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canichangemyblogname · 7 months

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I watched all eight episodes of season 1 of Blue Eye Samurai over the weekend. I then went browsing because I wanted to read some online reviews of the show to see what people were thinking of it and also because I wanted to interact with gifs and art, as the series is visually stunning.

Yet, in my search for opinions on the show, I came across several points I'd like to address in my own words:

Mizu’s history and identity are revealed piece-by-piece and the “peaches” scene with Mizu and Ringo at the lake is intended to be a major character reveal. I think it’s weird that some viewers got angry over other viewers intentionally not gendering Mizu until that reveal, rather than immediately jumping to gender the character as the other characters in the show do. The creators intentionally left Mizu’s gender and sexuality ambiguous (and quite literally wrote in lines to lead audiences to question both) to challenge the viewer’s gut assumption that this lone wolf samurai is a man. That intentional ambiguity will lead to wide and ambiguous interpretations of where Mizu fits in, if Mizu fits in at all. But don't just take my word for this:

Re: above. I also think it’s weird that some viewers got upset over other viewers continuing to acknowledge that Mizu has a very complicated relationship with her gender, even after that reveal. Canonically, she has a very complicated relationship with her identity. The character is intended to represent liminality in identity, where she’s often between identities in a world of forced binaries that aren’t (widely) socially recognized as binaries. But, again, don’t just take my word for this:

Mizu is both white and Japanese, but she is also not white and not Japanese simultaneously (too white to be Japanese and too Japanese to be white). She’s a woman and a man. She’s a man who’s a woman. She’s also a woman who’s not a woman (yet also not quite a man). But she’s also a woman; the creators said so. Mizu was raised as a boy and grew into a man, yet she was born a girl, and boyhood was imposed upon her. She’s a woman when she’s a man, a man when she’s a man, and a woman when she’s a woman.

Additionally, Mizu straddles the line between human and demon. She’s a human in the sense she’s mortal but a demon in the sense she’s not. She's human yet otherworldly. She's fallible yet greatness. She's both the ronin and the bride, the samurai and the onryō. In short, it’s complicated, and that’s the point. Ignoring that ignores a large part of her internal character struggle and development.

Mizu is intended to represent an “other,” someone who stands outside her society in every way and goes to lengths to hide this “otherness” to get by. Gender is a mask; a tool. She either hides behind a wide-brimmed hat, glasses, and laconic anger, or she hides behind makeup, her dress, and a frown. She fits in nowhere, no matter the identity she assumes. Mizu lives in a very different time period within a very different sociocultural & political system where the concept of gender and the language surrounding it is unlike what we are familiar with in our every-day lives. But, again, don’t just take my word for this:

It’s also weird that some viewers have gotten upset over the fact women and queer people (and especially queer women) see themselves in Mizu. Given her complicated relationship with identity under the patriarchy and colonial violence, I think Mizu is a great character for cis-het women and queer folks alike to relate to. Her character is also great for how she breaks the mold on the role of a biracial character in narratives about identity (she’s not some great bridge who will unite everyone). It does not hurt anyone that gender-fluid and nonbinary people see themselves in Mizu's identity and struggle with identity. It does not hurt anyone that lesbians see themselves in the way Mizu expresses her gender. It does not hurt anyone that trans men see themselves in Mizu's relationship with manhood or that trans women can see themselves in Mizu when Mama forces her to be a boy. It's also really cool that cis-het women see themselves in Mizu's struggles to find herself. Those upset over these things are missing critical aspects of Mizu's character and are no different from the other characters in the story. The only time Mizu is herself is when she’s just Mizu (“…her gender was Mizu”), and many of the other characters are unwilling to accept "just Mizu." Accepting her means accepting the complicatedness of her gender.

Being a woman under the patriarchy is complicated and gives women a complicated relationship with their gender and identity. It is dangerous to be a woman. Women face violence for being women. Being someone who challenges sex-prescribed norms and roles under patriarchy also gives someone a complicated relationship with their identity. It is dangerous to usurp gender norms and roles (then combine that with being a woman...). People who challenge the strict boxes they're assigned face violence for existing, too. Being a racial or ethnic minority in a racially homogeneous political system additionally gives someone a complicated relationship with their identity. It is dangerous to be an ethnic minority when the political system is reproduced on your exclusion and otherness. They, too, face violence for the circumstances of their birth. All of these things are true. None of them take away from the other.

Mizu is young-- in her early 20s-- and she has been hurt in deeply affecting ways. She's angry because she's been hurt in so many different ways. She's been hurt by gender violence, like "mama's" misogyny and the situation of her birth (her mother's rape and her near murder as a child), not to mention the violent and dehumanizing treatment of the women around her. She's been hurt by racial violence, like the way she has been tormented and abused since childhood for the way she looks (with people twice trying to kill her for this before adulthood). She's been hurt by state-sanctioned violence as she faces off against the opium, flesh, and black market traders working with white men in contravention of the Shogun's very policies, yet with sanction from the Shogun. She's been hurt by colonial violence, like the circumstances of her birth and the flood of human trafficking and weapons and drug trafficking in her country. She's had men break her bones and knock her down before, but only Fowler sexually differentiated her based on bone density and fracture.

Mizu also straddles the line between victim and murderer.

It seems like Mizu finding her 'feminine' and coming to terms with her 'female side' may be a part of her future character development. Women who feel caged by modern patriarchal systems and alienated from their bodies due to the patriarchy will see themselves in Mizu. They understand a desire for freedom that the narrow archetypes of the patriarchy do not afford them as women, and they see their anger and their desire for freedom in Mizu. This, especially considering that Mizu's development was driven by one of the creators' own experiences with womanhood:

No, Mizu does not pass as a man because she "hates women" or because she hates herself as a woman or being a woman. There are actual on-screen depictions of Mizu's misogyny, like her interactions with Akemi, and dressing like a man is not an instance of this. Mizu shows no discomfort with being a woman or being seen as a woman, especially when she intends to pass herself as and present as a woman. Mizu also shows the women in the series more grace and consideration than any man in the show, in whatever capacity available to her socially and politically, without revealing herself; many of the women have remarked that she is quite unlike other men, and she's okay with that, too.

When she lives on the farm with Mama and Mikio, Mizu shows no discomfort once she acclimates to the new life. But people take this as conclusive evidence of the "only time" she was happy. She was not. This life was also a dance, a performance. The story of her being both the ronin and the onryō revealed to the audience that this lifestyle also requires her to wear a mask and dance, just as the bride does. This mask is makeup, a wedding dress, and submission, and this performance is her gender as a wife. She still understands that she cannot fully be herself and only begins to express happiness and shed her reservation when she believes she is finally safe to be herself. Only to be betrayed. Being a man is her safety, and it is familiar. Being a boy protected her from the white men as a child, and it might protect her heart now.

Mizu shows no discomfort with being known as a woman, except when it potentially threatens her goals (see Ringo and the "peaches" scene). She also shows no discomfort with being known as, seen as, or referred to as a man. As an adult, she seems okay- even familiar- with people assuming she's a man and placing her into the role of a man. Yet, being born a girl who has boyhood violently imposed upon her (she did not choose what mama did to her) is also an incredibly important part of her lived experience. Being forced into boyhood, but growing into a man anyway became part of who she is. But, being a man isn’t just a part of who she became; it’s also expedient for her goals because men and women are ontologically different in her world and the system she lives under.

She's both because she's neither, because- ontologically- she fits nowhere. When other characters point out how "unlike" a man she is, she just shrugs it off, but not in a "well, yeah, because I'm NOT a man" sort of way, but in an "I'm unlike anyone, period," sort of way. She also does not seem offended by Madam Kaji saying that Mizu’s more man than any who have walked through her door.

(Mizu doesn’t even see herself as human, let alone a woman, as so defined by her society. And knowing that creators have stated her future arc is about coming into her “feminine era” or energy, I am actually scared that this show might fall into the trope of “domesticating”/“taming” the independent woman, complete with an allegory that her anger and lack of human-ness [in Mizu’s mind] is a result of a woman having too much “masculine energy” or being masculine in contravention of womanness.)

Some also seem to forget that once Mama and Mikio are dead, no one knows who she is or where she came from. They do not have her background, and they do not know about the bounty on her (who levied the bounty and why has not yet been explained). After their deaths, she could have gone free and started anew somehow. But in that moment, she chose to go back to life as a man and chose to pursue revenge for the circumstances of her birth. Going forward, this identity is no longer imposed upon her by Mama, or a result of erroneous conclusions from local kids and Master Eiji; it was because she wanted people to see her as a man and she was familiar with navigating her world, and thus her future, as a man. And it was because she was angry, too, and only men can act on their anger.

I do think it important to note that Mizu really began to allow herself to be vulnerable and open as a woman, until she was betrayed. The question I've been rattling around is: is this because she began to feel safe for the first time in her life, or is this part of how she sees women ontologically? Because she immediately returns to being a man and emotionally hard following her betrayal. But, she does seem willing to confide in Master Eiji, seek his advice, and convey her anxieties to him.

Being a man also confines Mizu to strict social boxes, and passing herself as a man is also dangerous.

Mizu doesn't suddenly get to do everything and anything she wants because she passes as a man. She has to consider her safety and the danger of her sex being "found out." She must also consider what will draw unnecessary attention to her and distract her from her goals. Many viewers, for example, were indignant that she did not offer to chaperone the mother and daughter and, instead, left them to the cold, only to drop some money at their feet later. The indignity fails consider that while she could bribe herself inside while passing as a man, she could not bribe in two strangers. Mizu is a strange man to that woman and does not necessarily have the social position to advocate for the mother and daughter. She also must consider that causing small social stirs would distract from her goals and draw certain attention to her. Mizu is also on a dangerous and violent quest.

Edo Japan was governed by strict class, age, and gender rules. Those rules applied to men as well as women. Mizu is still expected to act within these strict rules when she's a man. Being a man might allow her to pursue revenge, but she's still expected to put herself forward as a man, and that means following all the specific rules that apply to her class as a samurai, an artisan (or artist), and a man. That wide-brimmed hat, those orange-tinted glasses, and her laconic tendencies are also part of a performance. Being a boy is the first mask she wore and dance she performed, and she was originally (and tragically) forced into it.

Challenging the normative identities of her society does not guarantee her safety. She has limitations because of her "otherness," and the transgression of sex-prescribed roles has often landed people in hot water as opposed to saving them from boiling. Mizu is passing herself off as a man every day of her life at great risk to her. If her sex is "found out" on a larger scale, society won’t resort to or just start treating her as a woman. There are far worse fates than being perceived as a woman, and hers would not simply be a tsk-tsk, slap on the wrist; now you have to wear makeup. Let's not treat being a woman-- even with all the pressures, standards, fears, and risks that come with existing as a woman-- as the worst consequence for being ‘found out’ for transgressing normative identity.

The violence Mizu would face upon being "found out" won’t only be a consequence of being a "girl." Consider not just the fact she is female and “cross-dressing” (outside of theater), but also that she is a racial minority.

I also feel like many cis-het people either ignore or just cannot see the queerness in challenging gender roles (and thus also in stories that revolve around a subversion of sex-prescribed gender). They may not know how queerness-- or "otherness"-- leads to challenging strict social stratifications and binaries nor how challenging them is seen by the larger society as queer ("strange," "suspicious," "unconventional," even "dishonorable," and "fraudulent"), even when "queerness" (as in LGBTQ+) was not yet a concept as we understand it today.

Gender and sexuality- and the language we use to communicate who we are- varies greatly across time and culture. Edo Japan was governed by strict rules on what hairstyles, clothes, and weapons could be worn by which gender, age, and social group, and this was often enshrined in law. There were specific rules about who could have sex with whom and how. These values and rules were distinctly Japanese and would not incorporate Western influences until the late 1800s. Class was one of the most consequential features to define a person's fate in feudal Japan, and gender was quite stratified. This does not mean it's inappropriate for genderqueer people to see themselves in Mizu, nor does this mean that gender-variant identities didn’t exist in Edo Japan.

People in the past did not use the same language we do today to refer to themselves. Example: Alexander The Great did not call himself a "bisexual." We all understand this. However, there is a very weird trend of people using these differences in language and cultures across time to deny aspects of a historical person's life that societies today consider taboo, whether these aspects were considered taboo during that historical time period or not. Same example: people on Twitter complaining that Netflix "made" Alexander The Great "gay," and after people push back and point out that the man did, in fact, love and fuck men, hitting back with "homosexuality wasn't even a word back then" or "modern identity didn't exist back then." Sure, that word did not exist in 300s BCE Macedonia, but that doesn't mean the man didn't love men, nor does that mean that we can't recognize that he'd be considered "queer" by today's standards and language.

Genderqueer, as a word and as the concept is understood today, did not exist in feudal Japan, but the people did and feudal Japan had its own terms and concepts that referred to gender variance. But while the show takes place in Edo Japan, it is a modern adult animation series made by a French studio and two Americans (nationality). Mizu is additionally a fictional character, not a historical figure. She was not created in a vacuum. She was created in the 21st century and co-written by a man who got his start writing for Sex in the City and hails from a country that is in the midst of a giant moral panic about genderqueer/gender-variant people and gender non-conforming people.

This series was created by two Americans (nationality) for an American company. In some parts of that country, there are laws on the book strictly defining the bounds of men and women and dictating what clothes men and women could be prosecuted for wearing. Changes in language and identity over time mean that we can recognize that if Mizu lived in modern Texas, the law would consider her a drag performer, and modern political movements in the show creators' home country would include her under the queer umbrella.

So, yeah, there will also be genderqueer people who see themselves in Mizu, and there will be genderqueer fans who are firm about Mizu being queer to them and in their “headcanons.” The scene setting being Edo Japan, does not negate the modern ideas that influence the show. "Nonbinary didn't exist in Edo Japan" completely ignores that this show was created to explore the liminality of modern racial, gender, class, and normative identities. One of the creators was literally inspired by her own relationship with her biracial identity.

Ultimately, the fact Mizu, at this point in her journey, chooses to present and pass as a man and the fact her presented gender affects relationship dynamics with other characters (see: Taigen) gives this story a queer undertone. And this may have been largely unintentional: "She’s a girl, and he’s a guy, so, of course, they get together," < ignoring how said guy thinks she’s a guy and that she intentionally passes herself as a guy. Audiences ARE going to interpret this as queer because WE don’t live in Edo-era Japan. And I feel like people forget that Mizu can be a woman and the story can still have queer undertones to it at the same time.

#Blue Eye Samurai #‘If I was transported back in time… I’d try to pass myself off as a man for greater freedom.’#^^^ does not consider the intersection of historically queer existence across time with other identities (& the limitations those include)#nor does it consider the danger of such an action #I get it. some come to this conclusion simply because they know how dangerous it is to be a woman throughout history.#but rebuking the normative identities of that time period also puts you at great risk of violence #challenging norms and rules and social & political hierarchies does not make you safer #and it has always been those who exist in the margins of society who have challenged sociocultural systems #it has always been those at greatest risk and who've faced great violence already. like Mizu #Anyway... Mizu is just Mizu #she is gender queer (or gender-variant)#because her relationship with her gender is queer. because she is gender-variant #‘queer’ as a social/political class did not exist. but people WE understand as queer existed in different historical eras #and under different cultural systems #she’s a woman because queer did not exist & ‘woman’ was the sex caste she was born into #she’s also a woman because she conceptualizes herself as so #she is a woman AND she is gender-variant #she quite literally challenges normative identity and is a clear example of what sex non-conforming means #Before the actual. historic Tokugawa shogunate banned women from theater #there were women in the theater who cross-dressed for the theater and played male roles #so I’m also really tired of seeing takes along the lines of: ‘Edo Japan was backwards so cross dressers did’t exist then!’#like. please. be more transparent won’t you?

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jichanxo · 8 months

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hitting them with the girl beam (+ pre-judgment era beam)

#kuwagami #kitakata sensei #jin kuwana #kuwana jin #yagami takayuki #takayuki yagami #lost judgment #judgment #jichanart #sorry for making this about sensei again... sensei era is so important to me #for the record i dont think she'd smoke in the staff room but that's the pose i wanted to draw #ANYWAY #hard to imagine their canon era selves looking much different #but at least pre-Life Defining Incident there's more wiggle room i think #there's probably something to be said about having them go from visibly feminine to more androg #like it's partly practicality. because do you want to do what they do while having to worry about your clothes or managing long hair? no #but for kuwana i think of it as kind of part of the freedom of self determination after being forcibly ejected from mainstream society #she doesn't have to make herself palatable anymore. no boss to scold her for cutting her hair so short #it's easier to take care of. she likes how it looks. it just makes sense #i reckon she would've gotten more piercings if she could but holds off to have less obviously identifiable features #in case she needs to go on the run #<- also a hc for kuwana in general not just girlkuwana #not sure if that's silly to think especially since he probably has scars and those are ALSO identifiable #ANYWAY enough rambling #kuwana should pull yagami's hair.#reminder to myself to make more girl art of them

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the-lark-ascending69 · 1 month

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maya's first crush was on her girl best friend so i'm sure she has experience with being a gay teenager and coming out

Wait maya is queer?? 😭😭 i thought she was straight aaaa

#i keep finding conflicting information and dubious sources #not a single reliable source #and not to queervestigate a real person #esp. a celebrity i'm being careful not to develop a parasocial relationship with (this is my first celebrity crush and I don't wanna be weir #weird and care too much about the sexuality of a random person from a different country)#but for some reason I feel almost betrayed whenever i hear about her being straight like. OH the artistic performance #wasn't actually AUTHENTIC you know what i mean? it's for the sake of artistic integrity #feeling as betrayed as I did when 14yo me found out lin manuel miranda was USamerican and hadn't actually been born in latam #the end of my hamilton era truly. the revelation DESTROYED me 😭#maybe i assumed she was queer because of the recurring queer roles only to later hear she was straight and now i decided #i'm 21 i'm not a teenager i have more important things to worry about than whether or not my favorite celeb is queer #thought i shamefully admit deep down i kinda hope she is 😭😭

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nexo-nex · 7 months

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Considering how much focus Holly got on the soft rebrand era, its crazy to me that she doesnt have much going on in the show. Like, aside from her side appearences and such she is never given any sort of storyline or major appearance idk, like not even an episode centered around her (her introduction episode doesnt really count cause again, intro episode) you'd think that giving her focus on merchandise would make us have more lot content of her in the show.. (yeah ik she has a book abt her and poppy but its not enough idk...)

i dont know, just random thoughts ...

#b.txt #ever after high #eah #holly o'hair #from a marketing standpoint i understand why they chose holly out of all the other girls to push on the soft reboot era #hint: long hair gimmicks are super common in dolls #i just feel that the ohair twins both were such a missed opportunity ... they have sooo little going on aside from the hair shenanigans #and poppy being a roybel (whatever that means) in that one episode #i also feel kinda sad for poppy fans that got soo little dolls of her in comparison to her sister #lmao #i have so many things to say abt the soft rebrand era (mostly how i hate how sidelined briar was ... but thats for another post)#and also i say she was pushed hard by mattel is because. most if not all mattel twin characters are always together #and have overall the same amount of appearances when together and in merch #but w holly and poppy is different cause they can be seen alone or w others quite often. and thats awesome!#i love when twins are not carbon copies of each other w diferent colors #but it becomes really apparent when one is the brand's fan favourite if you get me... anyways rant over

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thebadtimewolf · 1 year

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barbie meme - billie piper characters

#bw: munedits #bw: out of ethos #billiepiperedit #a: billie piper #{YOU HAVE TO KNOW THE DIFFERENCE BETWEEN THE BILLIES BECAUSE NOT EVERY BILLE CHARACTER CAN BE ROSE}#{JUST LIKE ROSE CAN NOT PULL OFF EVERY BILLIE CHARACTER. GET. UR. SHIT. TOGETHER. OR. GTFO!}#{ROSE WOULD NOT FUCK HER COUSIN STOP MAKING THE DR HER COUSIN FOR MANSFIELD PARK AUS PLS IM BEGGIN}#{ROSE WOULD NOT RUN AROUND CHOPPING PPLS HANDS OFF! LET ALONE CHOKING! SHE IS A GUN TOTING WOMAN NO MATTER THE ERA}#{ROSE BEING A FLIRT? DOESNT EQUATE TO POLYAMORY }#{rose maybe the bomb BUT NOT THE LITERAL BOMB THAT DESTROYS GALLIFREY. SHE IS NOT THE CAUSATION OF A ALIEN'S WAR TRAUMA}#{THATS THE WHOLE POINT OF THE MOMENT. THE MOMENT IS JUST A JANET FROM THE GOOD PLACE}#{even villainous rose didnt even choke anyone. she'll beat someone to death before chopping anything}#{stop trying to make rose tyler into ur human barbie. barbie can do anything. rose marion tyler cant! its a decharacterised flanderization}#{the only way rose can be literally any of em is if that character did exactly what lady cassandra and the tardis did}#{which was killing rose's entire brain. just killing miss rose! ya girl! thats not a win! thats a fail! a nat 1!}#ihatesuziedit #film: yerma (2017)#yermaedit #barbieedit #film: barbie #mansfieldparkedit #tv: penny dreadful #pennydreadfuledit #tv: i hate suzie #tv: doctor who #film: mansfield park #ttdby30edit #film: things to do before you're 30 #doctorwhoedit #{yes sea devil rose being positioned like that is intentional. its how the fandom treats her similar to how the dr treat martha and jack}

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demaparbat-hp · 1 year

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Are you writing Cutthroat? I’m curious about more. Are you making a fandom wiki or family trees?

Hello!

I am currently working on refining some aspects of Cutthroat before beginning to write the actual beast. To be honest, I hadn't thought of making a Fandom wiki for it. The blood relations between some of the characters are quite complicated, and building Family Trees might help me out a lot, so thanks for the suggestion!

I'll include a summary of the AU under the cut, so you can get a general idea of what it's about.

Cutthroat AU:

Harrison Silas Sayre doesn't hate Wool's Orphanage—that is Tom's, his brother's, job. Tom Marvolo Riddle hates Wool's as much as he hates his dead mother, which is saying a lot. Unfortunately for them, they seem to gravitate around the Orphanage. Though that might have something to do with the ritual they performed there fifty years ago.

Exactly seven months after Tom Riddle's birth, a baby arrived at Wool's Orphanage with a single letter stating his full name and date of birth: Harrison Silas Sayre, July 31st, 1927. The two boys were different from other children—special, as Tom often said, so it was no wonder they found solace in each other while growing up as brothers.

The Wizarding World had no idea what it signed up for the day the twins' Hogwarts letters arrived.

During their seven years at Hogwarts, they became close with the Black sisters: Dorea, a Slytherin like Tom, and Cassiopeia, who was in Ravenclaw with Harry, though in different years.

Cassiopeia was creepy. She worshipped Tom, though that might have something to do with the rumors about her weird Visions... Tom was a natural, charismatic leader, though he only had a meaningful relationship with his brother. Harry, instead, formed a close friendship with Dorea right from the start. They were always seen with each other, much in the same way Cassiopeia could always be found trailing Tom.

I could say a lot of things about them, but I think the most important event is the ritual Tom performed at 18—a ritual Harry was forced to participate in. Ideally, the ritual would allow them to live forever, an anchor of one another, until the end of times... But vital blood was needed.

Fifty years later, Lily Evans' and Regulus Black's research took them to a set of Caves near an abandoned Orphanage. They had spent years after James' death looking for any clue about the mysterious dark lord who was steadily taking hold of the Wizarding World from behind the stage. Only few were aware of his existence, except for his followers (Peter and the Mark in his scalp was a somber reminder of that fact), but nobody knew a single thing about the actual person.

In the Caves, behind a blood protection that Lily was surprisingly able to pass through, there was a black crystal coffin. Within, a sleeping young man had a snake resting on his chest. The snake watched as Lily and Regulus got close and, slowly, began to eat its own tail.

Ouroboros, they recognised, and the boy woke up.

His green eyes were exactly like Lily's, and there was a gruesome scar decorating his throat, as if it was sliced open once upon a time...

Like I said before, I could talk about Cutthroat all evening. It's very, very extensive and writing a summary for it is a difficult task for me. You can, however, ask questions, in case you're curious about something specific. Or if you want to know more about some characters, or their family trees or the plot...

Anyways, hope this was not too boring to read, and not too long of an answer. Thank you for asking! Knowing there's someone interested in this AU makes me motivated to do my best and keep working on it. Hope you have a good day!

#harry potter #hp #cutthroat #Cutthroat AU #tom riddle #regulus black #lily evans #dorea black #cassiopeia black #Harrison Silas Sayre #marauders era #james potter #black family #Thanks a lot of the family tree suggestion! It will save my life #Especially since Harry and Lily are somehow related... I have this idea of Harry's mother being Lily's grandma.#She would've had Harry and abandon him before marrying Mr. Evans and having Lily's dad... So Lily and Harry are still related #There are three descendants of Slytherin. Tom from the Gaunt line... And both Harry and Lily (and Petunia!) from the muggle Sayre line.#Regulus is Lily's best friend... He was by her side after James' death and never left it since #Voldemort's tactics are different here in case you didn't notice. Because of Harry's influence he's more subtle in his approach...#So there's not a full open war and only few know what's going on. Even fewer try to do anything to stop it.#Insert the Order and of course Hermione. I have to think on how to include her since this is of course #hhr #harmony #And all its beautiful names #harry potter fanfiction #sirius black #lord voldemort #slytherin #ravenclaw!harry potter #dema answers

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jabberwockprince · 10 months

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the only thing that's keeping me from unleashing all 90 nonsensical thought trains in my brain about re1999 lore is the fact that im ruled by this very strict mindset of "if youre gonna do something, do it properly/thoroughly/organized or don't do it at all" which means i get to filter all this nonsense for my writing blog so its neat and cohesive

but it also means that until those posts are finished, im just gonna be seething and violently vibrating bc the information is just in my brain waiting to be released into the wild

#SCREAMS anyway the thoughts are the following #the fact that vertin's spinning wheel which she uses to summon arcanists trascends time and space #because if we're going by times of exhibition. pavia shouldve been the first one to be saved (1990's) but canonically it was regulus #which explains why pavia talks about his mother as if she were alive. because vertin PULLS people regardless of time space continuum #that (and a whole different argument) explains that exhibition dates arent dates of births. theyre the year/era they were taken from #because both matilda and pavia are listed as exhibited in the 1990's #theres 11 years of difference between them. if exhibition date = DOB then it would be impossible #aside from the fact that pavia wouldve had to live up to 2015 AT A MINIMUM to be 25 IF he was born in exactly 1990 #but theres characters who have more than one exhibition dates. such as satsuki or regulus (only in global iirc?)#so perhaps its the time they were acknowledged as arcanists by whatever government was established at the time?#regulus makes sense since “mid 20th century” encompasses 1930-1960. which correlate to the prologue. 1st and 2nd chapters of the main story #satsukis is harder to explain. since the times listed are just 1910s and 1920s. but it perhaps relates to her story? since she is trying #very hard to leave her past life as a thief behind #people also complain about sweetheart being 17 because 'she doesnt look 17' and since shes based on marilyn monroe she 'must be older'#sweetheart was exhibited in the 1930's. marilyn monroe was born in 1926. more proof that sweetheart was 17 at the time she was summoned #AND that exhibition dates ARENT DOB

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randomnameless · 5 months

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Localization discourse has cropped up again on Twitter, and someone posted a few before and after screenshots of an Echoes mod that retranslates the game to be more faithful to the original JP script, with that same person claiming that all the mod does is remove all the personality and charm 8-4 added to the dialogue; for reference, here's the lines they're referring to:

Lukas (EN): But just once, i should like to be red with rage, green with envy... Something!

Lukas (JP): But still, i've never been caught up enough to lose control of myself...

Clair (EN): Do i not deserve better than these trite gambits of yours?

Clair (JP): That kind of behavior is very hurtful towards the one it is directed at.

Clair (EN): If that crass phrase means you wish to speak with me, then please proceed.

Clair (JP): Oh, Dyute. What is it?

I can somewhat get why people could see the first change as just being a less interesting way of getting across Lukas' lines about struggling with not feeling enough emotions (though even then i'd argue that changing the lines from him being dejected and resigned at his emotional struggles to him being actively angry about them is a decently big change to his character and not just "oh they worded it in a more interesting way"), but i really don't get how people can argue that Clair's localized lines aren't blatantly rewriting her character; her criticism of Gray being changed from "your behavior hurts people and you should stop because of that" to "your behavior hurts me and you should stop because i'm your superior and deserve better than to be toyed with by the likes of you", along with her greeting to Delthea being changed from "oh hi, what's the matter?" to "if that gross phrase means you want to talk to me, then i suppose i can grant you the privilege of a conversation" doesn't make the dialogue any wittier, it's just making Clair into more of a spoiled brat than she was intended to be originally.

You ruined my day with this :(

(i know this is an old ask, but I forgot it in my drafts!)

I thought FE15's localisation was nice, but granted, I didn't have access to the JP script (nor JP audio!), but now I wonder if the schtick "nobles vs commoners" wasn't overplayed in the lolcalised version, which in turn, would kind of explain why some people felt cheated by Alm's reveal -

Even if I always took it as "being a noble has nothing to do with birth" didn't meant Tobin as a peasant could become a noble and have a noble heart, but meant that even if you are born a noble with super special powers or not, being a noble character only falls on you, and the actions you take : Alm rescues random women (FE15 for you!) around at the cost of his mission/safety/etc, when Berkut, who is noble-born just like Alm, hunts peasants and burns his fiancée.

8-4 adding more "Nobles BaD" feels in touch with what ultimately happened with Fodlan, even if while the FE series already tried to dip its toes in this water with Ike, his "nobles BaD" ultimately amounted to childish tantrum and refusal to deal with "complicated things" when you realise and learn what kind of people he's working with, and their responsabilities.

In a way, I can understand the people being annoyed that the mod removed the "additions" brought by 8-4 if they really made the characters more memorable - but my stance will always be to be able to choose if you want to put parmesan on your pasta or not.

8-4!Clair is a spoiled and snob brat - but can't we get the choice to get a Clair without parmesan?

You know what, I'm thinking FEH's decision (in 2017!) to, uh, not include dual audio was due to the supposed limitations of the app, but imo, was also amde with the dubbing/US!VA industry in mind because, imagine the players from FE14-FE15 having characters who, by tone alone, are different from the ones they're used to, what kind of message would that send to players? You've played the parmesan!version of those games?

And to be clear, I like my pasta carbonara with heavy cream because I'm french and cream is life.

And yet, IDK, maybe that's just me, but I think I'd feel a bit out of the loop if I was thrown in game that celebrates a franchise I never played, since the games I played were... heavily "localised" to catter to my tastes and overplayed issues that weren't there because I'd maybe like this theme more than what was initially presented.

Cultural differences are a thing, but Crayon Shin-Chan is meant to be watched, in japan, by children in primary school.

OD's Crayon Shin Chan is basically japanese!Family Guy.

We had the "same" heavily lolcalisation back in the days here, with French!City Hunter ("Nicky Larson") and French!Hokuto no Ken ("Ken le Survivant"), and while in the 80s-90s some people still harped that those were the "real deal", with time it became more and more widely accepted that Nicky Larson and Ken le Survivant were... products that were lolcalised to fit with the regulations of that time (no blood for children! no swear words - when the regular french person says "merde" at least 10 times per day) - but if you were to go and interview the authors of those mangas, they wouldn't have a clue about what you're talking about with your french "dessins animés".

(granted, I've heard that recently, during a convention, both the author of City Hunter and Hokuto no Ken were surprised but pleased that even if it was lolcalised to oblivion, their work was so appreciated here!)

With modern FE though, I feel like FEH has to pretend that Nicky Larson and Ryo Saeba from City Hunter are the same person - so they will put Ryo in a fridge and call Nicky Larson "Ryo Saeba".

I mean, that's what we got with Halloween!Rhage - who roars using her special, and yet winks in her artwork because the artwork was commissioned by the people who designed/came up with Rhea, not with Rhage - and here, with your examples, with Clair.

Clair is a young noble lady, who as you pointed out with those lines, is a well mannered noble who doesn't hurt nor is looking down on people from lower birth, eons away from the "oujou who only means well" trope we ended up with with 8-4.

At the end of the day, people are free to enjoy whatever they want, let it be 8-4!Clair of Jp!Clair - but I'll have the same opinion as I always did regarding localisation : was it really up to 8-4 to change her characterisation this way? Are they still localising or swapping Jp!Clair with a brand new character of their creation?

If so, can this still be called localisation?

#sealofreconciliation #lolcalisation issues #I get that it's a very complicated work and it's easy to criticise behind your computer #and yet there's no reprieve from people who lived in the 2000s #Sure the anime expended on it because anime is different from the manga #but Katsuya Jonouichi was changed from Joey Wheeler from Brooklyn #Japanifornia is a term that was coined up by all this need to lolcalise even when it doesn't make sense #Localising isn't as easy as putting words in google translate #and yet I think 8-4 inserting their character in FE15 is not localisation #that's what we got with Fates and the differences between characterisation in the JP and US versions #it happened to a lesser degree with FE Fodlan #but there's still this discrepency between the og source material aka H!Rhea winking and throwing cookies #and Leigh's Rhage lines to go with that image #maybe as a non US person all this US localisation pisses me more #because the french localisation is either loltastic or at times and recently closer to the jp script which leaves me with more 4kids feels #sure you can always have the argument that if you can't understand the source material you have to use a proxy #but hey your proxy isn't even my native language so why should I use yours if something else is available?#even if what is available is crap and yet still manages to make me understand that your proxy isn't only a proxy but basically your takes #and your inserts in what the game isn't originally saying?#tbh I called out Rhage before the Halloween!alt especially with her lines about Willy in Tru Piss #Sure I couldn't understand a crap that was being said but by tone alone? the Rhea I couldn't understand felt like a very different characte #compared to Rhage #then friends translated the lines and I read that TV Tropes thing and found out Leigh's interview where she says #Pat told her to act in a certain way #and the rest is history #what is good localisation from what is lolcalisation always depends imo on what you want #and yet i think after a certain era people are more critical of what they consume #especially since the internet existing means people can check the og script and find out what was modified #sometimes it sucks and you have a dude writing 10k words about toxic masculinity because he didn't understood what 'boku' meant #and yet sometimes you have people finding out the lolcalisation turned someone saying Church GooD in Church BaD for no reason

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