#as time progresses the other members of the friend group become the central protagonists as well

[raptorfae53]

Monster High Reimagined.

Frankie Stein redesign/character bio.

Frankie Stein (any pronouns bar It/It's)

The Simulacrum child of Dr's Stein. (German-American)

(Genderfluid and Demiromantic)

One of the new students at monster high this year,frankie was only zapped to life 15 weeks before the school year began, wielding both an unbridled love and respect for living (seemingly ironic considering they're made of corpses) they're already considered one if the most compassionate,friendly and caring kids in the school,always eager to make new friends and acting as the mediator and "parent friend" of their existing friend group,despite her naivety admittedly getting them into hot water themselves sometimes…

Likes: science,her friends,trying new things,doll modding and helping people out.

Dislikes: bigotry, hypocrisy,unsafe laboratory environments, unintentionally making people uncomfortable and zier staples and stitches coming undone.

Killer style: one of the things Frankie loves best about meeting new people is seeing hitherto unknown styles of clothing which she takes inspiration from for modifications to her own outfits,regardless of what style inspires her though there's always a distinct streak of dark academia stylings throughout whatever she wears.

Familiar: Watzit,a dog,cat,bird,lizard…thing and her parents first experiment with the science of resurrection before creating Frankie,regardless of what animal parts he's made of Frankie adores the lil guy.

Pet Peeve: if there's one thing Frankie can't stand, it's bullies, especially those attending monster high,it just doesn't seem right that bullying could happen in the same school who stands by the value of being a safe and welcoming space for all who attend. That and improper lab safety.

Freaky Flaw: Naivety, having only been alive for four months Frankie is more than a little naive about the world,and often this coupled with their inquisitive attitude gets them into trouble if not given the full picture, although with some help from their friends they usually come out unscathed by the end.

Spooky Secret: Frankie isn't really the type to keep secrets himself but tries his best to keep any his friends are comfortable with telling him.

Dream job: Having just arrived at MH Frankie is far from focused on what exactly they would like to do once they graduate,but whatever it is it'll probably be something to do with science.

Five Fearsome Facts:

Due to rigor mortis and loose connective tissues, like most other undead monsters Frankie uses a walking aid (in her case specifically a pair of crutches) for ease of movement.

Frankie is Autistic,and stims via handflapping,rocking herself in her seat and bobbing her legs,during this xe also tends to spark from xyr metal staples and bolts as well as this in order to experience everything to its fullest extent Frankie likes to try his best at everything he does and tends to hyperfixate down to the smallest detail,whilst this is admittedly a useful skill while doing things like scientific investigation,it admittedly has its ups and downs elsewhere…

As his parents were able to source only one foreleg before his creation Frankie has a prosthetic leg, made out of (thankfully non magnetisable) metal that he likes to decorate with stickers.

Frankie loves to do doll modding as a pastime,this is spurred on by a fascination with the science of the creation of simulacrum like herself and her mother,however since the creation of simulacrum is a science tied down by heaps upon heaps of permits,forms and other bureaucratic business she instead puts her energy into modifying dolls and making vlogs about the hobby.

Despite literally crackling with energy the majority of the time Frankie is very much a night owl (I mean when was the last time you heard of a mad scientist doing experiments at 9 in the morning?) And as such is far from a morning person,7am on a weekday being one of the few times they're actively grouchy,not helped by their dad semi-sarcastically yelling "it's alive!" every morning as they come down at breakfast.

So yeah, I'm writing out a full reimagining of Monster High.

While I adore the original series concept I feel like it didn't really act upon the values it set out to represent so I decided to reimagine the series from the ground up, essentially my version is Derry Girls meets WWDITS with a little bit of Kipo thrown in for good measure.

(PS, I'm sorry but I'm not a great artist so I'm not really able to visualize my idea for how these characters look, although if you want to see artwork of these characters please check out artists like @spookberry and @creativitydeficient ,since their redesigns of characters like this one are partly what inspired me to start this series in the first place)

(Also reblogs are very welcome)

[aion-rsa]

Squid Game: Best of the Cast’s Shows and Movies to Watch

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This Squid Game article contains some spoilers, though not the outcome of the game.

There are so many things to like about Squid Game, Netflix‘s Korean-language series about a group of desperate people competing in a deadly game, but one of the major ones is the stellar cast. Featuring some well-known Korean actors, as well as some relative newcomers to the acting scene, Squid Game‘s ensemble is more than ready to elevate the clever script and sharp direction. If you’re interested in checking out other projects from this cast after finishing Squid Game, here are our recommendations!

Lee Jung-jae (이정재) as Seong Gi-hun

Squid Game character: Leading the cast of characters is Lee Jung-jae’s Gi-hun, a man who has fallen on tough times after losing his job and his marriage. We are first introduced to Gi-hun in the context of his gambling addiction, as he desperately trues to get out of crippling debt in order to be a better father, son, and friend.

What to watch next: Lee Jung-jae is a 48-year-old actor who began his career as a model before transitioning into TV and later film. Notable projects include Il Mare, the 2000 film on which Hollywood’s The Lake House was based and 2013’s historical drama The Face Reader, in which Lee has second-billing as Grand Prince Suyang.

Jung Ho-yeon (정호연) as Kang Sae-byeok

Squid Game character: Jung Ho-yeon plays Kang Sae-byeok (aka the one who looks like ENHYPEN’s Ni-ki), a North Korean defector who decides to play Squid Game in order to get the money to get her mother out of North Korea and to create a stable life for her younger brother, who is currently living in an orphanage.

What to watch next: Jung Ho-yeon will no doubt be one of the breakout stars of Squid Game. The 27-year-old actress is a successful model, and has previously appeared on Korea’s Next Top Model. Squid Game is her first on-screen role, so we’ll have to wait to see what she does next. In the meantime, you can rewatch Squid Game or check out Season 4 of Korea’s Next Top Model.

Park Hae-soo (박해수) as Cho Sang-woo

Squid Game character: Cho Sang-woo grew up with protagonist Gi-hun, and is the success story of his neighborhood after going to a prestigious university and making it big as a businessman. Unbeknownst to Gi-hun and Sang-woo’s mother, Sang-woo has stolen money from his clients and is wanted by the police. He enters Squid Game in an attempt to make back the money so that he can save his mother’s business and house, both of which he risked to back his illegal activities.

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What to watch next: Park Hae-soo is a 39-year-old actor who is perhaps previously best known, especially to international audiences, for his starring role in 2017’s Prison Playbook (one of our Best Korean Dramas to Watch on Netflix). In the drama, Park plays a baseball player who unexpectedly lands himself in jail days before his major league baseball debut. The show follows his life within prison, along with the lives of other inmates and guards, including his former best friend, who is now a corrections officer. Prison Playbook is one of the most popular K-dramas ever.

Wi Ha-joon (위하준) as Hwang Jun-ho

Squid Game character: Wi Ha-joon plays Hwang Jun-ho, who is a bit of an outlier character in a series that mostly features characters in the game as protagonists. Unlike Gi-hun or Sang-woo, Jun-ho is a cop who is investigating Squid Game after finding one of the game’s calling cards in his missing brother’s apartment. He does a pretty good job too, infiltrating the operation in diverse ways.

What to watch next: Wi is a 30-year-old actor with a solid filmography. If you’re a horror fan, check out Gonjiam: Haunted Asylum, a 2018 found footage horror film that takes place in the former Gonjiam Psychiatric Hospital, considered to be one of Korea’s most-haunted places. You could also check out Midnight, a 2021 thriller in which Wi plays a serial killer. If you’re looking for something a bit softer, Wi has a supporting role in 2018 romantic drama Something in the Rain, in which he stars as one protagonist’s younger brother and the other protagonist’s best friend.

Oh Young-soo (오영수) as Oh Il-nam

Squid Game character: Oh Young-soo plays Oh Il-nam, the oldest contestant in Squid Game, and someone Gi-hun feels some responsibility for as the game progresses.

What to watch next: Oh Young-soo is a 76-year-old actor with a filmography that mostly includes monk roles. His previous work has mostly included playing supporting roles, but if you want to see him in something else, check out 2003 feature film A Little Monk, about a generation of three monks living in one temple, or Spring, Summer, Fall, Winter… and Spring, a 2003 film about the life of a Buddhist monk.

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Heo Sung-tae as Jang Deok-su

Squid Game character: Heo Sung-tae plays Jang Deok-su, a gangster who enters Squid Game to settle his gambling debts, and who refuses to trust anyone in the process.

What to watch next: Heo Sung-tae is a 43-year-old actor with an extensive filmography. If you’d like to see him in a very different project, check out Racket Boys, a recent Netflix K-drama in which he appears as the coach of a boys badminton team in Episodes 10-12. If you’d like to see him in another dastardly role, check out 2021’s Beyond Evil, in which he plays a cold-blooded businessman.

Kim Joo-ryung (김주령) as Han Mi-nyeo

Squid Game character: Kim Joo-ryung stars as Han Mi-nyeo, a woman who will say or do whatever she has to in order to find her best chance at winning. Originally introduced claiming to be a new mother, we never actually learn that much about Mi-nyeo’s life outside of the game.

What to watch next: Kim Joo-ryung is a 45-year-old actress with an extensive filmography, though mostly in supporting roles. (Hopefully, her impressive turn in Squid Game will lead to more opportunities for the actress.) If you’d like to see her in a minor role in a successful drama, Kim appears in Episodes 16 and 17 of 2018 historical drama Mr. Sunshine. If you’d like to see Kim in a central role, check out 2012 feature Sleepless Night, in which she plays one half of a married couple working to get through daily life.

Tripathi Anupam as Abdul Ali

Squid Game character: Tripathi Anupam plays Ali, a 33-year-old Pakistani man who joins the game in order to get the money to support his family, including his parents and brother back in Pakistan and his wife and baby son, who traveled with him to Korea.

What to watch next: Tripathi Anupam is a 32-year-old Indian-born actor, who is another standout in Squid Game and a rare actor of non-Korean descent in the Korean TV and film industry. Anupam had a small appearance in Netflix’s Korean sci-fi feature Space Sweepers, in which he appeared as James Sullivan’s secretary. Most of Anupam’s previous roles have been minor, with Squid Game being a breakout role for the actor.

Lee Yoo-mi (이유미) as Ji-yeong

Squid Game character: Lee Yoo-mi plays Ji-yeong, a young woman who we find out entered the game immediately after having been released from prison for the crime of killing her abusive father. She becomes close with Sae-byeok, who recruits her to join her team for tug-of-war.

What to watch next: Lee Yoo-mi is a 27-year-old actress who has appeared in many TV shows and films, mostly in supporting roles. If you’d like to see her in another drama, check out 365: Repeat the Year, a time travel drama that sees 10 people given the chance to travel back a year to “reset” their lives, only to find themselves in danger.

Gong Yoo (공유) as The Salesman

Squid Game character: Gong Yoo appears in a minor role as The Salesman, aka the man who recruits Gi-hun into Squid Game by playing a game of ddakji with him on the subway

What to watch next: Gong Yoo is a very successful actor in Korea who is also known internationally. The 42-year-old actor’s most well-known movie role is Train To Busan, in which he stars as the divorced father and businessman protagonist trying to escape the zombie apocalypse on a high-speed bullet train. His most well-known TV role is in the uber successful Guardian: The Lonely and Great God, one of the highest-rated dramas in Korean TV history. In it, he stars as a 939-year-old immortal goblin and protector of souls. Longtime K-drama stans, however, probably know Gong from his starring role in Coffee Prince, a romance about a woman pretending to be a girl in order to get work and a young food empire mogul, played by Gong.

Lee Byung-hun as The Front Man, aka In-ho

Squid Game character: Lee Byung-hun plays the Front Man, aka the masked man who runs the day-to-day operations of Squid Game. He lives in a fancy apartment within the game’s facility, and maintains contact with the game’s supervisors via a landline.

What to watch next: If you’re looking to see more of Lee Byung-hun’s face than Squid Game offers, then you have a lot of options. The 51-year-old actor and singer has been a part of the Korean entertainment industry for decades, and has been one of the most successful Korean actors in that time, with five films on the 50 highest-grossing domestic films in South Korea list: Joint Security Area; The Good, the Bad, the Weird; Masquerade; Inside Men; and Master.

Lee is the only Squid Game actor to have some substantial Hollywood credits on his filmography as well. American audiences may recognize him from his role as Storm Shadow in the G.I. Joe franchise; he has also appeared in Red 2, Terminator Genisys, and The Magnificent Seven. A member of the Academy of Motion Picture Arts and Sciences, he was the first South Korean to present an Oscar at the Academy Awards.

Which Squid Game cast member were you the most impressed by? Let us know in the comments below…

The post Squid Game: Best of the Cast’s Shows and Movies to Watch appeared first on Den of Geek.

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[neokad]

Phantasy Star II - The 1989 JRPG that could

(This post is dedicated to @kuukigajan, my best friend, whom motivated me to post here again, so... I hope you'll enjoy this!)

This game. This freaking game.

I'm gonna say it right now: this post will contain massive spoilers about pretty much everything in Phantasy Star 2's story, so if you do plan on experiencing this game fresh, I strongly advise you to not read this post at all beyond the first paragraph, but... here's the gist of it: Phantasy Star II is one of the most important and groundbreaking JRPGs of its time, and I just did not believe this game was from 1989, at ALL. For that and a few other reasons, it has become one of my new favourite games of all time <3 

In fact, I do want to start with the one big flaw of this adventure so that I can just gush about everything else that's brilliant about PSII. I have to be honest: the dungeon design in this game is horrible. Now to be fair, it does make the many places you visit more memorable, but well... there's a rumor floating around that an actual trainee made the layouts for the dungeons - and since this game was a bit rushed for the Genesis's launch, the devs just didn't have time to replace the... stuff he submitted. And let me tell you, this rumor makes sense: PSII's dungeons are too big, too maze-like, too confusing and also FILLED with strong enemies. And in a game where you don't get a way to save anywhere until the midway point, it can make your adventure very frustrating and potentially grindy because of that... Now I wouldn't say that PSII's nearly as bad in this area as say, the original version of Dragon Warrior or ironically the first Phantasy Star, but the dungeons can totally make you feel like the game's harder than it actually is, at least without a map.

Thankfully, you should never feel bad for using any maps or guides with this game! The execs at SEGA at the time made the very smart decision to include a walkthrough with each copy of the game, including maps, tips, secrets and more! Said guide does encourage youto not look at it as much as possible but... it's totally fair to just use this, without any shame!

And that is a great thing, because... with you armed with this piece of paper, Phantasy Star II can finally show you its actual brilliance.

The game's plot starts off a thousand years after the events of the first Phantasy Star game. Since Alis and her party defeated Dark Force, the inhabitants of the Algol solar system - and its three planets of Palma, Motavia and Dezolis - have enjoyed relative peace. However, at a (to my knowledge) unknown point in time, a computer entity known as Mother Brain has started imposing itself onto mostly Motavia. This, over time, has actually given many benefits to the region: the once deserted wasteland was given rain, water and crops, so that it could finally host viable, comfortable civilizations. The citizens that lived here could finally ditch their (arguably) nomadic, harsh lives in favor of comfort, pleasant weather and more. And most importantly, Mother Brain allowed its citizens, save for a few, to ditch their current jobs and live a life of laziness, without any obligations or pressure to do anything other than well, existence. This is reflected many times during the game through NPC dialogue, too!

It is on such a setting that our protagonist, Rolf, wakes up from a strange nightmare. In it, we see Alis batting Dark Force and struggling in doing so, but as soon as he realizes this, Rolf wakes up in cold sweat. He then proceeds to calm his nerves, realizing that no such dramatic events could possible happen to him - after all, he and many others have been under the universal protection and care of Mother Brain, whom at this point, has provided all of their needs for centuries. He then gets out of bed and goes to the central tower, where we works as an agent in case some things do go wrong.

And gone wrong things have! His superior informs him that biological monsters, which had been created and bred in the Mota biosystems laboratory, have gone rogue and infected the regions of Motavia at a rapid rate. Because of this, Rolf is asked to investigate the cause of this phenomenon. Once he gets home to prepare for his journey, he is ambushed by best girl Nei, who has been rescued by him many months ago from the clutches of a serial killer. She does not want to be left alone anymore, and since she is also worried for Rolf's sefety, asks him to accompany him on the mission. Naturally, Rolf accepts.

Here, I do want to bring up Nei in more detail! She's in fact, the first of PSII's brilliant story-gameplay interactions, and here's why! Nei is in fact, a crossbreed experiment between a human and an unknown animal with cat-like features, but here's the thing: this said experiment was a failure. Because of this, Nei is only one years old, and yet her physical and mental age are progressing way more rapidly than they should. And you can feel this effect on the game itself: she needs way less EXP than any other party member in the game to level up, and because of this she will skyrocket in levels way beyond the rest of your crew... with a catch. Because of the nature of the experiment, the genetic code inside of her is slowly being messed up and corrupted, which not only causes her level ups to be less valuable than anyone else's, but it also becomes an important plot point later...  Unfortunately, despite her absolute cuteness, her status as a half-half made her a victim of bullying, racism and so much more, which is... pretty messed up to bring up at the time not gonna lie o_o

Starting up the journey, the party discovers that rogues have destroyed a neighboring city, and it just so happens that their base is situed at Shure, the first dungeon of the game . One assumption I like to make from this scene is that life has become so easy and careless on Motavia that people just went and did crime out of pure boredom, because life just wasn't thrilling enough anymore with Mother Brain doing everything it could for its inhabitants...

However, upon climbing said tower, Rolf and Nei find out multiple dead rogue bodies, whom have been presumably murdered by the many biomonsters roaming the place. They do, however, manage to find some dynamite and most importantly, a letter. This piece of paper informs our heroes that the daughter of a Darum, the very same person that tried to murder Nei months ago, is held captive in another tower, which explains why he turned to crime in the first place. They then decide to do the obvious, which is to rescue daughter Teim in her captivity location. Once they meet up with her, she explains her desire to talk to her father to set things straight and sway him from the life he's been getting into, as well as hide her from the surviving rogue members with the help of a veil. Our group manages to meet up with Darum, but... her daughter asks the party to stay put, as she does not want them to interfere with her as she explains things to her father. However, in the heat of the moment, she forgets to remove her veil, which causes Darum to not recognize her. In his confusion, he murders her own flesh and blood and sits there, stunned, as he watches the reason he caused many untold atrocities... wither away below him. Shocked and going insane by this situation, he sees no other way out... but to commit suicide with the help of a bomb.

It gets worse.

While this scene was tragic and brutal to say the least, it does allow Rolf to cross the previously guarded bridge where Darum was always located, which allows him to investigate his mission further.

I do want to make a sidenote here actually! Phantasy Star II does include eight playable characters, but unlike Rolf and Nei they do not join you at fixed intervals - instead, they will become available in your home town of Paseo once conditions are met. Sadly while they do have a recruitment quote, a few lines and a backstory, they do not have an impact on the main story in any way. This does blow as this means PSII does not have much in character development and interaction, but I did want to mention that there’s more to this game than just Rolf and Nei :P 

Upon exploring the regions of Motavia, the party manages to make its way to the Biosystems lab, and what they find here is horrifying to say the least. The lab is in horrible shape, with cracked floors everywhere. On top of that, there is no one inside the lab anymore, it being completely deserted, save for some horrible-looking creatures being kept insides tubes, decorating the now sinister looking building... Because of this, Rolf deems it safe to pick up the recorder inside the lab, to analyze it and try to find out just what exactly went wrong - if anything at all - to hopefully figure out why the world has been sacked by biomonsters. And sure enough, the gang make its way back to Paseo.  After handing over the recorder to the library located in Paseo’s Central Tower, it is now made clear: the biomonsters were caused by a large amount of energy used in a very short amount of time in those labs, causing them to mutate extremely rapidly. This had the predictable but unfortunate effect of ruining the natural order of the ecosystem, which is why these species are wrecking havoc without control. The librarian giving this information also makes the following connection: this outpour of energy must have come from Climatrol - another lab which regulates the weather of the terraformed planet so that it can sustain its new shape. Following this, Rolf and co. take a few steps to reach Climatrol - and I want to highlight a specific one!

The story somewhat pauses until then, but one of the dungeons you’ll go through is a garbage dump... and one of the treasures is a jet scooter you can use! Sounds cool, right? Well it is, but even such a cool object has been abandoned by the lazy society, since teleportation is much more convenient to them. I just thought it was a really neat detail, that’s all ^_^

Once making their way through the relatively normal Climatrol, something does wait for them at the top of the building... something... unsettling...

This is Neifirst. She was another failed experiment just like Nei, sharing the same biological data as her. However, unlike her sister, her creators tried to kill her on the spot due to her status. This made her enraged against the species that gave her life, and as an act of revenge, decided to unleash this bio catastrophy to slowly wipe us out. This is where another truth is revealed: Nei did not come with Rolf just to protect him, she actually wanted to put a stop to her sister, because while she did dislike being treated like a freak or a monster, she never wanted to hate her species as a whole... It remains that she still wants to stop her sister’s plans, and despite Rolf’s protests, the two engages in a fight. However, due to Neifirst being much stronger, Nei sustains heavy damage and is incapacitated. But, this is where the rest of the party comes in, and thus they finish the job and kill off Neifirst dead in her tracks, Rolf then quickly rushes in to his dear friend’s side, but as he does... it’s too late... Nei is dead.

This is yet another reason why Phantasy Star II is such an important game: it is, to my knowledge, the very first JRPG in which a major playable character dies permanently. Heck, Rolf even tries to bring her back through the local Clone Lab - because yes, citizens have access to eternal life by cloning their bodies until the end of time - but... since Nei’s genetic code was degenerating rapidly, they could not clone her body anymore. And, since Neifirst was also defeated, it is also impossible to get a fresh code back from anywhere in the world. Nei is dead. And you cannot do anything about it.

But don’t worry! It still gets worse!

But just as you’re about to find a way to fix this, it turns out that Climatrol has collapsed, which caused an immense flood all over the world. Since the government - and by extension, Mother Brain - isn’t happy about this, you are now considered a fugitive, a criminal. You are now the bad guy, and you are wanted for treason. 1989, anyone??

This is where the second brilliant story-gameplay integration of Phantasy Star II happens. Where until now you’ve only fought mutated monsters due to the outbreak, the government has now sent thousands of carious cyborgs and robots against you - and lo and behold, this is now the only thing you are fighting in both the overworld and dungeons, and the previous creatures are now nowhere to be seen. THAT’S REALLY SMART. Now sure, even if you are considered evil to many, you still task yourself with the task of unflooding the planet, and to do so you simply reactivate all four colored dams in the continent. However, upon reactivating the fourth one, your party is suddenly ambushed by a trio of robots sent by the cops, and this time? They succeed in capturing you. Your party is now sent in chains on a hovering satellite, as you are sentenced to slowly wither away and die in there without any trial of any sort, simply because you went against Mother Brain’s dear wishes...

But, something goes amiss. The sattelite starts to malfunction, and is now set to crash on one of the three planets of the Algol system. And despite you all trying to alter its course, it is too late. The satellite crashes onto Palma - the planet of the first Phantasy Star game - and it is gone.

That’s right! The planet in which many players took the time to save with Alis’s gang, to have a huge dungeon crawling adventure, the planet where you defeated Lassic in a glorious fashion. GONE. In only a few seconds. But... what about yourself? Well, you actually died! But a space pirate wandering close to the crash site pulled out your remains and cloned everyone’s body back to life... which makes you technically not yourself, and also dead, for the remainder of the game! ...May I remind you this game was developed in 1989?

Tyler the space pirate then escorts the zombie party back to Paseo, but not for long - you see, your commander, who hasn’t truly approved of Mother Brain’s actions against your group, allows you access to a spaceship. This is a big deal, because space travel as a whole has been banned ten years ago due to a major accident in which Rolf had lost his parents, and thus, the one stationed in Paseo is the last one remaining on the planet. But sure enough, Rolf takes the opportunity and travels to the ice planet of Dezolis, or Dezo.

And honestly? Even though this next part has nothing to do with the main story, it’s probably one of my favourites in the entire game. In this section, you simply must make your way through an abandoned space station, which has not seen use in years. At first, you’d think it was somewhat related to the spaceship incident, but as you explore this space station, you find a bunch of animals and newspapers lying around. You not only find some irrelevant ads about various products, but also news flash about a horrible gas spreading throughout the station, begging every inhabitant to evacuate immediately, which... definitively implies a very bleak fate to the place and its inhabitants o_o 

And on top of this unsettling setting, this is the first time you get to hear “Silent Zone”, my favourite track in the game. While the rest of the soundtrack is very upbeat, catchy and all around excellent, this track in particular is very... sad, desolate, lonely, in spite of it being just as catchy! It all combines for a brilliant example of “show, don’t tell” that really sets the mood perfectly to me <3

Either way, upon exploring more of Dezo - a frigid wasteland with few inhabitants - the party gets to meet up with Noah, a party member from Phantasy Star I! After reawakening from a cryogenic sleep, he then reveals that unlike Paseo and Motavia, Dezo basically never submitted with Mother Brain’s control and benefits simply because they did not want to live a life without any struggles. Unfortunately, this is also where you learn that Paseo came to terms with this *after* being to MB’s whims and as such, you can connect the dots and realize that the satellite crash was no accident after all... it was all planned.

Noah, however, knows about how deeply MB has ruined everything for the inhabitants of Motavia and thus tasks Rolf with collecting eight legendary ancient weapons all throughout Dezo, located within some ruinous, empty, cold dungeons which make for stunning atmosphere and presence, believe me!

Once that’s done, he then entrusts Rolf with the ultimate Sword and, thanks to kinetic abilities, sends him and his troupe to the space station housing Mother Brain. And once there, for the first time in centuries, a human being has met with Mother Brain.

And of course, the computer scoffs at those rebelling against her. She laughs at how they think they’d want a life with struggles, wtihout comfort, without anyone providing their needs, when work and hardship seems so uninviting on a desert wasteland like Motavia, or a frigid hell like Dezo. And yet, after a (pretty difficult!) battle, you emerge victorious! Or do you?

After the victorious outcome, Noah senses some additional presences beyond Mother Brain’s spot, and urges the party to investigate. And then... I don’t think I’ll even explain it in words. Please watch what happens. It is disturbing.

Yeah. We, the humans, were destroying our planet, Earth. Thus, we escaped through this spaceship to avoid extinction, and found the Algo system. It then, to our species, only seemed logical with so few numbers, to instead slowly weaken the population of all three planets with Mother Brain, making it then easy (although a very long process) to get rid of the population and start anew, even if it meant genocide. What I love about this twist ending is not only how it’s presented: the creepy music, the way you did *not* expect it at all, the number of humans on the screen at once, and so on... but also, how you don’t even know for sure how it ends. You don’t know if Rolf, Rudo, Amy, Kain, Hugh, Shir, Anna... if any of them survived. But it looks grim. It looks like we lost. And it looks like everyone we fought and tried to save... will rot until the final days anyway... Phantasy Star II... is important. Sure, I could talk about how the game is challenging due to how both your party members AND the enemies are very capable in battle or the stellar, catchy, memorable soundtrack...   but its story... is stunning. In 1989, we were still used to princesses being saved by armored heroes from dark dragons. We were used to things going all well in the end. But in 1989, Phantasy Star II taught us many things that would become staples in the future of JRPGs:  Yes, your cherished ones may die with you not being able to do anything about it No, you may not be able to save everyone you’d like to. Yes, your actions might make things worse for yourself and everyone else. No, things aren’t quite as black or white as they seem. And no, you might not always win. Phantasy Star II is a masterpiece. It’s a bit hard to approach this game today, but with a guide, this game is a must play. It’s unique. It’s ambitious. It’s chilling. And I adore this game to pieces. Thank you for reading, somehow <3

[tipsycad147]

Wicca

During the 20th century, interest in witchcraft in English-speaking and European countries began to increase, inspired particularly by Margaret Murray's theory of a pan-European witch-cult originally published in 1921, since discredited by further careful historical research Interest was intensified, however, by Gerald Gardner's claim in 1954 in Witchcraft Today that a form of witchcraft still existed in England. The truth of Gardner's claim is now disputed too.

The first Neopagan groups to publicly appear, during the 1950s and 60s, were Gerald Gardner's Bricket Wood coven and Roy Bowers' Clan of Tubal Cain. They operated as initiatory secret societies. Other individual practitioners and writers such as Paul Huson also claimed inheritance to surviving traditions of witchcraft.

The Wicca that Gardner initially taught was a witchcraft religion having a lot in common with Margaret Murray's hypothetically posited cult of the 1920s. Indeed, Murray wrote an introduction to Gardner's Witchcraft Today, in effect putting her stamp of approval on it. Wicca is now practised as a religion of an initiatory secret society nature with positive ethical principles, organised into autonomous covens and led by a High Priesthood. There is also a large "Eclectic Wiccan" movement of individuals and groups who share key Wiccan beliefs but have no initiatory connection or affiliation with traditional Wicca. Wiccan writings and ritual show borrowings from a number of sources including 19th and 20th-century ceremonial magic, the medieval grimoire known as the Key of Solomon, Aleister Crowley's Ordo Templi Orientis and pre-Christian religions Right now there are just over 200,000 people who practice Wicca in the United States

Witchcraft, feminism, and media

Wiccan and Neo-Wiccan literature has been described as aiding the empowerment of young women through its lively portrayal of female protagonists. Part of the recent growth in Neo-Pagan religions has been attributed to the strong media presence of fictional works such as Charmed, Buffy the Vampire Slayer, and Harry Potter series with their depictions of pop culture, "positive witchcraft", which differs from the historical, traditional, and Indigenous definitions. Based on a mass media case study done, "Mass Media and Religious Identity: A Case Study of Young Witches", in the result of the case study it was stated the reasons many young people are choosing to self-identify as witches and belong to groups they define as practicing witchcraft is diverse; however, the use of pop culture witchcraft in various media platforms can be the spark of interest for young people to see themselves as "witches". Widespread accessibility to related material through internet media such as chat rooms and forums is also thought to be driving this development. Which is dependent on one's accessibility to those media resources and material to influence their thoughts and views on religion

Wiccan beliefs, or pop culture variations thereof, are often considered by adherents to be compatible with liberal ideals such as the Green movement, and particularly with some varieties of feminism, by providing young women with what they see as a means for self-empowerment, control of their own lives, and potentially a way of influencing the world around them. This is the case particularly in North America due to the strong presence of feminist ideals in some branches of the Neopagan communities The 2002 study Enchanted Feminism: The Reclaiming Witches of San Francisco suggests that some branches of Wicca include influential members of the second wave of feminism, which has also been redefined as a religious movement.

Traditional witchcraft

Traditional witchcraft is a term used to refer to a variety of contemporary forms of witchcraft. Pagan studies scholar Ethan Doyle White described it as "a broad movement of aligned magico-religious groups who reject any relation to Gardnerianism and the wider Wiccan movement, claiming older, more "traditional" roots. Although typically united by a shared aesthetic rooted in European folklore, the Traditional Craft contains within its ranks a rich and varied array of occult groups, from those who follow a contemporary Pagan path that is suspiciously similar to Wicca to those who adhere to Luciferianism".  According to British Traditional Witch Michael Howard, the term refers to "any non-Gardnerian, non-Alexandrian, non-Wiccan or pre-modern form of the Craft, especially if it has been inspired by historical forms of witchcraft and folk magic". Another definition was offered by Daniel A. Schulke, the current Magister of the Cultus Sabbati, when he proclaimed that traditional witchcraft "refers to a coterie of initiatory lineages of ritual magic, spellcraft and devotional mysticism". Some forms of traditional witchcraft are the Feri Tradition, Cochrane's Craft and the Sabbatic craft.

Stregheria

Modern Stregheria closely resembles Charles Leland's controversial late-19th-century account of a surviving Italian religion of witchcraft, worshipping the Goddess Diana, her brother Dianus/Lucifer, and their daughter Aradia. Leland's witches do not see Lucifer as the evil Satan that Christians see, but a benevolent god of the Sun.

The ritual format of contemporary Stregheria is roughly similar to that of other Neopagan witchcraft religions such as Wicca. The pentagram is the most common symbol of religious identity. Most followers celebrate a series of eight festivals equivalent to the Wiccan Wheel of the Year, though others follow the ancient Roman festivals. An emphasis is placed on ancestor worship and balance

Contemporary witchcraft, Satanism and Luciferianism

Modern witchcraft considers Satanism to be the "dark side of Christianity" rather than a branch of Wicca: the character of Satan referenced in Satanism exists only in the theology of the three Abrahamic religions, and Satanism arose as, and occupies the role of, a rebellious counterpart to Christianity, in which all is permitted and the self is central. (Christianity can be characterized as having the diametrically opposite views to these.) Such beliefs become more visibly expressed in Europe after the Enlightenment, when works such as Milton's Paradise Lost were described anew by romantics who suggested that they presented the biblical Satan as an allegory representing crisis of faith, individualism, free will, wisdom and enlightenment; a few works from that time also begin to directly present Satan in a less negative light, such as Letters from the Earth. The two major trends are theistic Satanism and atheistic Satanism; the former venerates Satan as a supernatural patriarchal deity, while the latter views Satan as merely a symbolic embodiment of certain human traits.

Organized groups began to emerge in the mid 20th century, including the Ophite Cultus Satanas (1948)  and The Church of Satan (1966). After seeing Margaret Murray's book The God of the Witches, the leader of Ophite Cultus Satanas, Herbert Arthur Sloane, said he realized that the horned god was Satan (Sathanas). Sloane also corresponded with his contemporary Gerald Gardner, founder of the Wiccan religion, and implied that his views of Satan and the horned god were not necessarily in conflict with Gardner's approach. However, he did believe that, while "gnosis" referred to knowledge, and "Wicca" referred to wisdom, modern witches had fallen away from the true knowledge, and instead had begun worshipping a fertility god, a reflection of the creator god. He wrote that "the largest existing body of witches who are true Satanists would be the Yezedees". Sloane highly recommended the book The Gnostic Religion, and sections of it were sometimes read at ceremonies. The Church of Satan, founded by Anton LaVey in 1966,views Satan not as a literal god, but merely a symbol. Still, this organization does believe in magic and incorporates it in their practice, distinguishing between Lesser and Greater forms.

The Satanic Temple, founded in 2013, does not practice magic as a part of their religion. They state "beliefs should conform to one's best scientific understanding of the world," and the practice of magic does not fit into their belief as such. It was estimated that there were up to 100,000 Satanists worldwide by 2006, twice the number estimated in 1990.[ Satanistic beliefs have been largely permitted as a valid expression of religious belief in the West. For example, they were allowed in the British Royal Navy in 2004,  and an appeal was considered in 2005 for religious status as a right of prisoners by the Supreme Court of the United States. Contemporary Satanism is mainly an American phenomenon, although it began to reach Eastern Europe in the 1990s around the time of the fall of the Soviet Union.

Luciferianism, on the other hand, is a belief system and does not revere the devil figure or most characteristics typically affixed to Satan. Rather, Lucifer in this context is seen as one of many morning stars, a symbol of enlightenment,  independence and human progression. Madeline Montalban was an English witch who adhered to a specific form of Luciferianism which revolved around the veneration of Lucifer, or Lumiel, whom she considered to be a benevolent angelic being who had aided humanity's development. Within her Order, she emphasised that her followers discover their own personal relationship with the angelic beings, including Lumiel Although initially seeming favourable to Gerald Gardner, by the mid-1960s she had become hostile towards him and his Gardnerian tradition, considering him to be "a 'dirty old man' and sexual pervert."  She also expressed hostility to another prominent Pagan Witch of the period, Charles Cardell, although in the 1960s became friends with the two Witches at the forefront of the Alexandrian Wiccan tradition, Alex Sanders and his wife, Maxine Sanders, who adopted some of her Luciferian angelic practices.  In contemporary times luciferian witches exist within traditional witchcraft

https://www.wikiwand.com/en/Witchcraft

[dlamp-dictator]

Let Me Tell You About Tsubaki Yayoi

Tsubaki Yayoi was not the firstborn child of her generation, but merely the first to survive.

The Yayoi family is a family of nobles. One of the twelve great ruling families of the NOL known as the Duodecim, is a family known for their preservation of bloodline and strong views in purity of lineage, as this purity and bloodline has led to the family having many strong and elite users of Ars Magus, magic through scientific means. As such, Yayoi children aren’t so much born as they are bred, with only the skilled and talented users of Ars Magus being allowed to bear children for the family. This practice has made the Yayoi family with a small but highly elite family of soldiers and warriors extremely skilled in both martial and magical capabilities. 

However, this gift turned into a curse. 

As the pool of suitable mates shrank, the family only grew smaller and smaller. In desperation, they went to inbreeding. And like many noble families of this practice, health deficiencies and low birthrates were abound. Many of Tsubaki’s siblings had perished long before she was born due to their fragile bodies. However, Tsubaki was different. Strong, healthy, and a capable user of Ars Magus. A miracle child, and she was beloved, cherished, and spoiled as if she was the first born. But despite this treatment Tsubaki didn’t grow up bratty or arrogant. She was kind, learned young woman with high moral and sense of justice. And of those morals was only one real rule she was told to keep with her. 

To obey the Imperator, the leader of the world government, without question.

But before her days as military officer began, before she even entered the military academy, she was still a sheltered child. A sheltered child with only her family, her teachers, and her fellow nobles to keep her company. At least, until she met someone new. 

A boy, Jin Kisaragi. Not only a fellow heir of his family, but one of the few people that tolerated Tsubaki, despite his cold and conceited personality. It was in this chanced meeting, and one Jin had tried to shrug off, but the young and tenacious Tsubaki had forced the young man to open up to her, and the two became close, as close as siblings would. Granted, this bond was more due to Tsubaki’s stubbornness and childish clinging to a brother figure than her charisma, but within her then-tiny world of only family and officials, Jin was the closest thing she had to a friend at the time, even something close to crush as well, if a childish one.

And throughout her childhood Tsubaki was raised as any noblewoman would be. She was studious in both martial and literary arts, she was taught etiquette and manners befitting a lady of her stature, she was turned into an influential and beloved member of upper society, a noblewoman of the highest caliber.

And like all young girls, Tsubaki had a fun and rowdy school days. She attended school, she made friends, she lived carefree, with only her duties as a student council member being her main stressors. And there she made met Noel Vermillion and Makoto Nanaya. One a shy girl who could barely speak a sentence without stuttering, the other a bombastic and excitable firebrand whose bestial looks contrasted her carefree nature. Though it took a lot to get Noel out of her shy shell and to get Makoto to look beyond Tsubaki’s title and lineage, the three were soon inseparable friends. And these two were another set of people that opened Tsubaki’s small world.

But the good times never really last. 

After graduating the military academy, Tsubaki was placed in the Wings of Justice, a branch of the government that is not officially on paper. A secret task force, specially tailored to punishes criminals both within and outside the government without question as a secret police. As a woman raised to follow the will of Imperator without question, this was a well enough position for Tsubaki. It’d be a chance to distribute justice to those that the public couldn’t see or learn about lest a panic happen. It’d let her crush traitors and enemies of the state both within and out of the NOL. It could be a noble way to uphold her justice.

 However, the Wings of Justice are often seen as garbage disposal units due to their nature of cleaning up problems and rebels, and treated coldly by most of the military. 

And in this group, she was tasked to kill her best friends. 

Jin Kisaragi, now a seasoned war hero and practically her brother, had deserted the military for personal glory. Noel, one of the first friends she made outside of her family ties, had assisted a world-class terrorist. Due to these acts, they both had to be purged for the greater good and to keep the NOL’s reputation as a force for good intact.

This was devastating. Not only had her brother deserted, but her best friend had aided a criminal of the highest order. There had to be some explanation, right? This had to be some sort of misunderstanding, right?

Right?

Right?

... 

.... 

...

Alas, a mission is a mission. But who knows? Maybe Tsubaki can get Jin to explain himself in a way that makes sense. Maybe the intelligence on Noel was wrong or mishandled. Jin is a Major, a war hero. There’s no way he’d desert the army, much less to pursue personal glory at the drop of a hat. Jin was many things, but a glory hound and violent person was neither of them. And Noel? The poor girl shook like a leaf when having to talk to friends, let alone a terrorist, let alone save him. And besides, she was the secretary of Jin. If anything, she was probably trying to save Jin in the crossfire. This... this had to be a massive misunderstanding. She could go to Kagutsuchi, get things cleared up, report to the nearest military branch, and get this all squared away. 

But... just in case...

Izayoi, an ancient garb and weapon of Tsubaki’s family. A weapon that can steal the light of both opponent and user alike, and grant its wielder control over light. It was the one thing she had that could put her on equal footing with the war hero Jin and the mystically talented Noel. Even if it costs her sight and life. But that wouldn’t happen. It was just... insurance. Just in case. Worse case scenario only. An argument might spark, sure, especially with Jin, but the chances of her actually crossing swords was just impossible. 

It wasn’t going to happen right?

Right?

Right?

...

...

...

Alas, it wasn’t meant to be. Never meant to be. 

Her brother was a traitor, just a selfish man after his own goals by his own means. Her best friend shouldn’t have even existed in the first place and took Tsubaki’s place by her brother’s side. And in the end, her belief meant nothing. Her justice meant nothing. Her life meant nothing. What could she do? What could she believe in? What was right? What was justice?

“Tsubaki Yayoi... Fall not into darkness. For I shall be your light.”

So... Why Talk About This

I’ve had Tsubaki on my mind a lot recently. I was watching some Continuum Shift storylines and Tsubaki’s always hits me. I like Tsubaki a lot, both as a character in the game and as a character in the story. Her being in the Blazblue world does a lot to ground a lot of the overly complicated lore in the world. It shows that the Duodecim is an actual noble family with rules, a public face, and has people that within that need to not act like self-centered asshole and do whatever they want, Jin. It shows that the NOL is an actual military government with standards that needs its soldiers acting in a proper manner, and will eliminate them if they cause too much of a fuss. It shows that all these special weapons deal quite the toll on people’s psyche and wellbeing for the power they give. Much like how Makoto’s existence shows how hard it is for normal people in the Blazblue universe to have a decent life, much like how Kagura’s existence shows that there is political turmoil within the Duodecim, Tsubaki’s existence shows the more noble side of the NOL and the duties they have to uphold for the sake of keeping the fractured peace as a world government.

And then Chronophantasma happened and ruined everything.

Okay, I’m being somewhat facetious here, but Chronophantasma did start the trend of ignoring everyone that wasn’t directly related to Ragna’s story. I’ll save my discussion on that for another day, but in just terms of Tsubaki...

The Izayoi was revealed to be an anti-Observer weapon, hard-countering Rachel, Amane, Noel, and arguably beings like Tagamahara. This is not discussed or utilized further beyond mentioning it.

Izayoi has the ability of Immortal Breaker, which can kill extremely powerful beings like Rachel, Terumi, Amane, and essentially anyone save for Izanami, Jin, and Hakumen. This is only discussed and utilized once to my memory.

With Jin as injured as he is in Central Friction, the Power of Order -basically the strongest plot armor in Blazblue canon- is slowly transferred over Tsubaki as she’s the next best fit for... y’know, Peacekeeper of the Planet’s Will to Maintain Order. She essentially becomes an SMT Order-Aligned protagonist and this is barely mentioned to my memory.

I could go on, but this is a celebration of Tsubaki’s character, not a critique/whining about post-Continuum Shift’s story progression. Anyway, I like Tsubaki. Quite a bit. If we ever get another mainline Blazblue title I really hope to see her in it. 

But for now, I’ve got a few more drafts to finish up, so I’ll see you all later.

[miikiiiiiiiiii]

Review: Log Horizon

I recently got interested in checking out Log Horizon, after it being out for quite a long period of time. (I know I’m pretty late to the party, being almost 6 years since the first season) I wasn’t interested in it when it first came out because I wasn’t exactly the biggest fan of isekai back then, and to be honest even now.

Well to my surprise, I enjoyed this show more than I had expected going in, and even craved for more episodes to watch. (Season 3 is coming out this year!)

If a person like me can love this show, you might also get sucked into the world of Log Horizon. You never know before you try it, amirite?

Perspectives and Moods

So I strongly believe that a person’s perspective and the state on mind highly affects the enjoyment of a certain show. I’m sure that there are many viewers like me that were turned off initially by this gem of a show because we all thought it was a copy of a more popular anime at that time, Sword Art Online. Or maybe you were intimidated by all the unknown game logic and lingo mentioned in the anime.

Thanks to one of my friends who was an avid player of MMORPGs getting me interested in the game genre and the mechanics and basics of an MMORPG, I greatly enjoyed this show and understood most of what the show was trying to portray with getting stuck in an MMOPRG and making use of the loopholes in the rules of the game.

Overall, this show hit all the right notes at the right time for me and ended up being a pretty cracky watch. I was actually quite sad to know that I would have to wait just a bit longer for Season 3 to come. (Oh well, what can we do about that?)

Stuff I liked

1. The ever-growing Log Horizon ensemble cast.

I loved how the show takes its time introducing us to the characters that are central and important to the story going forward. There is the main male lead, Shiroe, the guy awkward at social interactions but is also a brilliant strategist, Naotsugu, the enthusiastic and happy-go-lucky guy, as well as Akatsuki, the stoic and silent assassin but having a pretty cute personality. There are more, but will only list them in the spoilery parts of this review. These three characters are the first few characters to be introduced in the show and immediately you see how they work well with each other. On paper, their personalities are so different that you would expect conflicts left and right, but the show makes it clear from the start that they would form a bond so strong that nothing can ever break it.

SPOILER WARNING

As early as the second episode, you can see how Naotsugu and Akatsuki, despite only meeting for the first time recently, have fallen into this friendly banter, despite it being quite lewd with Naotsugu being a pervert and Akatsuki being very peeved about it. Somehow this banter doesn’t feel forced like in other shows I’ve watched and comes quite naturally. I also like how Shiroe, who was introduced as the socially awkward one, being the one to become the bridge that starts this friendship.

END OF SPOILER

There are so many characters worth mentioning, but if I do list them all with what I loved about them, this review will be crazy long. The characters all have chemistry and none of them feel like a caricature, despite being characters in an anime. I have to say, nicely done.

2. Shiroe

Shiroe is introduced at the start of the story being socially awkward, kinda like a lone wolf. He doesn’t want any association to any guild and the one time he was associated to a group, it wasn’t even a guild. Right from the start the anime shows you how strong he is, being level 90 and having friends that are ALSO level 90, such as Naotsugu, Akatsuki, Marielle, Henrietta (I think? I might be remembering this wrongly) The anime also implies that he is quite well known in the MMORPG world of Elder Tale.

He also starts to make connections and learn more about the world of Elder Tale that he might not have known before and makes use of the knowledge he has learnt to make this new world that they are trapped in liveable.

More that that though, as the anime progresses, you get to see his growth and deepen his friendships with his friends. There is nothing too devastating that happens in Log Horizon, but the setbacks that the main cast do face alongside Shiroe does make him mature and come out the other side a better person.

SPOILER WARNING

One of the events that stuck out to me is how he realised that inventing new magic in the world of Elder Tale is possible by observing how Nyanta is able to cook food that tastes good. He then proceeds to use that knowledge to his advantage and invents new magic that only he could perform at that point in time, contracts. I felt that this shows how smart Shiroe is in making connections that others may not have made, and how he gathers his information by observation.

I also liked the dorky side of Shiroe, especially his love for curry. He may seem like the stoic one in his friendship with Naotsugu, but deep down both of them are equally dorky and thus causes both of them to connect so well.

I thoroughly enjoyed watching his growth as well, from a guy who was a lone wolf and wanted nothing to do with guilds, to becoming a guy who STARTS his own guild. I also liked how even though he was slowly opening up to his friends that he doesn’t immediately become like an open book. He is still quite guarded, as shown by how he didn’t want to let them know his plan when he left Akihabara with Naotsugu to get the finances needed for the maintenance of the town. It is only after losing the raid and realising that he needs to learn to open up and trust in his friends more that he finally opens up and informs them about his motives. This growth feel quite organic and believable, making Shiroe seem more human. I hafta say, I really liked this aspect of the show.

END OF SPOILER

3. Akatsuki

At the start, Akatsuki was quite bland. I thought she was going to be the stereotypical loli girl that is exceptionally good at what she does and becomes peeved when people mistake them for being a young child. To my surprise as the show went on, she quickly rose the ranks of my favourite characters in Log Horizon and stayed at second place until the end of Season 2. (Number 1 is Shiroe, so being number 2 is a pretty good feat!)

Her character got more focus and development in Season 2 compared to Season 1, and although I wish she could have more development in Season 1, I’m actually happy with where she ended up and how she grew and matured until the end of Season 2.

SPOILER WARNING

Right from the first episode, you learn that her avatar in Elder Tale was a tall and lean muscular man. Even though it is a minor detail, I liked how it was subtle foreshadowing for the insecurities she had in real life about her appearance. The constant gags of people calling her ‘shrimp’ were played for comedy but also foreshadowed the insecurity she has about her stature.

In Season 2, we learn that she has low self esteem and felt like she needed to be good at what she does to remain by Shiroe’s side. Because of this insecurity, she also didn’t make any effort to make connections with the other members of the guild and withdrew deeper into her shell.

It is only when she dies and fights the serial killer that she realises that the reason why Shiroe didn’t take her along for the raid was not because she was a burden, but that Shiroe relied on her to take care of the princess. She also regains her confidence and also comes to a realisation that her short stature isn’t a disadvantage, but a unique trait that she has. She starts to open up about her insecurities to the other members and made their bond even stronger.

Although many shows and anime do discuss the theme of self confidence and self love, I like how it never became preachy and instead showed a natural growth in Akatsuki to demonstrate this point. This not only made Akatsuki seem more relatable, but also makes this message more memorable for viewers.

END OF SPOILER

What can I say, I love characters that feel human and relatable.

4. Character moments

I can’t list all of them, or else this post will become WAY too long. So I’m going to list some of my favourites. Of course, SPOILERS INCOMING.

The overall bromance between Naotsugu and Shiroe. A good bromance is always a nice breath of fresh air, in my opinion.

When the mini training camp squad realises that Rundelhaus is actually a Person from the Land and will not revive when he died like the rest of them. I cried so hard there were no more tears to be cried.

The blossoming romance between Marielle and Naotsugu, with their daily 9pm telepathic talks when Naotsugu went on the raid.

The friendship that is coming to be between Krusty and Raynessia. You have no idea how sad I was when Krusty disappeared!

The way how Isuzu held Rundelhaus’s hand when he was going to sign the contract to become an adventurer because he was too weak to do so by himself. Also the fact that he is laying in her lap… I was crying because he was dying but also excited simultaneously because they are so cute! Okay, my fangirling may have gone too far.

When Rundelhaus was so happy to become an adventurer simply because he wants to help others in need, and not for glory or the immortality. He’s such a cutie pie.

Demikas starting out as a pretty shitty guy, bullying the NPCs to becoming a valuable player in the raid. Also his wife, who’s a Person from the Land, being able to subdue him and calm him down.

Also Nyanta. Is there more to be said? He’s so cool~

Moving on!

5. Game mechanics and the mystery elements

I admit, I’m a noob when it comes to MMOPRGs. I do know the basics, but nothing more than that. I’m more of a singleplayer RPG, visual novel kinda person.

The show explains the game mechanics in very simple terms and even a non MMOPRG player like myself could understand the logic. Shiroe alsomanages to find the loopholes and slowly become stronger because of that. Unlike some protagonists that are strong simply because.

The mystery element of the show and how the players got stuck into the world of Elder Tale is also very compelling. The players slowly learn more about this new reality that they are stuck in and learns that the world may be more different than when they were playing the game. This makes the question of ‘how did they get stuck in the game’ and ‘who caused them to get stuck in the game’ become a mystery that needs solving, and not just a plot device used.

Log Horizon is quite clever, much more than I had expected going into the anime.

Stuff I didn’t like

Honestly, I had to REALLY nitpick at this section. There were so many things to love about this show. SPOILER WARNING!

The anime starts off quite abruptly. Without any context whatsoever, you see Shiroe waking up in the world inside a game. He ponders his situation for a bit before realising he can contact Naotsugu. He meets up with Naotsugu and talks to him familiarly.

Even though you know there is backstory regarding them both, you can’t help but feel as if you were missing certain pieces to the puzzle. It’s almost like someone asking you how a puzzle looks like without even you having the pieces to the said puzzle. The pieces do come as the story progresses, however, so this feeling of abruptness doesn’t last long.

The final verdict

Full of action, and lots of nice character moments. Game mechanics are explained simply for noobs to MMOPRG player and can be enjoyed by anyone. Highly reccomended!

[its-just-like-the-movies]

Rampart (11, B+)

Why this film?: Natural Born Killers and The Edge of Seventeen were tempting choices, but everything I’d heard about Rampart’s politically rich storyline and ambitious execution made this an easy choice right off the bat. Plus, a character actor like Woody Harrelson in a lead role feels like the kind of treat more films should offer, especially when they’re as chameleonic as him.

The Film: What’s the right way to describe the impactful but imperfectly stitched way that Rampart holds itself together? “Raggedy” seems like a good option, given how the film bounces from character to character and plot strand to plot strand with little to suggest which direction it’s going to take from one scene to the next. “Rabid” might be a better descriptor of how comes across, its risky stylization and mangy narrative informed by an odious protagonist doing his damndest to hold onto a way of life he’s taken advantage of for his entire life and keeps relentlessly sabotaging, and one it frequently seems would be happy to get rid of him. The seams always appear to be showing, and not always in productive ways, though its unpredictable trajectory, ferocious acting and direction, and fascinating decisions about its lensing, editing, and sound mixing are so bracing and frequently impressive that it’s impossible not to notice them. A-list actors orbit Woody Harrelson’s central role as a deranged cop playing the kinds of bit roles that would be just as well served by far less recognizable names, the fact of their celebrity compared to the size of their roles and their whack-a-mole reappearances in the story as disorienting as the in-monologue editing and whiplash narrative turns. Rampart’s ability to disorient its audience is nicely synchronized with the downfall of a character who refusal to accept his defeat is frequently upending, his paranoid inability to grasp the consequences of his violent and prejudiced behavior too ensconced in decades of social acceptability for him to even compute the speed at which he’s being thrown in the trash.

As much as Rampart’s experimental design and pronounced assets are on display at all times, the film is even more confrontational with its politics. In this case, those politics are the tearing open of Dave Brown’s psychology of entitlement and bigotry, and the process by which a man of an era that seemed so alive a second ago is suddenly forced to reckon with his latest crimes, which somehow aren’t the worst things he’s ever done, and must reckon even more so with how changing tides have made what was once durigur behavior now completely unacceptable. His virulent bigotry and the safety he feels wielding it as a members of the LAPD’s Rampart division - even in the middle of a scandal that implicated over seventy officers in everything from bribery to murder - is realized in his very first dialogue scene, as regales tales of former glories with another cop while menacing a female trainee into finishing all of her fries at a lunch stop, asking her invasive questions as he and writer/director Oren Moverman boldly assert that this is the man who emblematizes what the police looked like in late-90’s LA. This is only further emphasized as he joy-rides his police cruiser through a group of Mexican mechanics in the parking lot of their cop and beats a suspect through the cheap, plastic windows of a drug store office to get information out of him, not just certain that he will suffer no consequences for this but even telling this trainee so as if it was an unspoken regulation. The grounded performances, observant shaky-cam and spry editing keep these sequences from becoming cartoonishly over-the-top, depicting Brown’s violent behavior as wholly mundane and completely corrosive at the same time. His teaching that his behavior is the norm of the LAPD to this woman points to a Training Day setup but wholly avoids it by refusing the idea that Brown is in any way a “bad apple” corrupting an otherwise decent system the way that Alonzo Harris was depicted as in his film. Everyone is like this, and there’s no indication a different cop would’ve shown her the ropes any differently.

This sense of entitlement bleeds into his home life, a precarious situation where Dave seems to co-habitat with his two ex-wives - who’re sisters - and the daughter apiece he had with each of them. The women don’t live in the same house, and Dave seems to find out whether he’ll spend the night with either of them or go bar-hopping to find some woman to share a hotel room with when he asks them if they want to have sex. Again, it’s a tribute to the actors for putting over such an unconventional scenario that could’ve died on arrival, but Cynthia Nixon and Anne Heche make the scenario completely credible as the make warm conversation and perry around his advances. Oldest daughter Helen, her hair messy dyed with blue streaks while wearing a 90’s art punk getup, is the only person in Dave’s life who’s openly antagonistic towards him, and the youngest is intuitive and happy to see her dad even if she’s clearly not too keyed in to the tensions around her family.

These establishing scenes of domestic and workplace tension, ones that will evolve and mutate as the story progresses, are just as impactful to watch as the moments where Brown enacts physical violence against an undeserving party or use his power as a cop to threaten some unfortunate employee into giving him a hotel room or pills. Jay Rabinowitz’s editing is so lean yet so spiky that we’re able to feel every shift of mood in Dave’s conversations or confrontations, sometimes cutting scenes as though leaving out bits of a conversation or monologue but more often than not finding unexpected angles to spy on sequences that appear to be playing out in real time. These choices dislodge a scene from any predictable beats as much as the performances do, and the vantage points that show us these sequences alternate between intimately close to the characters or at such a distance that it feeds into the overall mood of paranoia. Even if Dave’s eventual theory that he’s being used as a putz by such an unfathomable web of players from the LAPD higher-ups to family members, hookups, and ostensible allies, feels like nothing more than a right-wing conspiracy theory, the editing expertly plays into these delusions without santifying them. The plot-starting scene of him beating a Hispanic motorist to the brink of death for T-boning his police cruiser and trying to flee the scene is executed with brutal economy, by Dave and the storytellers, and it’s perfectly in tandem with their presentation of non-violent scenes and control of mood throughout the film.

From here Rampart bunny-hops between different plotlines and characters seemingly at random. It’s hard to pinpoint a coherent logic to how these scenes connect to one another - either they do or they don’t, and this disorganization might be Rampart’s most significant hurdle to overcome for viewers to get into the film. Individual plotlines are picked up in bursts and dropped for extended periods of time, creating evocative moods that leave the actors to fill in the gaps between individual characters while the plot moves ever onwards. Even as the methodology behind how these stories scrape against each other is never quite clear on a scene-by-scene level, the cumulative portrait of a man going off the deep end in order to keep his dying way of life intact still hits. The film is merciless in picking apart how Dave is propped up by the status given to him as a white male police officer, his bigotry and paranoia so acidic that the background context of the Rampart scandal almost doesn’t matter in informing who this man is. He’s an endemic source of misogyny and racism, propagating his ideologies with the assurance of systemic cooperation that calling them delusions of grandeur gives them too little credit. His biggest calling card as a police officer, the one that earned him the moniker “Date-Rape” Dave, comes from the fact that he’s all but admitted to having executed an accused serial date-rapist rather than taking the man into custody, fabricating a story that he feared for his life trying to arrest him. An older white cop suggests that Dave facing any consequences is so out of the norm that the whole thing must’ve been a set-up, from the driver he beat to the person who filmed the incident to the government officials seeking to see him punished for his actions. Feeding in to Dave’s already-existing paranoia and neuroses about women and people of color, of any non-cop in any job who disrespects his authority, this conspiracy web soon encompasses his ex-wives, his current fuck buddy, the old man himself, as Dave turns to blackmail and criminal actions to keep himself afloat. Rampart balances a tricky line between objectivity and subjectivity, many of its choices seemingly influenced by the paranoia of its protagonist even as the film is able to stand apart from his rancor and hold it up to a microscope, dissecting his bullshit for all it’s worth.

It helps tremendously that these characters are written and directed so sharply, and that their interpreters make so many specific and charismatic decisions in bringing them to life while avoiding cliche or cartooning. Woody Harrelson, sporting a skinhead-lite haircut and a wiry, muscular physicality, emanates the size and danger of his character’s bigotry while keeping him scaled to uncomfortably human size. Brie Larson’s righteously pissed-off daughter and Robin Wright’s sad, carnal, and increasingly suspect friend with benefits may very well be the most startling performances after Harrelson’s, though Nixon, Heche, Sigourney Weaver, Ned Beatty, Ben Foster, Ice Cube, Steve Buscemi, and Audra McDonald are just as inspiring for evoking such sharp personalities with minimal screen time and unexpected entrances and exits. Everyone is able to keep a firm grip on their characters while connecting threads over gaps in appearance and in information, their relationships to Dave changing dramatically over the course of the film without ever seeming forced. Whatever can be said about Moverman and James Ellroy’s script in terms of its scene-by-scene structure, the trajectory of their story is so powerful and unpredictable that its secrets are worth keeping.

If the preceding paragraphs have repeatedly illustrated how essential Moverman’s direction is in making the script’s shifts of attention in to something potent and coherent and how commendable his negotiation of ensemble is, his dissection of Dave Brown and everything he represents is still feels like the film’s crowning glory. Rampart is not a message film that reduces its characters and scenarios to pandering stereotype or secretly condones the horrific behavior and bigoted mindset it’s supposed to be critiquing. Moverman and Harrelson make Dave Brown a fascinating and rancid character to be attached to for almost two hours, and Rampart proves itself to be a riveting character study that’s able to rip apart everything its lead man represents without dismissing him out of hand. It’s an invaluable study of white male toxicity as enabled by a police uniform, one that surely would have gotten more traction if it had a bigger distribution in 2011, but perhaps even more so if it had come out a few years later. It’s crucial to mention that the beating of the driver is not, ultimately, the crime that brings down Dave Brown, nor is the crime he confesses near the film’s climax to the FBI in the hopes of going out on his own terms what does him in. Rampart’s study of the cops who would almost kill a motorist and bully a fellow officer into eating something she didn’t want to doesn’t say that these are the actions that will cause their betters to kick them out, instead positing that these men will implode from so much internal and external pressure to keep from sinking. The actual ending plays like a leading up to a horror film, as Brown and Helen lock eyes before he slinks off into the unknown with the knowledge he could be arrested at any moment. It’s open-ended to the point of becoming an ellipses, unresolved while suggesting a whole film of possibilities lies on the other side of this scene. So, Rampart ends as it began, messy and unclean and dangerous, its ideologies unimpeachable, its execution so ambitious that what leaves something to be desired can even be construed into a productive part. Technically, Dave Brown ends the film still out in the world. But his clock is ticking faster.

[pomegranate-salad]

Seeds of Thought : Wicdiv #26

Is it just me or we waited for this issue longer than the previous one ? Anyway, my tutorials haven’t started yet but that means professors are free to add as many lectures as they want. I was in class from 10 am to 9 pm yesterday and the day before with no interruption. Clearly my college’s motto is “we were so busy wondering if we could, we never stopped to wonder if the students could”. So that’s why this post took me a bit longer to publish. I need to start monetizing this gig somehow.

As usual, thoughts and opinion on the issue under the cut, spoilers included. Enjoy.

 ROLL UP THE PARTITION, PLEASE

 So far, Imperial Phase (part one) is a strange, strange arc. It feels both as the most Wicdiv thing Wicdiv has ever done, and as something from another series entirely. If Rising action was “an ideal jumping-on point”, Imperial Phase is an ideal breaking-up point. As the ellipsis that separated Rising Action from Imperial Phase portended, this is the arc before which the cards have been reshuffled, and all we’ve learned so far about the story and its characters comes into question again. And in that context, one of the most noticeable changes from previous arcs is the way it handles reveals. Aside from big twists and cliffhangers, Wicdiv has already been very careful to weave its more character-oriented reveals into the narrative flow, to make conversation between its characters as natural as possible when it came to what they were willing to say about themselves. Think of the way we learn Cass is trans, that Ammy lost her father… Giving the audience information always came second to the character’s own communication pattern, which more often than not only gave us snippets of what we wanted to know.

Meanwhile, Imperial Phase’s character reveals feel a lot more heavy-handed, calling a lot more attention to themselves. From literal interviews of the gods to them detailing their sexual orientation to each other, information just seems to fly left and right compared to how long some characters have remained a mystery until then. And this issue might be the most flagrant example yet. Over its course, we learn a bunch of things, some we already kind of knew (like Dio’s asexuality), some more unexpected (like Cass’ polyamorous lesbian relationship), and others long awaited (like Baal’s real name, which by the way confused the hell out of me at first because in French “Valentine” is a girl’s name). But when so many reveals are able to take us aback, just as the gods finally get an opportunity to spend more time with each other, a question starts to form : How well do we know these people ? And more importantly to the story, how well do they know each other ?

 It’s been over a year since the gods have started to interact, and something like two since Wicdiv has started, and yet at a point in which most series’ cast would already form a functioning crew, the Pantheon can’t make it past one simple reunion without breaking apart. The simplest dialogue seems to bring new, surprising information to both sides, and even Baal and Persephone who have been dating for six months apparently know jack shit about each other.

But if the reveals feel so oppressing in this arc, this might be because this is the first one in which the characters are actually forced to face them too. Looking back, the Pantheon has never known this kind of unity ; there’s always been some sort of division preventing any large-scale interaction. First there were characters seeking the truth versus characters willing to accept the Luci cover-up, gods versus yet-to-ascend Laura and Cass, Underground versus sky gods, and of course Team Persephone versus Team Ananke. As a result, gods mostly have been too busy picking bones to actually get to know each other. We know for a fact that some gods never even met before the Rising action arc. Worse, the Pantheon has consistently lost its most aggregating members : Luci and Inanna, who by virtue of their intermediary mythological positions and sexual pursuits had formed bonds with several other gods, Tara who was uniting everybody in their distaste of her, and finally Ananke who was supporting the entire structure of the Pantheon.

 The inevitable conclusion to this rundown is that, at the time when important decisions must be made, the people in charge simply don’t know much about each other. And this reunion could only go about as well as any assigned work group. Which is to say, badly. It’s kind of amazing how this Pantheon meeting is reminiscent of a high school project and its most cliché figures. First we have Baal assuming the leader role - now complete with a tragic spiderman-ish backstory - who only makes things worse by trying to make them absolute. Then we have Cass as the smarter-than-thou kid whose good intentions get hindered by their need for validation and their bad handling of criticism. And then we have Sakhmet as the kid in the corner who’s somehow proud of not contributing in the slightest.

Of course, things are never that simple, not even in real life. But as “human” beings, and specifically teenagers, the gods react like anyone who has to get through to people they sometimes barely know : communication is just as much about ideas that it is about personas. The gods don’t just want to convince, they want to make themselves look as good as possible in the eyes of their peers. This comes back to something I’ve talked about numerous times before : between the gods and their social self, there is a gap formed by how much they are willing to “be themselves” in the presence of others. We’re at a point in the story in which each god’s persona has been enforced on their peers and they must now carefully navigate to maintain this image and use it in the best way to convince. Their persona is as much a tool to shine as it is a straightjacket restraining their ability to reach out. And when twelve people are playing this game simultaneously, the most innocuous decision gets lost amidst the bid for the spotlight.

 Let’s take a moment to seize just how bullshit this whole voting plotpoint is : it rests on both a false premise, that any majority decision besides anarchy can be enforced, and a false dilemma between fighting and studying. The people who want to fight and those who want to study want the exact same thing, only in different capacities, and the people who want anarchy weren’t going to help in the first place. I feel confident in affirming that any voting outcome would have basically had the same result : people willing to help helping in the capacity they’re most suited for, while the remaining gods are sitting on their ass. So how did it come to a vote in the first place ? First, you have Baal and Cass vying for the Most Righteous trophy, which prompts Persephone to push towards the solution that will most restrict everyone’s responsibility in the decision (I’ll come back to that in a moment). Sakhmet lets them know she’s not interested in either choice, which would have probably remained an incident remark if not for Cass and Baal catching the soft ball and blowing it out of proportion. And here we are. Out of a simple discussion, they’re made a house divided. Somewhere along the lines, the reunion stopped being about what was right and became about who was right.

 Graphic analysis is not my specialty, but I find this whole theme to be reflected particularly well in the nine grid panel structure. There’s the obvious fact that most of the panels show only one god, each of them finding themselves oppressed and isolated by the delineation. But the backhand of the fact is that most of the panels do not show who the god is talking to. Even when the god is addressing a specific person, the conversation feels like a statement for the entire group. Everyone is painfully aware of the others’ eyes on them. Every panel has something of a Facebook wall to it : technically made to communicate, in reality used as a forefront for people to look at.

 There’s of course one exception, and once again I have to talk about Persephone. I find it odd that these analysis posts of mine always come back to Persephone when the story is clearly branching to other protagonists in this arc while she willingly adopts a recessed position. While in SOT#24 I talked about her lack of goal and in SOT#25 her rejection of responsibility, these themes come back in issue #26 in a more concrete and spelled-out way. If you’re an early Laura fan like me, it’s really hard to wrap your head around the journey from the girl who jumped in front of a subway to help her friend to the god who won’t even protest when some of her peers are trying to cast her aside. But as painful as this change is, it also feels justified and progressive. Of all the living protagonists, Persephone is the one who had to make the most choices, had to see the most people she cared about die, has the greatest power at her disposal, has the most blood on her hands. Not only that, she’s arguably the closest to an aggregating character we have left after Ananke’s death : she’s met all the gods quite early, has developed bonds with almost all of them, and cared probably more than any of them about their wellbeing. Imperial Phase had every card in place for her to become the undisputed central character of the comic.

And yet, while her peers are fighting for the spotlight, Persephone is sinking in the shadows. During the whole nine panel grid sequence, she’s colored in a somber tone, away from the lights above the table illuminating the gods’ faces. While the gods are sitting or static, she’s the only one walking around, ignoring the empty seats. And when she has to cast a vote, for the first time in the sequence we see someone who is only looked at, silent, with the camera on their back.

And then of course she chooses anarchy. Just like she would have gone with the majority if anarchy hadn’t been on the table. Why suggest a vote when you probably have enough clout to make the discussion go your way ? Because it requires the smallest involvement of every member. Even when you are the deciding vote, your responsibility in the outcome is only as important as anyone else’s. No one can say it was her fault without accusing everyone else of not swinging the vote. Just like there is no fault in crashing your motorcycle in a wall if you come out unharmed and you can get a new one. Persephone went from being the driving force of the plot to avoiding responsibility at every turn. The gods now need to make their own mistakes, because she won’t carry anyone else.

Should this be read as selfish, as Dio says ? That’s definitely the result, but in Persephone’s case, things aren’t as simple. You don’t have your choices determine the lives of everyone you care about and come out unscathed. Persephone crumbled under the weight. Worse, every new development points to her decisions being the root of the danger they’re facing now. Despite probably being the most powerful god, she is useless against the Darkness. One after the other, she is losing every footing she has in the group. It would be so easy to slip into a more comfortable villainess role. The Pantheon is divided. The emblem of her power is the emblem of their death. Will she make the jump ? Who knows. I still want to believe Laura and her courage, Laura and her faith, is in there somewhere. But so is Laura and her pain, Laura and her desperation, Laura who’s been through so much more than any other god will for her. In an issue in which, more than ever before, the gods wanna be adored, Persephone just wanna let go.

  WHAT I THOUGHT OF THE ISSUE :

 I knew I’d eventually come across an issue for which I’d struggle to write this part. One thing you consistently get thrown at you when you’re as critical as I am is how easy it is to throw tomatoes instead of praise, and I won’t disagree : divisive and controversial make for an easy blogpost, and you can even reap edgy points in the process. But it’s never been clear to me why it’s so much easier to explain why things don’t work than explain why they do. Maybe I’m just more reluctant to pick apart a functioning piece than a broken one. “Why doesn’t it work ?” I don’t know, let’s open it and take a closer look. “Why does it work ?” Who cares, just look at it running.

But that’s where we are with issue #26, an issue kinda too boringly perfect for me to really write volumes about. I don’t mean perfect in the flawless sense, but in the sense that it’s an issue with a clear goal, some specific formalist tools, hitting the mark perfectly.

We’ve been amped up this issue as the first capital one of this arc, and it feels exactly like this : it’s neither a letdown nor a complete rupture with the previous toned-down issues. We learn just as much as we need to feel the plot progressing while more and more questions are piling up. We’re introduced to a new status quo solidly built on the old one.

I want to say this issue is adequate in every way, but somehow it feels like an insult instead of a compliment. If I have one real criticism, it’s that this issue didn’t really elicit any emotional response from me, probably because we can see where this is going from the start. Thank in part the Image synopsis for that, which was way too explicit this month and ruined the surprise a bit. Also, apart from the whole Cass reveal, there’s not much there that made me more curious about a character than I was before. By the way, am I the only person who completely missed the bdsm meaning and thought Cass’ mind had been absorbed and was being controlled by the two other Norns or something before checking Tumblr ? There may be hope for my soul still.

So yeah, despite not hitting me in the guts, which to be fair is notably hard to do (I’m heartless), this is a virtually flawless issue, and trying to poke holes in it would only be creating problems where there aren’t any. As usual, it’s in the details that Wicdiv accomplishes the most instead of the heavy-lifting, and everyone’s micro-expressions are a delight. Graphic and coloring touches are a joy to discover upon rereads, and while the dialogue feels a bit more heavy-handed than I previous arcs, it’s in perfect synchronization with the turn taken by the plot.

Is there room for this arc to improve from great to masterful ? Definitely. Am I still disappointed that we’re apparently going with the Great Dark plot ? Sure. But like I said last month, not being what you wanted doesn’t prevent something from being the best version of itself. Well, issue #26 is the best version of itself. It’s the perfect version of itself. So no, I’m not about to look under the hood for my own critical satisfaction. I just want to reread the issue over and over. It just works.

[recentanimenews]

Dispatches from Gacha Hell: A Look Back at Last Period

  Winter is over, Spring has Sprung, and we're ringing in a new anime season with a look back at some of the outstanding titles from one year ago as “Cruising the Crunchy-Catalog” enters a new phase with the Spring 2018 Renewal. And what better way to put a full stop on the Winter 2018 Rewind than with a peek at a show with a punctuation-theme in its name? Please join us as we check out Last Period: the journey to the end of the despair.

    What's Last Period: the journey to the end of the despair?

  Based on the smart phone RPG developed and published by Happy Elements, Last Period: the journey to the end of the despair is a 2018 TV anime with direction by Yoshiaki Iwasaki and animation production by J.C. Staff. Crunchyroll describes the story of the series as follows:

  "I’m never going to give up!! For that reason, I became a Period!!” Evil demons known as "Spiral" -made of souls who died in agony- threaten the people of the world. In order to stand up against Spirals, people founded the "Arc End". Individuals whose skills are recognized are admitted to Arc End to become “Period” to fight for peace. Haru, who failed the Period admittance test 38 times, was accidentally admitted as an “Assistant Period” in Arc End 8th Squad. Forming a team along with other new members, Gajeru and Liza, he is finally able to take his first step towards reaching his goal!

    Don't let the intimidating name or that description fool you: Last Period isn't a straight adaptation of a fantasy RPG story-line, but rather an anime original situational comedy that uses the trappings of the smart phone game to skewer all sorts of aspects of the business of creating anime and video games.

    Pay to Play.

  What the description above omits to tell you is that by the time our protagonists arrive, the Arc End 8th Squad has already been shut down for lack of funding, leaving Haru and company in desperate straits as they try to gather enough “zel” (a fantasy currency) together to re-open the guild hall. This leads to the main characters taking all sorts of low-paying gigs, er, I mean “quests” in an effort to scrape by.

  The situation is complicated by the presence of Wiseman, a Team Rocket-style rival group who seems more than happy to under-cut and under-bid Haru and his friends at every opportunity, and the whole situation becomes even more messy once they start throwing the actual mechanics of the Last Period smart phone game into the mix...

    Whale Hunting.

  In Last Period, in-app purchases and micro-transactions become central to the plot when the Wiseman team consistently nabs powerful five-star ally characters through the “Call” system, a gacha-based form of summoning that should be familiar to any fan of free-to-play smart phone RPGs.

  Haru and company, on the other hand, can only acquire weak one-star allies. Last Period presents a satirical view on real world issues such as deceptive drop rates and gambling addiction. For an anime inspired by a smart phone game, Last Period is surprisingly sardonic when poking fun at the medium in particular and capitalism in general. A cross-over episode with other Happy Elements games, for example, even ends on a note of existential horror.

    Stop, Drop, and Roll.

  Last Period isn't content to contain its scathing sense of fourth-wall-breaking meta-humor to just smart phone games. It also offers a pretty harsh look at the world of anime production, especially the more mercenary aspects of the business.

  As the series progresses, inexplicable tie-ins (including a cross-over with Higurashi - When They Cry), official pilgrimage sites as tourism promotions, and famous studios all find themselves in the crosshairs. One episode even has a sharp look at both the Kemono Friends pop culture phenomenon and the fall-out from Tatsuki and Yaoyorozu being kicked off the project at the height of its popularity.

    Gacha Journalism.

Crunchyroll currently streams Last Period: the journey to the end of the despair in 199 territories worldwide, and the series is available in the original Japanese language with subtitles in English, Spanish, French, Portuguese, Arabic, Italian, German, and Russian. At the time of this writing, there is currently no North American home video release for Last Period, so what you stream is what you get.

  Don't let the bright color scheme and cute character designs fool you, beneath the surface Last Period: the journey to the end of the despair has a sharp tongue and an acidic wit. If that sounds like your cup of tea and the series is available in your area, then please consider giving Last Period: the journey to the end of the despair a try.

    Thanks for joining us for this installment of the Spring 2018 Renewal. Be sure to tune in next time when we look at a show that explores how parenthood is even more difficult than a life of organized crime, especially when psychic powers are thrown into the mix.

Is there a series in Crunchyroll's catalog that you think needs some more love and attention? Please send in your suggestions via e-mail to cruisingcrunchy@gmail.com or post a Tweet to @gooberzilla. Your pick could inspire the next installment of “Cruising the Crunchy-Catalog”!

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Paul Chapman is the host of The Greatest Movie EVER! Podcast and GME! Anime Fun Time.

Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features!

By: news+feed@crunchyroll.com

[joshwrites]

Persona 5

Persona 5 asks the powerful question of what if you had the power to make a difference? It’s not new territory for the nearly 15 year old series, but for it’s first outing in a while it asks the question with a renewed sense of vigor. We’re far removed from the sleepy small town of Inaba and are asked to navigate Tokyo and track down villains with far bigger ambitions than a murder mystery.

Persona 5 starts you off on the downturn. Your protagonist is framed for a crime he didn’t commit and has his life uprooted when he’s expelled and has to find a different school. You’re dropped into a high school where you don’t know anyone but everyone seems to know you. Your supposed criminal record is common knowledge and you’re met with stares and whispers as you walk the halls. But everything changes when, in typical Persona fashion, you discover an alternate reality that manipulates the real one. The rules are completely different here; when you’re held down by the powerful and pushed to your limit you rise as a Phantom Thief swashbuckling antihero with a myriad of monsters from the Shin Megami Tensei series at your command. You’re a phantom thief now. You may not be able to budge the higher powers in the real world, but here you’re on an even ground with them. Success in the “Metaverse”  will affect the real world in positive ways: criminals and the corrupt lose their ambitious edge and will feel the full weight of their actions and how they affect others. Their minds will be broken, and they will turn themselves in. 

Combining this setup with a tale of a few key students being tortured by an abusive teacher in a situation that’s happening under the school’s radar and you have a spellbinding first chapter. It introduces the mysterious Anne and the rebellious Ryuji to your party as you help them fight back against their abusive gym teacher both in the school and in the metaverse. The game takes a while to get going during this layered introductory chapter, but once it does you can feel the time Atlus spent during these 10 years improving the mechanics. The dungeons have moved away from the dull corridors and randomly generated mazes of previous games, opting for deliberate design and navigation puzzles instead.  The “heist” aesthetic contextualizes a stealth attack mechanic which cleans up the imprecise act of attacking enemies in the overworld in previous games.

The UI in combat treads the knife’s edge between gorgeous and efficient. Streamlined button commands and an expanded “baton pass” system that allows you to chain attacks of different party members together combine with insanely satisfying feedback in terms of sight and sound to make turn based combat feel better than it ever has before. Stunning all the enemies with their weaknesses to execute the series trademark All Out Attack has never been more satisfying. Finishing the fight with this mechanic even rewards the player with a stylish victory pose featuring the party member that lead the charge as a cherry on top. The aesthetics work together with the systems to make for a satisfying gameplay loop even as the enemy mobs you tear through start to repeat. But the game doesn’t stop when you’re not in the Metaverse. Persona 5 continues the series’s themes of duality and asks you to live the most convincing day to day life you can inbetween heists. The game asks you to keep up on your studies and continue to maintain a growing list of relationships. In the same way the Metaverse can interact with your day to day, the reverse is also true. Doing well to maintain your relationships rewards you with bonuses to take with you into the fight, whether that be a growth in power from your party members, discounts in shops, or new side missions to tackle within the metaverse. Who you’ve chosen to spend time with factors into a variety of things up until the game’s finale, encouraging the player to interact with those systems. It makes for a good supplement to the dungeon gameplay that suits the game’s themes of duality.

There’s one final pillar of Persona 5’s systems: Momentos. A randomly generated dungeon in line with the previous games. Side quests, items, and enemies that wouldn’t fit into the game’s main dungeons end up here. Side conversations exclusive to this mode make navigating it more interesting than it ought to be, but it comes up short compared to the game’s main dungeons. It’s nowhere near optional either, despite my initial impression, so it’s in the player’s best interest to put time into it. It’d be unrealistic to expect the game to maintain a perfect momentum over it’s runtime of more than 100 hours, but unfortunately key parts of the game start to decay as time goes on. The fires of rebellion that the first chapter spark lead to an emotionally satisfying conclusion, but cutting so deep in the first chapter means that the game can never measure up to pack the same punch in the future scenarios. Some come close: The fourth arc deliberately flies in the face of the structure of the first 3  and asks you to use the Metaverse to accomplish a completely different type of goal. It combines a unique setup with some of the most interesting dungeon design in the game and a strong central character to create one of the series’s standout sections.

But some arcs falter, especially later on in the game.The basic premise of taking out a corrupt public figure largely remains the same from chapter to chapter, but the game racks up a roster of increasingly lacklustre villains as it progresses. As the scales become less personal and grandiose, the impact of their actions lesson. The game alleviates this around this by throwing out a couple of chapters where the situation is really close to the protagonists: The Casino arc and the above mentioned Pyramid, but others can’t help but feel like a slog. The space station is a notoriously poor example of the gameplay loop falling apart. An unconvincing premise combine with some of the most dragged out dungeon design and some really poor character writing to create a legitimate low point, but the game dips into all of these pitfalls in other places.

Characters seem to pick up and drop traits entirely depending on certain contexts. I was a little relieved that Ryuji seemed to be dodging most of the traits that defined the typical Persona “best friend” character before he goes full tilt into those traits later on and becomes more and more used for comic relief. A similar thing happens to Yusuke, a character that gets a surprisingly touching arc in his debut chapter early on but is practically considered disposable by the game after that. The game doesn’t seem to have an idea of what to do with these characters after their(usually) strong initial debut, so it ends up treating them as a loose end aside from exaggerating their worst traits for comic relief or to manufacture drama in the game’s lowest points. It may not seem like a big deal at first, but the sheer amount of time you spend reading listening to these characters means these issues stick out in an RPG more than they would in a traditional action game. I did get attatched to some of these characters, so I know the writers aren’t completely clueless, but it makes it all the more frustrating when they get shortened or recieve unsatisfactory development. The biggest example of this lies in one of the plot’s key players. The game’s recurring antagonist from early onward is aGoro Akechi. He’s a young detective with a strong moral code: That justice should always be put in the hands of the professionals that lead society’s judicial systems. This puts him at odds with our protagonists in a simple but intriguing way as slowly works his way into the group and even gets close to stopping their activities. He’s a great foil that puts a lot of pressure on the heroes. The game decides to throw this all out for the sake of a twist that reduces Akechi’s character to a series of poorly fleshed out tropes that moves him closer to the game’s other antagonists but further from it’s themes. It’s one of many disappointments that make up the game’s plot in it’s latter half. The dungeon and combat design also takes a hit in the latter half of the game. It leans less and less on interesting visuals and design and more on the corridors that made up the older games. The combat encounters get more grindy and repetitive up to and including some overly long boss fights. It feels as if the game was prioritizing reaching a certain playtime average over actually making a product that stays tight and engaging. It would explain the contrivances in the plot later on too. This filler is unfortunately really frustrating in a game that gets so much right.

The game manages to wrap itself up well enough. The lengthy encounters continue up until the final boss, but the story ends on a surprisingly heartfelt note that makes you reflect on the high points of your adventure. The game has a powerful message of how we should try our best to make a difference and not succumb to apathy, and despite the shortcomings in the latter half I think it gets this idea across well. The characters have “awakenings” before they get their powers: Moments where they snap, exhausted of being pushed around by higher powers and give into a newfound rebellious rage. The fantasy of becoming a powerful phantom thief and tearing apart society’s most powerful with sheer willpower is endlessly appealing, and the game is careful to make sure the player understands that making a difference in the outside world matters just as much, even if it’s a little more difficult.

On the whole it’s a game that’s more than the sum of it’s parts. Despite it’s shortcomings, Persona 5’s heart is so firmly in the right place that it’s likely to steal yours.