break. At the earliest, it will be confirmed or debunked in June, a full ten months after it was first hinted, and with three season breaks for people to theorize, create fanworks, and otherwise dig into Camp Clone.

Can you imagine if the first two seasons had been done like that? (Note: I know I’m fudging the midpoint of season 1 a little bit, but bear with me here. I want to do a thought experiment.)

Season 1: We get hints of Keith’s knife and the major red flag of Keith opening doors that have been implied to be species-locked, so Hunk has to use a Galra arm to get past one door in the same episode Keith uses Galra tech with no problems. There’s also the word of god that says Keith is an orphan, so speculation runs wild. The fandom is split, with a small but vocal group on Team Galra, a vocal opposition, and a whole bunch of people on Team “Can’t we just wait and see what the writers have in mind, guys? We don’t have to fight!”

Season “2″: Little movement on Galra Keith Theory specifically, and both sides have arguments for what little we do get. Are those purple patches the effect of Galra heritage or is that supposed to tell us Quintessence does freaky things? Does Zarkon’s, “You fight like a Galra soldier,” mean anything (and is there a comma there/does that change the meaning? I can only imagine the comma drama if that had been one of the only new points for debate after three months.) The only major development is explicit confirmation of the species lock on Galra tech. All this is exacerbated by growing concerns in the autistic fanbase who worry that Team Galra Keith is starting to twist the legitimate autistic traits to support their own theory. (Believe me, I was there, and I was scared of Galra Keith for a good long while because of this.) The debate starts to turn bitter.

Season “3″: Ulaz shows up, we see Keith’s knife, we have Keith worrying that Zarkon “imprinted” on him, and though nothing comes of that, it still says something that the writers are even willing to acknowledge the theory. The season ends with no clear answer, but by now most of the fandom is on Team Galra. There’s been fic. There’s been art. There are headcanons and metas galore. The evidence is all laid out, and there’s really no denying it at this point. Some people are angry about it, and lots of people are hoping for Altean Keith or something, just because it would still be a surprise.

Season “4″: The Galra Keith reveal happens in episode one or two, and literally no one is shocked. Some people are angry, everyone is pissed that there wasn’t more fallout after four seasons of buildup. But we all knew it was coming.

Think, in contrast, how the Clone Shiro Theory might have gone if we hadn’t switched to half seasons. (In a hypothetical world where the theory is true, and it’s getting revealed next season.)

Season 3 now covers everything through Naxzela. Operation Kuron is huge in fandom discussion, but it’s partially overshadowed by everything else that happened--Keith joining the Blade, Lotor’s offer of talks, Keith’s near sacrifice, Matt’s return... Fewer people are as adamant about the clone theory because we’ve already seen Shiro back in the Black Lion and fighting alongside the team. There are lingering doubts, and people still lay out all their arguments, but it’s less splitting hairs and more the broad range we saw with Galra Keith, from adamant arguments on either side to a broad, casual fanbase in the middle who doesn’t know if it’s gonna happen and honestly couldn’t care less but sure as hell likes to play around with the idea. Like with Galra Keith, there is some evidence that’s either straight-up confirmation or lazy writing (Keith opening doors vs kuron meaning clone) but for the most part people are still uncertain.

Season “4″ drops and hits us all hard with new evidence. People are getting behind the Clone Shiro Theory in earnest now, but somewhere near the end of the season it’s confirmed, forestalling another round of theorizing. Lots of people are caught off-guard, lots of people are edge-of-their-seats “Holy crap, is that actually true??” The major, irrefutable pieces of evidence (Ulaz, Keith’s knife, his nightmares vs Shiro lying to the team, Haggar’s spying, Shiro calling out to Lance in the bond) are immediately followed up by confirmation.

Can you see how the spacing of the episodes drastically changes the perception of the theory? In all honesty, Galra Keith and Clone Shiro feel extraordinarily similar in terms of pacing, evidence, and alternate explanations--it’s just that Keith’s story happened much quicker, in fandom time. I can’t fault the writers for that. I just think half seasons were a bad idea, especially when the show was clearly written with full seasons in mind.

TL;DR Version:

There’s enough evidence that specifically points to clones that I’m 99% convinced that Shiro is a clone at this point. That last 1% is reserved for skepticism because, while I don’t believe the writers could provide me with a different explanation that fits as well as clones, they might try in the name of pulling one over on the viewers.

Galra Keith and Clone Shiro are set up in a very similar manner, and the latter suffers primarily from half season releases and a fandom who knows what tricks to look for.

The fact that the show is geared at a younger audience and so isn’t going to be super subtle is not a mark against it, but unfortunately if you’re active in the fandom, there’s a good chance you’re going to see a solid argument re: upcoming plot twists that spoils the surprise.

#voltron #voltron season 5 #operation kuron #shiro #kuron #voltron meta #voltron spoilers #season 5 spoilers

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maiamaiden · 8 years ago

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Spoiler Free* Guide and Tips for Playing Persona 2

I’m gonna start this off by saying that I love the Persona 2 duology, they’re both amazing games with a great story (my favorite in the series). But as someone who’s played both games multiple times (and also came into the series with P4 like many others) I can attest to how...annoying...the gameplay can be for some. So I decided to write a little (it’s not little actually it’s quite long) guide with explanations of some things and some tips to maybe get some people interested or help people who were already interested but were put off by the gameplay.

This was written using how I’ve played these games as a reference so naturally a lot of the stuff written here is subjective and may not work for everyone.

*There are a few Persona/Dungeon names in here but nothing story-related.

So first off, Persona 2 is split into two separate games: Innocent Sin (IS) and Eternal Punishment (EP). Both games were released for the PS1 and rereleased for the PSP. Both games are also available through the PSN on the Vita (both) and PS3 (only EP).

IS has a fan localization for the PS1 version and an official localization for the PSP version. I haven’t played the PS1 version so this guide is only gonna be based on my experience with the PSP version but I think generally most of the stuff here should still apply no matter which version you play.

EP is only available in English for the PS1 version. The PSP release unfortunately has not been localized, and although I believe there was a fan translation in progress, I don’t know the current status of that project. Therefore, I will be referencing the PS1 version.

I also highly recommend playing them in order (IS first, EP second) because EP is the direct sequel to IS and while it can be played first you will miss out on many of the references EP makes to IS and you will also miss some helpful context for the story.

Tips for Both Games:

So the gameplay in both of the games is pretty similar. To make matters simple: you’re gonna be fighting demons a lot. P2 doesn’t have any of the social elements from later games, it’s just dungeon crawling.

In both games you’ll be put in the overworld of Sumaru, a city separated into multiple wards (only a few of which will be open at first). In the overworld you’re free to go wherever you want without interruption (unlike P1 which had overworld random encounters). Each ward has a few different places you can visit but all of the wards have a mall-like place that has all the shops and essential areas (i.e. healing, weapon/armor/accessory stores, restaurants, and the Velvet Room).

In both games the place you’ll probably be visiting the most is the Kuzunoha Detective Agency (located in the Hirasaka ward in IS and the Aoba ward in EP). Here is where you’ll go to spread rumors, a key feature of P2. Depending on the rumor you spread you can get better equipment, open a casino (which I’ll talk more about later), and a bunch of other stuff that can be super useful. You can get these rumors from various Rumormongers throughout the city. The plot reasons for this will be explained in the games so I won’t say much else about it.

As for Personas, unlike in later games they don’t have levels that increase with experience. Instead each Persona has a number of ranks. When a Persona is first obtained (either through the Velvet Room or when Philemon throws his magical Persona-granting butterflies at you) it will be at Rank 1 and will only have one or two skills. In order to rank up your Personas you will have to use them in battle (each rank will have a little counter and every time you use a Persona’s skills in battle the counter will go up).

Once a Persona ranks up it will possibly learn a new skill (this is pretty much the same as later games; each Persona learns a new skill at certain ranks so you just have to keep ranking it up to get all of them). When you create a Persona in the Velvet Room it will show you everything about the Persona before you make it, such as what skills it will eventually learn and its stats and all that so you can plan accordingly based on what skills you think you’ll need.

Obtaining Personas: As I’m sure most people already know Persona 2 uses negotiation in order to obtain new Personas. If you’ve played Persona 5 you already have sort of an idea of what this is like, however P2’s negotiation system is very different from P5’s. One important difference is that in P2 you don’t get EXP from a battle in which you negotiated instead of fought.

In P2 negotiation is called “Contact” and you select a character or multiple characters to talk to a demon. In IS each character a has a list of 4 topics used to start a conversation with a demon. You can also combine characters to get special conversations. I recommend looking up a contact guide because there are a lot of different combinations and demons and it can get pretty confusing remembering how each demon class reacts to each option.

The demons will also sometimes ask you questions and the answers you want to use can sometimes change even when the same demon is asking so it’s kind of hard to gauge how it will react in that situation. I don’t really have any suggestions for that because it tends to be random but there are plenty of demons so if you fail a contact it’s really not that big of a deal.

EP’s contact system is exactly the same as IS except that instead of each character having 4 topics they only have one.

Now as for what contacting is used for, every contact relies on an emotional reaction that the demon gives when you talk to it. In the PS1 versions the demon will flash one of four colors indicating its mood. In the PSP versions this is represented by a little icon in the corner of the screen that shows 4 colors: green, blue, red, and yellow. Every time you pick a dialogue option while talking to a demon one of these will increase and once one of them increases 3 times that will determine what the result of the contact is depending on which color increased the most:

Green: This means the demon is happy and is extremely useful. When you encounter a demon for the first time this is the color you want to go for. When this one’s maxed that demon will offer to make a contract with you (you can have a contract with up to 3 demons at one time). When you have a contract with a demon you can get special items/info from it if you contact it again in another battle. This can range from just stronger healing items to special rumors that you can have the demon spread for you which can help you fight special enemies or get to previously blocked areas in a dungeon (which is entirely optional and is only required to unlock all the areas in the optional bonus dungeons). Contracts are only possible if the demon is at your level or lower. If you try to make a contract with a demon that’s a higher level than you it’ll just mock you and tell you to try again when you’re stronger. The best benefit of contracts is listed under the Yellow bullet point.

Blue: This means the demon is scared. If you max this one the demon will run away and you won’t get EXP or those sweet yens.

Red: This means the demon is angry. If you max this one the demon will get pissed and attack you. If you have a contract with a demon and max out red, the demon will break the contract.

Yellow: This means the demon is excited and is probably the most useful one. When you max out yellow the demon will give you a number of Tarot Cards of a certain arcana (if you’ve played the later games you should already know all of these). These cards can then be taken to the Velvet Room where your bro Igor will use them to create Personas. Even better, though, are Free Cards. These cards can be taken to the Demon Painter (also in the Velvet Room) and he’ll turn them into whatever tarot you want. As far as negotiation, Free Cards can only be obtained by maxing yellow on a demon you already have a contract with. There is another (EP only) method to obtain Free Cards that’s detailed in the EP section.

You can also get new Personas by taking Personas that have gone through Mutation to the Velvet Room where you can have Igor change them into a new Persona. A lot of the time the Persona you can change it to will actually be worse so make sure you check the new Persona’s stats and skills before you have Igor change it. (Explanation on Mutation below)

You will also get new Personas as the story progresses. These are essentially the characters’ “main” Personas. These include the characters’ initial Personas (the ones they start with), secondary Personas (IS only: you get these from Philemon about half way through the game, in EP Maya is the only character to have one of these), and ultimate Personas which have their own section below.

In IS it’s generally possible to play the entire game with only the initial, secondary, and ultimate Personas, however creating some new ones with mid-level healing spells can be helpful to give you an extra boost. In order to get the secondary Personas you have to pick correct dialogue options at certain points in the early-mid portion of the game. I won’t say which options these are but the general idea is that whenever the game gives you the option to help one of your teammates it’s better to just let them handle it by themselves instead.

In EP it’s much more difficult to play with only the main Personas so it’s best to make new ones whenever you feel like the ones you have aren’t giving you the strength you need anymore. Maya is the only character in EP to have a secondary Persona and the only way to obtain it is by mutating her initial Persona. The best way to make sure you can do this quickly is to use Maya in fusion spells as much as possible early on (more on all of that in the sections below).

Ultimate Personas: In IS these are given to the party by Philemon, with the exception of one character who’s ultimate can only be obtained through Mutation. However, there’s a condition that must be met in order to obtain them. Once you reach a certain point in the game you will visit the Mt. Iwato dungeon. Here I highly recommend exploring the entire dungeon thoroughly as there are items you must collect in order to get the ultimate Personas. These items will be in rooms that lack random encounters and let you talk with your party members.

In EP you can create these in the Velvet Room once you’re around level 57. In order to create them you have to collect material cards from the Mt. Iwato dungeon so, again, I suggest exploring it thoroughly.

Healing: I strongly advise creating a Persona with Mediarama early on because it’s extremely useful as Media can become practically useless very quickly. Satomi Tadashi sells healing items from the very beginning of the game ranging from HP/SP to ailments. I recommend stocking up on at least 1-3 of everything if you can afford it and especially Rattle Drinks and Chewing Souls because they heal a lot of HP and SP, respectively. Some ailments (especially possession and poison) are a pain in the ass and carry over from the battle to the field so it’s good to always have at least a few items that can heal them with you at all times.

Battle: Now, probably my most important battle tip: use fusion spells as much as possible. They can turn a difficult battle into a cakewalk and make grinding go by much faster. They also have the added effect of possibly causing Persona Mutations, which are very useful. Besides all of the other benefits of fusion spells, they can be extremely useful against bosses. If you’re having trouble with a boss, chances are you’re not using fusion spells enough.

Most fusion spells are very powerful, especially against enemies that are weak to that spell’s affinity. In order to do a fusion spell you must have certain specific skills set in a specific order. For example: one of the first fusion spells you can do is Hydro Boost, in order for it to activate you must have 3 characters using a fire, earth, and water spell (Agi->Magna->Aqua) in that order.

The first time you use a fusion spell it will activate automatically but every subsequent time the game will ask you if you want to activate it. In the fusion spell menu you can also change it so that it activates automatically or doesn’t activate at all. In the PSP versions the turn order stays the same as whatever you set it to. That, unfortunately, doesn’t apply to the PS1 versions so you have to actively go in and make sure they’re in the right order every turn. The PSP versions also have cool little cut-ins for fusion spells kinda similar to the all out attack cut-ins so that’s neat.

Another thing to note is that you must discover fusion spells through trial and error. Barring certain circumstances that are explained at the end of this post, the game will not tell you which spells you need for a fusion spell. That said, the MegaTen wiki has a list of fusion spells and how to make them for both games if you ain’t about that guessing life: IS | EP

For weapons, it’s not really necessary to have the strongest weapons available. Most of the time you’ll be using Persona skills so while it’s good to at least have strong weapons, you don’t need to sell your kidneys so you can get some amazing Super Guns.

Throughout each game you will be able to spread rumors about weapon stores. Each store will have 3 separate rumors you can choose from: “strong weapons for a high price”, “average weapons for an average price”, and “weak weapons for a low price”. I recommend getting the average weapons because you don’t really need to be spending a million yen on a sword when you could be spending it on more useful items.

That said, in order to make the best of that arrangement it’s best to designate your stats toward a specific setup. Whenever the protag (Tatsuya in IS, Maya in EP) levels up you get 3 points that you can put into 5 different stats:

Strength (St in PSP, STR in PS1)

Vitality (Vi in PSP, VIT in PS1)

Magic (Dx in PSP, TEC in PS1)

Agility (Ag in PSP, AGI in PS1)

Luck (Lu in PSP, LUC in PS1)

Strength raises physical attack, Vitality raises your max HP (and defense I think?), Magic raises your max SP as well as your magic attack, Agility raises your speed, and Luck raises...well...luck, which I believe affects criticals among other things. Some Personas also give you a bonus point for a specific stat when you level up if you have them equipped.

Of course this means some stats will get more points than others. You can obviously choose whichever ones you want, however I recommend focusing on Vitality and Magic the most and Agility on the side. This will give your protag a lot of magic strength as well as a large SP pool for said magic and HP for survival. What you lack in Strength and Luck you can make up for with your other party members.

Here’s an example of a Magic boosted Maya from one of my playthroughs:

See how much SP she has? She could kick anyone’s ass with that much SP (And also heal anyone’s ass so it’s doubly useful).

Persona Mutations: Occasionally after doing a fusion spell you’ll get a notification that something happened to one of the Personas used in the spell. EP also has a nice way of notifying you that this has happened by putting the word “MUTATION” on the screen in bright yellow letters in case you missed it. When a Mutation occurs one of four things will happen:

The Persona’s stats will increase

The Persona will go up 2 ranks (very useful if you’re trying to rank up your Personas for their Good Skills™)

The Persona will learn a special skill

The Persona will be able to change forms (this is when you take it to the Velvet Room and have Igor change it as mentioned above; you can only change a Persona to a new one if you get this Mutation specifically)

(EP only) The Persona will gain something called an “Unknown Power”, which is an ability that occasionally activates when the Persona user is at low health. What a specific Persona’s ability does depends on which type of ability it learned. The MegaTen wiki has a helpful list.

My last big battle tip: with the exception of boss battles I recommend using the fast-forward option during battles. In the PSP version of IS pressing the Start button will initiate this and in the PS1 version of EP you have to go into the Battle Config menu (visible in battle as well as in the settings screen) and switch it from “Real” to “Simple”. This will speed up random encounters by replacing the battle animations (which kinda take a lot of time) with simple little blips to show who’s attacking/being attacked. In EP (PS1) this option is automatically turned off for boss battles. As I haven’t played the PS1 version of IS I don’t know if that is also the case but in the PSP version you have to turn it off manually.

And like I said, these games have a lot of random encounters, although you generally won’t need to grind unless you spend more time contacting demons than you need to. That said the dungeons can get long and grindy so if you’re like me and get sick of hearing the same dungeon theme for hours I recommend putting your own music on or listening to a podcast.

Tips for Innocent Sin

In Persona 2, dungeons become inaccessible once they’re completed so Atlus was kind enough to put in an optional bonus dungeon called the Abandoned Factory. Here you can find demons from dungeons you’ve completed. For those of you familiar with Persona 5 this bonus dungeon works in pretty much the same way as Mementos. As you progress through the game, new areas, which are all numbered in order from 1-6, will open giving you access to old demons so that you can still negotiate with them or grind if you need to. You can also find notes as you explore the factory that explain how it became abandoned.

(PSP version only) The Theater is accessible almost immediately after starting the game. Here you can play special mini episodes that contain stories that are actually pretty interesting, and sometimes comedic. In the JP version you could also play some made by other players but this was unfortunately removed in the localization. Instead we get 2 stories made by Atlus: School of the Heart (which takes place at St. Hermelin, the school from the first Persona game), and The Persona Thief (which takes place at Karukozaka High, the school from SMT if...). Both are multiple episodes long and have a wide variety of demons increasing in levels as you go so they’re super useful for grinding.

Towards the latter half of the game you’ll get everyone’s ultimate Personas. I recommend using these for the rest of the game as using them against the next few bosses will give them an extra affinity resistance as well as another cool benefit.

That benefit being the fusion spell “Grand Cross”. This spell requires the unique abilities of each of the ultimate Personas to create one of the most powerful fusion spells in the game, which also happens to be extremely useful against the final boss.

One of the characters’ ultimate Personas is only available by Mutating their initial Persona, once you reach this point in the game you’ll know who’s it is but I’ll avoid mentioning it here due to spoilers. This mutation is only available by completing the Aquarius Shrine dungeon with the character’s initial Persona equipped, rather than through fusion spell Mutation.

Tips for Eternal Punishment:

Similar to the Abandoned Factory, EP also has a bonus optional dungeon where you can grind and negotiate with old demons. However this time the dungeon is the Bomb Shelter. While it’s in a different location it functions exactly the same.

Maia Custom is Maya’s secondary Persona which can only be obtained by Mutating her initial Persona, Maia. I recommend doing this sooner rather than later as it learns Mediarama which is super useful early on.

About halfway into the game you have a choice of spreading a rumor about a man or a woman. Depending on which one you choose the next two dungeons will be different and you’ll get a different party member for the second half of the game. This part of the game is full of references to the first Persona game so if you’ve played that or at least know the story then, cool, you’ll probably enjoy this part. If you haven’t, don’t worry, it’s not really necessary. You won’t really be missing out on anything that’s important to understanding P2′s plot, you’ll just miss some subplots related to P1 (although I do recommend checking out P1′s story if you can). It doesn’t really matter which one you choose. The man’s route is probably a bit more tied to the main plot, however I personally prefer the woman’s route. They’re both pretty equal in terms of difficulty and you can always replay if you want to see both.

Related to that, when you finish the game you have the option to save clear data which can then be used to restart the game in a sort of beta version of the series’ normal New Game+ option. This carries over Persona/Demon lists and analyze data as well as any Tarot Cards you’ve collected and any fusion spells you’ve unlocked. When you complete the game you’ll also get a little icon on your save file that shows which character you picked in the above bullet point. In NG+ if you choose the other character a second icon will appear upon completing the game for a second time. Once you’ve done this the EX dungeon will unlock allowing you access to a series of dungeons that you can go through to reach the Bonus Boss! Once the EX dungeon is completed a Jack Frost icon will appear on your save file along with the other 2.

Similar to IS there’s a super powerful fusion spell using the ultimate Personas called “Dragon Cross”, although I’d say it’s probably not as good as it was in IS. I’ve fought the final boss multiple times with this mixed in with a couple of other fusion spells and I haven’t had problems so it’s definitely still useful. That said I recommend bringing more than your ultimate Personas for that fight (as well as multiple healers).

MAPS!!!!! So this is something I love about EP but I’m sure not everyone will. In EP, about halfway through the game, the Narumi ward will become available, and there you will be able to find a man named Salam Ladeen who gives out map sidequests once you spread a rumor about him. Basically, he gives you a blank map for the next dungeon you’re going to and while you’re there you can fill up the whole map by walking on every space in the dungeon (including damage floors and trap floors). I’m not gonna lie, this is extremely tedious but it’s worth it. Not only does the extra running around give you an extra chance for leveling, turning in a completed map will net you a huge reward usually involving a ridiculous number of Skill Cards, Tarot Cards, and Free Cards, as well as the rare Fool Cards (Tarot Cards of the Fool arcana which are obscenely difficult to obtain through negotiation). Basically if you do these you pretty much never have to do demon negotiations ever again. This has helped me get really good Personas as well become overleveled by the end of the game.

There are also 3 special Personas that can be obtained. These Personas are Maihime Amano, Tatsunoshin Suou, and Junnosuke Kuroda. If you get all 3 of them and rank them up all the way you’ll unlock a fusion spell that will OHKO one of the final bosses of the game (the boss of the dungeon following the Torifune dungeon). Maihime Amano and Tatsunoshin Suou can only be obtained by spreading 2 rumors immediately after finishing the Torifune dungeon. You must also talk to Mizuno at Kismet Publishing once you gain your 5th party member and select “no” when asked a question. In the spirit of keeping this post spoiler-free I won’t say any more about them. For specific details I recommend looking up specifically how to obtain these two (or shoot me an ask if you want).

Junnosuke Kuroda, on the other hand, is tricky piece of shit. In order to get him you have to fill an offertory box (requires 10,000 yen) near the end of the Mt. Mifune dungeon, which is only accessible near the beginning of the game. He’s also a Fool arcana Persona which means you’ll need at least a few Fool Cards. This is entirely optional but I can attest to the fact that killing a boss in one hit in this game is very satisfying. All 3 of these Personas are only available to summon after the Torifune dungeon is completed.

Bonus Stuff:

One of the fun things to do in these games is to talk to NPCs. You can find out lots of neat little tidbits that you would otherwise miss. These games are filled with small things that really add to the game’s story and sometimes even count as foreshadowing so I definitely recommend talking to anyone and everyone whenever you’re not in a dungeon.

In the Kuzunoha Detective Agency there’s a kitty by the door that meows at you and asks for money. Once you pay a certain amount something special will happen. In EP you can also spread a rumor late in the game that has the same effect as paying the cat.

One of the very first rumors you can spread is about Mu Continent. Mu is a casino located in Yumezaki ward. There are 3 rumors you can choose from: “poker has high payout”, “slots have high payout”, or “blackjack has high payout”. You can choose any one of these, though I always go for blackjack because I have an obsession. At the casino you can buy coins to use for the games. Whichever rumor you spread will cause that game to have an increase in the amount of coins you win per bet. For example in blackjack normally you get 2 coins when you bet 1, however with that rumor spread you get 4 instead of 2. If you’re good at any of these games, you have a lot of time, or both, you can win lots of coins that you can exchange for prizes that you otherwise wouldn’t be able to buy.

One of these prizes is the “Orb of Solving” which is an equippable accessory that shows you one spell needed for a possible fusion spell that you can make with your currently equipped Personas. If you buy 5 of them (aka the number of characters in your party) then it’ll just tell you exactly what you need for a fusion spell. This basically serves the same function as the lists on the MegaTen wiki that I linked to earlier but without the need to keep that tab open for a month. You need 15,000 coins to get 5 of them, though. To get that many you need to be very good at whatever game you picked (slots is entirely luck based so I recommend not choosing that one). Blackjack is probably the game you have the most control over.

Once you finish both games I recommend reading Tatsuya’s Scenario (seriously don’t read until you’ve played both games this thing’s filled with spoilers). It’s a bonus thing that was included in the PSP rerelease of EP and so unfortunately it’s only available in fan translation text format but it’s a really interesting read and the translation is great!

And that wraps it up for my super long hopefully helpful guide to Persona 2! I love these games so much but I can understand why people would be hesitant to play them. I promise the story is definitely worth it, though. There’s so much detail put into the story in these games, it’s honestly amazing how much there is. If you plan on playing them I hope you enjoy them and thank you for taking the time to read this! And of course if anyone has any questions about something in here or that I didn’t include feel free to send me a message!

#I'M SORRY THIS GOT SUPER LONG #ok to reblog #persona 2 #persona

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supified · 8 years ago

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Only Modern Thinking: Review of The Infinite Now

The Infinite Now, written by Mindy Tarquini is an interesting book which seems to cross a few genres. It might not technically fit as a historic fiction, but given the amount of research the author apparently did, it is hard not to see the parallel. I don’t want you to take my word for this, I’ll try to explain what parts of the book seem to work and what do not and why so you can decide for yourself. Comments are always welcomed.

Mindy Tarquini is a talented author and while you may not feel it appropriate to consider the author of the story, it can be an interesting way to gain meaningful insight. Mindy is a self-described Italian traditionalist and it shows in this book. The historical accuracy seemed to be of interest to her as she sneaks in little details about the experiences of Italian immigrants during the early twentieth century. She also has a very sharp wit, which is evident if you follow her twitter feed. The light heartedness finds itself in her book between the moments of intense drama. If you ever find yourself bored and a little more interested in the author I highly recommend reading some of her tweets, they can be quite entertaining.

One of the first things the summary of the book, expresses is the passage of time and the future. There is a time bubble involved and one of the first questions this begs is just what does that mean? Without giving away the story, this is going to be one of the central themes, but it would be a mistake to see this complex story as something so simple. Right? If a concept like freezing time isn’t complex enough, but even with the myriad of possibilities here the book manages to be far deeper than that.

If this alone has convinced you to give this book a try then great, but that’s just scratching the surface of what is going on in this book. She uses a lot of common tropes and techniques in unique ways thorough her story. Early on there is a hint of a romantic interest and the way the characters interact may seem familiar, but it would be a mistake to think this book is going to be in any way predictable. Giving up on the book early on would be a big mistake since things do not necessarily play out as expected. This also shows up in the way the book portrays traditional values versus modern thinking, something which you may recall is dear to the author.

One of the main themes in this book is modern vs traditional. The battle between these two concepts is waged practically the entire time and it may seem like the author is trying to push one view over the other. I won’t spoil where this goes, only that you shouldn’t assume you know or that the book is going to fall into predictable patterns. One of the things that is most fascinating here is the setting, around 1920’s when a similar battle was being played out in the US. The culture wars may never cease and this book captures it well and wraps it up into the theme along with the time element. If you have a horse in this race then try not to let the early book bother you, it is just setting the stage for what is to come. I do not recall what city the book takes place in, but it could have easily been Boston or New York.

The Setting is an extraordinarily fleshed out view of this time and prospective. The descriptions are not limited to just the lives, but also the houses and even the technology at the time. No small amount of effort is put into describing the individual aspects of the daily grind or the struggles that go along with them. The story weaves these aspects so closely to the plot that it ends up feeling integral to the overall narrative of traditional versus modern with a heavy dose of personal responsibility tossed in. Some of the descriptions may not be for the faint of heart and the loss that occurs as a fact of life is likewise not sugarcoated.

Is this book a straight historical fiction? It is not. There is magic in the book even if the book leaves some room for the possibility that the magic occurs all in the MC’s head. That interpretation would probably be a bit of a stretch and for those seeking something entirely mundane in terms of fantasy elements, this book might not be for you. The magical part is questionable in what is going on, most of it is vague and without a great deal of explanation for better or worse.

LGBT is a rather big theme these days and a lot of books will address it in one way or another. Given the setting, it would be entirely forgivable if it didn’t come into this book, but it does. How it comes into play and where it goes would be a spoiler, so I’ll avoid specifics. This might be a bit of a sticking point for some and given the resolution it may seem like the book is walking a very tight rope, risking offending people on both sides of the isle. The only spoiler, non-spoiler I can give is that the book doesn’t pass judgement on the subject. Ultimately the book does try to lampshade this a touch by reminding the reader almost instantly that this portion is written in the context of the era.

The biggest thing that might bother some readers is probably the sheer number of topics being covered, or at least their combined complexity. Even as they do tend to work well together, things like family, responsibility, friendship, time, change. . etc.. These all come up and are very important to this book. Amazingly everything is managed, but not exactly neatly. Some of the resolutions may seem to be a little poorly explained or require imagination by the reader to fully grasp. It may not have been possible to tell this story without taking some risk, so it’s up to you if this sort of thing will bother you or not.

Ultimately this is a very thought-provoking book that does a good job of weaving a story that doesn’t exactly fulfill the expected paths it will take. The historic setting is nicely mixed with a modern view of the world, even though it is written from the eyes of someone living in the century it was written. Though Mindy self-proclaims to be in love with traditional Italian culture, she isn’t afraid of showing an evolving view of the world and the constant march of change, nor does she ultimately pass judgement on that either. Though the start may be slow, the destination is worth the effort and there are many treasures to be found in this book. I personally found it quite recommendable for this day and age. Only modern thinking.

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courage-a-word-of-justice · 8 years ago

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Kado 11 | Boku no Hero Academia 26 | Hina Logi 1 | Grimoire of Zero 12 (FINAL) | Tsukigakirei 12 (FINAL)

I’ll just leave another reminder for this straw poll here, because I need a tiebreaker vote.

Kado 11

Even anisotropic beings have dreams? Welp, that was unexpected.

Uh, hey. Kado staff. Algerian people don’t all look like Asians, y’know? Google says Algeria is in Africa…

So, staff. Why is Shindo the only man/person/human who can stop zaShunina?

Oh yeah. Shinawa knows a way to stop the fregonics!

Basically how I feel about Kado is how Hanamori feels about the situation + Saraka right now – confused and torn.

(laughs) Thank…(face falls) you, Hanamori, for making me laugh with your mapo tofu comment and remember why I loved this show in the first place. It was fleeting, but good…Wait, but isn’t abduction against the law?

Uhhhh. Kado staff. The fregonics suit has boob space. Meaning a woman will wear it…awkwarddddddd…

Finally, we get back from our “shonen battle” roadtrip to drive to the final battle.

zaShunina’s like an old lady now, LOL. Reading on a rocking chair and enjoying the sunset.

Yeah…please just keep your lips away from each other, guys. I was here for the negotiation, remember?

Oh. That wasn’t a boob plate. I was LOLling at their idea to give that to a woman, because the one woman who needs that plate is Shinawa, whose job is already over. Good thing I was wrong there, then. It’s also interesting to note this suit looks like a gladiator suit…like humanity has reverted itself to medieval times to fight zaShunina, who represents the future. (I’m still laughing though, because I knew Shindo was hot under that shirt, but damn, I did get more than enough eye candy this season just by this one gladiator suit…and zaShunina’s butt.)

Well, I kinda did get what I wanted by having the Hanamori/Shindo ship broken, but even though I got a het ship (which I’m normally more supportive of), I don’t support this het ship at all.

It’s cute to see a floating pink cube act like a phone. Or one of those annoying fairy companions…

Welp, it’s almost over. See you next ep for the final simulcast commentary.

Boku no Hero Academia 26

Apparently BnHA’s on break this week, meaning I’m caught up after this.

There was a thing called work experience that we had to do at one point – that’s how I got the experience needed for One Wish They Never Wanted’s bookstore scenes.

It’s cool to see Eraserhead and Present Mic in the same situation as Deku and everyone else. Aizawa looked kinda bishie then, which is unexpected.

I don’t get the reference involving acid blood…

That’s nice. I already knew the names everyone was going to come up with due to the time I’ve spent on the wiki, but the homage becomes much more significant when you see it in context.

Dangit, Midnight. You stole my explanation thunder.

I always wondered why Shouto never got a better hero name. So he literally just used his own name, huh?

I wanna cry at the Iidas’ plight but I have no tears, dangit!

I don’t get it- what’s the “air chair exercise”?

Gran Torino. I’ve watched the movie that has that name, it’s about a vintage car (Ford Gran Torino), an old guy called Walter (Walt for short) and racism. I always suspected Walt was the reason Gran Torino (hero) was named thusly...but until Horikoshi says something about it, we’ll all have to keep speculating…(By the way, the racism perspective in that movie resonated with me, despite my not being a Hmong person. Maybe I’m not properly acknowledging it, but it might be one of my inspirations for Half-Paid Heroes…?)

Hina Logi 1

I have come here to hate on this magical girl spinoff, because man, Luck and Logic squandered what could have been a very good plot – it was “pretty but no substance”, to quote a past me. Indeed, it’s because magical girls are my passion that I have high expectations of new entrants into the genre…

Okay, what is this? Hogwarts???...Actually, the best match, right down to the white turrets, would be Alfea of Winx Club.

It’s stoic girl, Ojou-sama + companions and Shinawa-lite. See? Stereotypes, although I ribbed the names from ANN (having read it a few weeks before I got here). However, before I read ANN, I’d already predicted this would be a pile of road apples.

I feel like I should know who Nina is (from ANN), but I didn’t get far enough to familiarise myself with Nina in the original Luck and Logic, haha.

This genki glutton girl is basically gender bent shonen cliché, y’know? Serve me something slightly different, and I’ll be a happy camper.

I can’t believe I laughed at Nina going “my teacher told me to”, because I expected it.

The humour isn’t funny in this for the most part…the eyecatch says, “16th May. Fluffy! (Fuwaafuwaa!)” “Fluffy” of course being in reference to the messed-up hair.

Urgh, this fanservice is driving me up the wall and giving me a headache…

Ooh, nice transformation sequence!

Enough with the yuri between Nina and Lion! Gah!

“May 16th. From this point forward, [Kagura] became very angry.” (I had to Google the teacher’s name. She’s so insignificant this episode, I can’t even remember it…)

Lion’s face is getting more annoying by the second…

“May 16th. Everyone ate heartily.” (I used the word “heartily” because I didn’t have a better substitute for oishii in this case, but *shrugs* I don’t care either way.) The use of itadaku I’m still fairly new to, so hopefully someday I can use the word with confidence…

“…reminds me of my mommy.” – Gah, Lion. Are you a toddler? I imagine you with a toddler’s tone when the subs say that.

“Send your beloved Hina on a journey.” – It’s actually a reference to something. Check this article’s title for what it is. That’s a Japanese proverb which says to not baby your kids too much.

I feel like this is a pretty clean drop. After all, if I rage for all the wrong reasons (and come out with a slight headache in the end), you know that the show is a drop.

Grimoire of Zero 12 (FINAL)

Thirteen’s with the crew at the end of the OP. Huh.

I have the feeling that Holdem will never kill Thirteen, even though that dogface is trying to stab the sorcerer right now.

Intruders,much? It’s an army!

It seems like these animal fights were meant to be a big spectacle but observe the background animals and see how off model they are. That’s how much care was put into what was meant to be the show’s climax this ep.

I would’ve loved to see Mercenary do a Batman backhand. Those are always cool and sometimes funny.

The cloud and white-frame animation look gorgeous in a sakuga way! Now we’re talking!

Having someone die solves nothing. It is only those who need an outlet for blame that require needless death, am I right?

Ohhhhhhhh! One kiss made at least 2 or 3 people jealous, LOL.

I wanted to see Mercenary as a human. He could’ve been real hot…dangit.

The ED song is real cute and iyashikei. I don’t think I’ve properly listened to it until now, so…good on me for doing so, haha.

Tsukigakirei 12 (FINAL)

Tsukigakirei’s been a middle ranker for me most weeks, so to suddenly get better around the time when Kado fell was practically begging for the two to switch places…(Note: I’ve made a personal ranking for each ep in a document I’ve kept all to myself, and I haven’t posted them online. That’s why I’ve had comments that indicate where shows are on that ranking at the start and end of an ep’s simulcast commentary.)

That sparkly shot of the river is in the OP too, so when there was a shot of Kotarou and Akane, I was disappoined I wasn’t seeing the OP (even though I still think the live-action bit is a lil’ weird). It’s cute how those guys are wearing the same jackets, though.

There’s a water thermos in the back of Tachibana’s (glasses guy’s) bookstore.

Kotarou’s dragon background is so cool. I want one.

The thing with the rhino doesn’t translate well. The word for “goodnight” here is oyasuminasai and rhino is sai, so…yeah. I think it would be better to call it “sleep rhight” (including typo) to convey that pun better, but hey. I’m not going to major in Japanese.

When Chinatsu revealed she got into the same school as Kotarou, I verbally went, “Oh no!” Don’t you remember how I was with ep 7???

Even Chinatsu has that black jacket, so it seems to be a school-issued one.

My heart just broke a lil’ bit as Chinatsu hugged Kotarou…I’m not sure what to make of it…

I’ve never seen “graduation” being abbreviated to “grad” unless it’s “grad school” and the “grad” in that stands for “graduate” (noun). It’s a very American term, so I never use it, but…the term translated to “grad” is “graduation ceremony” (sotsugyoushiki). Seriously though, CR. Enough with your Comic Sans translations.

The translation of the prologue misses something. The first sentence has da to omou at the end, meaning “I think…”.

A novel board. Y’know, like Honeyfeed. I’ve got quite a lot of experience with ‘em, because I don’t intend to be a person who gains money from writing…not fulltime, anyway.

There’s a site called Syousteuka ni Narou which is basically Honeyfeed for a Japanese audience, with the added bonus of possibly getting your works into print and then anime. The recently announced Tate no Yuusha no Nariagari, as well as Re:Zero and a lot of its kin, have come from that board. It’s pretty clear that Syousetsuka is being parodied here, that’s all…even though the titles of the websites are completely different phrases.

What’s that bird with the long neck called? The one standing in the water? I wanna know…

Normally with anime tears, it’s like me and CGI - I bash most efforts. However, I think this is the effort that I commend the most so far…this anime season is full of surprises…Well, Kotarou? Can you keep up with a girl that does track?

Everyone cries when someone leaves, so long as that person has made an impact. I know that all too well…

Dangit trash CGI people. Just as I got used to you, you become obvious again! Grah!

I admit I shed a few tears there…I’m not crying, you’re crying! (Also, if you haven’t paid any attention to what I’ve been writing, One Wish They Never Wanted was based on similar experiences to Kotarou and Akane’s graduation, although a lot of it happens outside Takuma’s point of view and so I didn’t write it.)

Oh! Hey, these are the end of ep LINE convos from previous eps, coupled with pics of the ones who typed them! The “seaman” convo would’ve made more sense if the translator would’ve bothered translating the word “semi” (short for “seminar”) as it was, because that makes more sense. I really don’t get the “marr” one though.

Well, any show that makes me cry on its first run is a show I don’t regret. I still feel weird putting Kado below it, because Kado was betted than Tsukigakirei for most of its run (as I’ve said at the start of this commentary). Regardless of what happened though, I guess…I’ll see you all for the next show then! Bye for now!

#simulcast commentary #tsukigakirei #grimoire of zero #seikaisuru kado #hina logi: from luck & logic #boku no hero academia #Chesarka watches Tsukigakirei #Chesarka watches Kado #Chesarka watches Boku no Hero Academia #Chesarka watches Grimoire of Zero #kado the right answer #hina logic

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