#i love how worlds and people and themes and social commentary that you could never articulate properly

[maranull]

Got convinced to actually start my original work (hey Lex <3) even if I have nothing more than a general idea of the main character and their workplace.

Scrivener absolutely rocks in the research and categorization department. You can add working links, images and obviously plain text. You can also add video and plain audio files that will play inside the program. And make a bunch of folders and subfolders. This is so well made all around, what the hell.

I know I'm singing this program's praises like I'm being paid (I'm not) but I keep finding new features and things you can do with it and I keep being pleasantly surprised. So I'm sharing.

Also, this is less about the program and more about the process, but even structuring this tiny amount of research and writing sources has put my head in a much more focused place for the story.

Oooh, I'm exited. Gonna make the most asexual succubus you've ever seen.

[halucygeno]

[Draft] Why Roadside Picnic is a timeless masterpiece and why everyone missed the point

(DRAFT NOTE: Otherside Picnic and PAFL are tagged because I intended to conclude this essay by explaining why I think those works, ostensibly inspired by R.P., don’t understand and fail to capture what makes the novel so powerful. My writing never got to that point, but it might still be of interest to fans of Otherside Picnic and PAFL, so I’ve kept the tags. If I ever manage to somehow finish this, I’ll take it down and replace it with the full version.)

ESSAY START:

With that needlessly provocative title out of the way, I hope people are still here and willing to listen as I try to explain myself:

[SPOILERS FOR THE WHOLE BOOK, GO READ IT IF YOU HAVEN’T DONE SO YET]

At its very core, Roadside Picnic is a character study. It acts as philosophical and social commentary too, but a vast majority of that is delivered and explored through Redrick’s character arc.

The sci-fi stuff which everyone loves referencing, and which every adaptation and “inspired” work can’t help but include: the Zone, the artefacts, bolt tossing, Mosquito Manges - none of that matters. You could replace it with magic, or dragons, or some other arbitrary plot device - it just needs to be beyond human understanding and have no clear explanation or origin, to allow for the ideas discussed by Noonan and Dr. Pillman in Chapter 3. This basic premise is all you need to discuss xenology, human psychology, “what’s a rational being”, how insignificant we are in the universe, etc.

All the other details are either little tid-bits of worldbuilding, window-dressing, or serve a specific narrative purpose. Witches’ Jelly could be any “super dangerous substance”, because what matters is not that it eats your bones, what matters is that Redrick sells it to a shady dealer, betraying the morals he espoused in Chapter 1:

All of these objects aren’t just “cool artefacts”, they’re tools for the Strugatskys to get across their themes.

And those themes are... Well, that’s harder to summarise. The main theme of the story seems to be about how economic circumstances and crises in one’s personal life can rot a person’s moral compass and kill their faith in the possibility of a better world. The events of the story turn someone like Redrick - an honest worker who believes in Kirill’s promises that science has the potential to save humanity - into an evil hypocrite, a murderer who lies to himself to justify his reprehensible actions. The question asked of the audience is “how responsible is Redrick for his own fate”, while the ending asks “will any of it amount to anything”?

To be clear, Redrick is a BAD person. By the end of the book, he has quit his job at the Institute, sold Witches’ Jelly to shady 3rd parties (which ended in a laboratory accident that killed 35), cheated on his wife (with a woman he supposedly despises) and murdered an innocent kid. He even draws sadistic pleasure from the emotional pain he will inflict on Burbridge by killing his son, savouring the irony of Burbridge being the one who kept encouraging him to take some newbie to the Meat Grinder:

But he wasn’t always like this. At the start of the story, he is cynical and rough, but he has principles. Like already mentioned earlier, in the excerpt where Noonan tells him about someone looking to buy Witches’ Jelly, he even goes as far as saying that he’ll work with the police to turn them in. The same police which, earlier in the chapter, stopped him in the street because they profiled him and assumed he was up to something:

Redrick has done his time in prison, gotten an honest job (yes, I know that he says that he still makes "a few bucks on the side”, but he’s actually relieved when he hears they’ll be walling off the Zone because it’ll mean “less temptation”. He wants to make money as a decent citizen), and he’s still being treated like a criminal and stopped by the police on-sight. And despite this, his fear of what the wrong person might do with Witches’ Jelly is so strong, he’s willing to go to them and report the buyer.

And this rejection of his prior Stalker persona is deeper than just getting a job at the institute and being willing to cooperate with police. When Kirill assumes that Redrick suggested getting the Full Empty as a ploy to sell his services, at first, Redrick doesn’t understand what he means. When he does, he feels outright insulted:

When he finds out about Kirill’s death, he is devastated, but notably, this sorrow quickly turns into a hatred of the systems which throw young men to their deaths for money. He curses Ernest for profiting from this exploitation. A key scene is when he hands Creon (a young man who just arrived in Harmont and wants to become a Stalker) a wad of cash and urges him to go back to Malta:

Another pillar of Redrick’s character is the fact that he loves and is loyal to his fiancée, Guta, despite her family being openly antagonistic towards him - not just because of his criminal past, but the fact that he’s been afflicted by the Zone:

He marries her at some point after this.

Most importantly, he actually has a purpose. This is shown when he is pestered by the emigration agent, as he makes a speech about how Harmont is a “hole into the future”, which will change life around the world for the better:

The crucial detail here is that the one who inspired him to think this way is Kirill. Redrick is always portrayed as cynical and bitter, so this high-mindedness is not coming from somewhere within him - it’s external. He’s drawing inspiration from the idealistic, honest people around him. So when Kirill dies, it is not merely the death of a close friend. It is the death of Redrick’s faith, his hope in the future. He even says “How will I get on without you?”:

Basically, Chapter 1 sets-up Redrick AT HIS BEST, so that the story can send him on a downward spiral in every chapter that follows.

Chapter 2 has several important developments, and it marks the start of Redrick’s moral decline. Before getting into that, though, I’d like to draw attention to another part of Redrick’s moral compass which is highlighted - his hatred of Burbridge and, more importantly, his hatred of Burbridge’s daughter, Dina.

Buzzard Burbridge embodies the most reprehensible, slimy aspects of being a Stalker. He is a selfish profiteer, willing to sacrifice his comrades and leave them to die just so he can get away with the loot. Redrick hates Burbridge, and, very importantly, believes himself to be better than Burbridge:

Redrick hates that Burbridge has no regard for human life, and this hatred applies in equal measure to Dina. When Dina tells Redrick that he should have left Buzzard to his death, he slaps her in the face:

This is not done out of sympathy for the man - Redrick hates Burbridge. What insults him is the implication that he should’ve left a comrade to their death - even a piece of sh*t comrade. He hates Dina, because even though what she says about Buzzard is true, it’s not a reason to abandon him to his death. Just like her father, she has no regard for human life.

In this scene, it’s also worth noting that Redrick is very respectful to Hamster. Hamster is the only Stalker to survive entering the Meat Grinder, supposedly saved by Buzzard. He seems to hang around the Burbridge household, possibly acting as some kind of servant, but is deformed and crippled from his injury:

The contrast between how he speaks to Dina and Hamster sends a clear message; Dina’s beauty means nothing. She’s evil, and deserves less respect than ugly, deformed Hamster.

Another key moment is Redrick’s conversation with Noonan in the café near the Métropole hotel. There, we learn why he quit working for the institute; money. He could no longer earn bonuses when expeditions to the Zone began being handled by robots:

Important here is that his salary still isn’t terrible, and the institute did not fire him. He chose to quit, because he wants a sense of freedom, of not being bossed around, and the money to splurge on things (like cigarettes) and have peace of mind. This is aptly summarised in the line “a man needs money so that he doesn't have to always be counting it”.

Obviously, another reason why he quit is Kirill’s death. In his final, rambling monologue, Redrick admits that he hated working for the Institute, so it’s very likely that Kirill and his idealistic visions for the future were the only things keeping him there.

So, to summarise, at this stage, Redrick’s character looks more or less like this: 1) Wants to do honest work and disassociate from his criminal past. 2) Believes the world can be saved by technology from the Zone. 3) Will never sell Witches’ Jelly to dangerous 3rd parties. 4) Needs money for a basic standard of comfort and freedom from authority. 5) Won’t abandon someone to their death, even someone as bad as Buzzard. 6) Beauty doesn’t matter if, morally, you’re an awful person. 7) Loyal to his wife and daughter.

Having lost Kirill, and with him, his hope for a better future, Redrick’s new source of meaning is his wife and daughter. His purpose in life is providing for them, especially Monkey, whose condition makes her the target of bullying.

(Side note: One thing always annoyed me. Why did they call her Monkey?! That’s asking for people to bully your kid! Was it just a coincidence, or did they really name her after her birth defect? And this is an accurate translation of the Russian “Мартышка”, no weird translation problems here.)

But this new purpose - providing for his family - crashes into him hard when he’s set-up, betrayed, caught by the police, and is forced to flee. It’s then revealed that Redrick had a trump-card up his sleeve - a jar of Witches’ Jelly and an interested buyer, willing to pay the money to his wife in instalments while he rots in prison. It’s never stated how long his prison sentence is, but Redrick estimates that evading arrest (which he did to arrange the transaction) will add another year to it.

To be clear, this jar was prepared as a last resort. He clearly doesn’t want to do this. Earlier, in the Métropole, when he's asked if he managed to procure it, he lies, saying that he didn’t:

He promises to get it later, keeping Throaty interested, but not giving it to him. Later, as he’s about to make the call, he admonishes himself:

This the first major step in Redrick’s decline, where his self-interest explicitly endangers the lives of others, and he still picks himself over others.

Before moving into Chapter 3, one part which I’d like to quickly touch on is the circumstances of Redrick’s arrest. I didn’t pick up on this on my first read, but Ernest wasn’t the one who set-up the police ambush in the Borscht. The one who set up Redrick’s arrest was Richard Noonan:

At first, I was confused as to why Redrick never realised that Noonan betrayed him, but after looking at it more closely, and despite how stupid it may sound, I genuinely think Redrick was so sleep-deprived that he forgot Noonan was the one who told him to drive to the Borscht in the first place. After getting into the cab, he falls asleep and wakes up, incorrectly thinking he told the driver to take him to the bank:

Regardless, in Chapter 3, we learn that Richard Noonan is some sort of government agent, working for the Institute or with law enforcement in some capacity. His mission is to shut down the “flow of materials from the Zone through Harmont”, which is why he has been befriending Stalkers and infiltrating their social circles, monitoring them. His activities include buying artefacts from Stalkers and rerouting them to the Institute:

If you’ve been paying attention, the Stalker which Noonan mentions in the above excerpt, the one he is stringing along and exploiting for his swag, is Creon, the Maltese Stalker which Redrick tried to pay to give up on the profession and go back home in Chapter 1. He persevered, became a successful, and what did it get him? He’s not an adventurer - he’s a pawn, drowning his sorrows in booze, getting closer to death, unaware that he’s being exploited by Noonan.

The worst part of this, which is never said explicitly, but heavily implied, is that the Institute is allowing certain Stalkers to operate because real humans are better, more effective gatherers of artefacts then their officially sanctioned robots. They are supposedly cracking down on this illegal activity, but they don’t mind taking advantage of it while they can:

There’s a sickening duality to it. Officially, Stalkers are criminalised, thrown in jail, ostracised. But behind the scenes, the Institute relies on them to deliver them materials, strings them along and keeps them on their payroll.

(Side note: I’ll let you draw whatever real-life parallels you find applicable. The ones that immediately come to my mind are the US prison-industrial complex and the funding of the the Taliban, but I’m sure you can find many, many more.)

Later, we generally get to see Richard Noonan being a horrid person - beating up a subordinate for having overlooked a group of Stalkers who were sneaking into the Zone without the Institute’s awareness.

Following this, Noonan has his conversation with Valentine Pillman, where the analogy of a “roadside picnic” is used and where the book derives its title. The general message is that we’re completely insignificant. The visitation wasn’t an instance of aliens coming to contact us or conquer us - they were just passing by and accidentally dropped a bunch of their trash on us.

Of course, Pillman qualifies this by saying that this is just his personal theory, and that there is no evidence to support this, or any other interpretation. He points out that to speculate about the motives of non-human beings by applying human psychology to them is folly, and calls xenology a pseudoscience.

For how central this conversation seems to be to the book (it’s in the title, after all), I don’t actually think that it’s a particularly interesting concept. It speaks to a general existential dread many people can probably relate to, being insignificant in the face of the infinitely complex, incomprehensible mechanisms of the cosmos. But it seems quite simple and self-contained, especially compared to the layered, interconnected themes of the rest of the book. It’s quaint.

Much more interesting to me are the things we find out about the artefacts recovered from the Zone. Eternal Batteries, seemingly capable of producing infinite energy, are used to power people’s private cars. Black Sprays, little beads which one theory claims are huge swathes of compressed space, are used to decorate jewelry:

To be blunt, Kirill was wrong. The artefacts from the Zone and the research done by the Institute are not “saving the world”. They’re accomplishing almost nothing. At best, they become the playthings of the wealthy and powerful, while the working class is literally killing themselves in the Zone to acquire them. At worst, they’re causing horrible accidents and killing people, like the Currigan labs incident:

The point of this is to show that fancy new technology does not inherently uproot old systems of injustice and exploitation. Without societal change, even something as reality-shattering as an alien invasion will be slotted into the old way of things. There’s even a passing mention of more luxury accommodations being built in Harmont in response to... tourists:

I saw another Tumblr post tagged with #roadside picnic, complaining about how people are trying too hard to make every soviet novel into something political. Well, I’m sorry. IT IS POLITICAL. You’re just not paying attention. If you disagree, I challenge you to read the above passage about “the suburbs being emptied” and tell me that it’s not trying to communicate anything about the economical systems ruling Harmont.

And if I need to spell it out, the force consuming and destroying the lives of Stalkers is not “the Zone”. It’s capitalism. The characters constantly talk about greenbacks, about needing money. The reason Stalkers need to break the law and risk their lives is either because they have rent to pay, or because they want to become financially stable enough to be free from the coercion of bosses and landlords.

The entire reason Redrick betrays his moral convictions in Chapter 2 is because of money. He leaves the Institute because his job is being automated, his pay is being cut, and he doesn’t want to live paycheck to paycheck. He wants to be free. And finally, he sells the Witches’ Jelly because he has to keep his family fed while he’s stuck in jail.

And if you still think I’m just reading too much into things, seeing what I want to see, I’d like to take you back to Chapter 2 for a few notable passages. Namely, Redrick’s experiences as he is entering the luxury hotel, Métropole:

This is Redrick, talking to a cop. Yes, the police, so eager to harass him in Chapter 1, are suddenly asking him if he’s alright, offering to help, calling him “mister”. So what changed?

Well, he is wearing a suit, holding a suitcase, standing in front of a fancy hotel. They assumed he’s rich. That he’s a respectable citizen, that he’d never need to steal anything.

There’s a genius reversal here - in Chapter 1, Redrick was an honest lab worker, but was profiled and stopped by the police. In Chapter 2, while the cop is trying to help him, he’s on his way to an illegal deal with a suitcase full of contraband. He’s an actual criminal, but he’s treated with kindness, because he looks upper-class.

And if you still somehow think this is all a coincidence, I ask you - why is this scene here? Why was it written? Seriously, it’s such a random moment, a complete non-sequiteur from everything happening beforehand, and I never hear anyone talk about it. Redrick, out of nowhere, begins having strong hallucinations and has to stop to catch his breath. If the key information being conveyed here is “Redrick suffers from hallucinations”, why not just have him catch his breath and move on? Why add this random cop, trying so hard to be helpful?

The answer is simple. It’s not a “random cop”. It’s social commentary on how cops exist to protect and serve the ruling class.

In the hotel itself, we have this moment where Redrick steps into an elevator full of absurdly, comically obnoxious rich people:

If you’ve been ignoring the attached excerpts so far, I urge you to read this one. I cannot adequately summarise how seeping with contempt and revulsion these descriptions are. Redrick closes his eyes to try to “shut out” these people, to not have to look at them. The young boy is eating chocolate, of course, drooling, while his mother has the Black Sprays we talked about earlier on her necklace. This is the privileged, wealthy elite and Redrick HATES them and what they represent. It’s textbook class antagonism.

And this doesn’t just affect Redrick. Returning to Chapter 3, Noonan visits Redrick’s house and speaks to Guta, who tells him about their struggles with Monkey, whose condition had worsened, destroying most of her cognitive abilities:

Noonan is wealthy. He’s one of the people who uses a car powered by an Eternal Battery. He lives in hotels. But more importantly:

Noonan genuinely sympathises with Redrick and Guta’s plight, and the suffering they’re going through because of Monkey’s condition. He genuinely wants to help them, and is ready to, but then remembers his boss. He remembers that his job is not to help the ones who are struggling and need it the most, but to serve the system. To label these people criminals and “infiltrate” them, monitor them, instead of simply befriending them.

Of course, Richard Noonan is an awful person. But we're almost given the sense that, given his position, he doesn’t even have an opportunity to be a good, honest person. When he genuinely feels sympathy for those he exploits, he forces himself to stop and suppresses his good nature. Because that’s what’s expected of him, what his job requires. He’s there to protect the interests of the Institute - the ruling class.

I really hope these examples adequately demonstrate what I believe to be the main political themes of the story, because I’m going to put those aside for a moment and go back to the personal, moral journey of the main character.

The only thing of note left in Chapter 3 is Redrick’s father and his reaction to news of the lab accident.

[UNIFNISHED DRAFT ENDS HERE]

(TRANSLATION NOTE: All quotations are taken from the Antonina W. Bouis translation, despite there being an arguably more accurate translation by Olena Bormashenko. This is out of habit, not preference - I’m more familiar with the Bouis translation, which made searching for quotes easier.)

(Huge thanks to Antonina W. Bouis and later Olena Bormashenko for bringing this book to an anglophone audience, to Irena Lewandowska and Rafał Dębski for translating it to Polish, and to Siergiej Rajkov and Milan Asadurov for doing the same in Bulgarian.)

[journalsouppe]

hi! i just found your blog recently so apologies if you've already answered this, but (if you remember) how did you get into journalling?

Hi no worries! I don’t think I’ve answered this before!

The short answer is that back in 2021 I realized I had a super unique opportunity to record all my experiences becoming a Zelda fan for the first time as I had not consumed anything Zelda my entire life. I got a small pack of pens and washi tape and a themed journal and a Zelda sticker book and just had so much fun that I’ve expanded! I now have all types of stickers, post it notes, stamps, washi, etc that I’ve collected over the years as well as starting a new journal for all video games I play! It’s been a great outlet for me to not only write but understand design choices and practice freehand lettering, and to support all my favorite artists who sell stickers. It’s been such a fulfilling hobby I genuinely recommend it to anyone who’s interested.

The long answer is below as well as tips to get started! (Sorry it got pretty long fdslijf)

So part of it was that for a long time I’ve always wanted to get into journaling but nothing would stick: I tried daily aesthetic bullet journaling but got burnt out, I tried journaling things retaliated to exercise but it wasn’t as creative as I wanted it to be, etc. I even used to rewrite all my notes in college to make them look nicer and more legible (and to also review all the notes we took in class) but that was just homework and not stress relieving.

Then back in 2021, I was going through a some major life events during my senior year of college and had to step back from doing a lot of things I normally would, especially social things. So I ended up getting back into video games which is smth I hadn’t had the time to do since…. Junior year of high school I think (With animal crossing being the exception bc of course). I always wanted to get into Ocarina of Time so I played that and Majora’s mask (more specifically I watched someone play them ^^;) and realized I had the golden opportunity to record my experience getting into the Zelda community and games as an adult since I had never consumed anything Zelda previously. I believe I started journaling when I was almost done playing (I did actually play this time) breath of the wild so my first true live reaction spread was a link between worlds. And it was so fun writing down all my commentary, I felt like my own personal let’s play YouTube channel where I could look back at all my reactions and thoughts to games.

I wanted the journal to be special so I got myself a new pack of pens, a journal that’s themed to Zelda (it ended up being a shitty journal fdkshlfd but I still love it), an “official” sticker activity book based on all the official art from the 3d Zelda games, and some cool tone washi tape that had gold accents (aka green blue and purple designed tape). And I just fell in love with journaling. I discovered zines around that time so I ended up collecting more and more stickers and stationary to put in my journals and then I wanted to play more games than just Zelda so I got another journal to continue writing there! I even have new journals in the future specifically themed to final fantasy and castlevania to start when I finish Zelda. I also decided I love journaling so much that I plan to open up a shop to sell journaling stickers and eventually book bind my own journals. It’s still a work in progress but that’s just how much I fell in love with my own style of journaling.

It wasn’t until I played the great ace attorney (DGS) where I really appreciated these spreads as I was losing my shit through live reaction entries. I talked about that spread online and my first dgs mutual ever encouraged me to post it… and I had fun doing that so I made this side blog and kept posting. I’m shocked at how many people like my spreads! I prioritize them being for me first but I will do extra things to make them nicer for yall such as not getting sloppy with my hand writing, taking nice photos, and typing up all my words so that they’re more accessible to read. It’s been such a fun journey I can’t recommend getting into journaling enough. You don’t have to even post them online like I do.

If you’re ever interested in journaling, my advice is to do what YOU want to journal. You don’t need to start out with buying super fancy materials or anything, I got a couple of materials since i knew that I wanted to invest in this journal but you can use any pen or sharpie you have at home and just write. You could even draw images instead of using stickers or use highlighters and markers you’ve collected overtime from school to add that pop of color by highlighting words that speak out to you. If you have a printer, you could even print out images (not fanart!!) from the games you play, my oracle of seasons and oracle of ages spreads have printed and hand cut out paper of the sprites from the game.

Don’t watch any aesthetic ‘here’s my daily bullet journal spread’ videos, you’ll get intimidated and if you try it you’ll be burnt out. Journal at your own pace, I dedicate a day once a month to set up like 4 spreads so that whenever I play games I can just jot down my thoughts and keep my journal just next to me when I play. I also don’t force myself to play games all the time so it’s nice having this nice pace to journal when I want.

Find a topic you’re interested in, and just write about it! Could be games, movies, bugs, theme parks, shoelaces, literally anything. Anything that’s a YouTube video can be transformed into journal spread. Find a journal that you have at home or if you want to splurge a little find one that speaks to you in a store! My only advice is that you want the journal to have thicker paper so that none of your materials bleed (make a test page at the back to make sure what bleed and what doesn’t before you start!) and to have strong binding. My Zelda journal has thin paper and a glue binding and omfg I’m stressed about her exploding.

I don’t want this to get crazy long but you’re more than welcome to dm me or my main blog PumpkinSouppe if you have any more questions too! Or feel free to send more anons here I don’t mind! The world of journaling is such a great place where you decide how the world is structured and how you want to live in it, so don’t feel pressured to do something that you know will exhaust or drain you. Tysm for the ask!! ^_^ sorry this got so long fhdljsf

[alsgrid]

On why conservatives don't get to have their wish fulfillment media

I've been thinking a lot lately about why online discourse around any kind of media is so incendiary these days. Why is there so much outrage about every single new thing that comes out? Don't get me wrong, it's always been this way to an extent but it really seems to have gone into overdrive lately. And the focal point of it all, at least for the past few weeks, seems to be Barbie. Why is a movie about a doll for little girls making so many adult men upset? Well, there's many reasons(a lot of them very stupid in nature) but to put it bluntly, it's because a lot of people are upset that it doesn't pander to them. More importantly, they are upset that it panders to someone else. As do most movies. Somewhere along the way, the English-language media landscape has shifted to completely exclude things a certain demographic wants to see.

Of course, much of it can be explained by things like demographic shifts and society as a whole changing over time. But not all of it. In the last few decades, it seems like we've completely changed our approach to how we consume and interpret media. Instead of taking its themes and messages on their own terms, we look at how they apply to and influence the real world. Instead of shutting up and enjoying the ride, we critique the morals of what is presented, and how they reflect on whoever made it. Which completely shuts down a lot of violent wish fulfillment media. Most specifically, the kind that conservatives enjoy. And I get it, I do. When they say that people these days no longer understand that "it's just a movie", they're not exactly wrong. But what they don't understand is that it's their own fault.

Let's take a look at Dirty Harry. In many ways, Clint Eastwood's character is the archetypal conservative action hero. Rude, ruthless, emotionally dulled, and willing to break any rules as long as it gets results. But does it? In the real world, it doesn't. But of course, movies aren't real. Dirty Harry succeeds because the script wants him to. He is in the right because the entire plot is a puzzle engineered for precisely such a character to slot right into it. And the people making it understood this. The movie's director, Don Siegel, whose views were diametrically opposed to the character's, didn't want to make a piece of social commentary. He wanted to make a cool action movie. Even Clint Eastwood, famously conservative, called it escapist wish fulfillment. Their expectations were simple, audiences were transported into a world were things worked differently, enjoyed their time, and went back to the real world. But that's not what happened. The audience broke the social contract. They never left the fantasy world behind. Hell, they could barely distinguish reality from fiction. Andrew Robinson got death threats aimed at the character he played, a fictional serial killer which never existed. And an entire generation of Americans grew up thinking that Dirty Harry was a character worthy of being emulated in the real world. And that's just one example. When Martin Scorsese made Taxi Driver, he probably knew some people were going to misunderstand his movie. I doubt he knew someone was going to misunderstand it so hard that they would go shoot the president so Jodie Foster will fall in love with them.

Over and over again, filmmakers, writers, even musicians had to relearn the same lesson: people have a hard time distinguishing fiction from reality. And the more conservative they are, the truer it is. So now most of us understand, creators carry a moral responsibility for the content of their work, and most audiences are willing to hold them responsible for that. So, if you are a conservative, please remember. Next time you insist that "it's just a movie", or "it's just a joke", it's not that we don't understand that. It's that you don't.

[go-to-the-mirror]

I really wanted to draw for this episode, but my head's been kind of messed up lately, so I'm just gonna ramble I guess. I've been so excited for this episode :3

Firstly, this is one of my absolute favourite episodes ever, and I Will Not shut up about it, because it's so good! Literal suburban hellscape!! To be honest I relate a little more to the other themes in this episode, being quiet fear, no one knowing or caring that you died in some supernatural suburban hell, and your body is just rotting there. An irrelevant name, an irrelevant face, just another victim of this place. Spooky stuff! Not too afraid of suburbs themselves lol, though I doubt many are.

This episode is SO neat! :D Right, on with the ramble/analysis because I have GREAT words for this episode.

@a-mag-a-day

Content warnings for everything in this episode + some themes of domestic violence/abuse.

Before we go ahead with the episode, here are some highlights from text conversations.

WHEN YOU CANT TRUST COMFORT!! (MAG 162, MAG 170, MAG 181, MAG 186, MAG 187 (to an extent)) MAG 150 (I love Cul-de-Sac and will never shut up about it) MAG 188 but when Jon' talking about how The Lonely is familiar to Martin and how the suburbia domains have quiet suffering (Will never be over that actually i have So Many Feelings) MAG 32 I can make a little quote thig one second actually because I have Thoughts god i'd be so cool on tumblr but i'm too anxious to post there, this is a tragedy [...] "I was going to die. I knew that now, just as she had, just as anyone else who came here had. How many corpses lay waiting behind the placid façade of this endless false suburbia?" Screaming Every time I think about cul-de-sac it becomes even more my favourite statement

(Messages to Mapleejay, 22 December, 2022)

One day I am going to write a statement and it's going to be like eye, lonely, idk, but it's definitely going to be eye and lonely and it's going to be so horrifying because combination false comfort + THAT being desperate for help people watching and laughing and judging but passing by + that line from cul-de-sac I'm obsessed with [...] Being lonely isn't just about being alone physically Being alone in an uncaring crowd [...] No one knows or cares what you're dealing with The line from cul-de-sac is "Her face was bloody but I was sure I didn't recognize her. She had a bag with her, and her ID read "Yetunde Uthman," not a name I'd ever encountered before. Just another victim of this place" but also "How many corpses lay waiting behind the placid facade of this endless false suburbia?" And "I checked to see if I could find anything out about Yetunde Uthman, and I did find a few old social media profiles, but I wasn't able to get through to any family or friends. As far as I can tell she disappeared a year ago and nobody noticed."

(Messages to Mapleejay, 29 December, 2022)

Now, onto the actual reaction, posting it on tumblr dot com because I am no longer too anxious! Hell, I might even post the previously mentioned compilation of quotes with commentary! Fun times.

You’re all alone, trying to connect with people, trying to find your place in the world, but in the end the only person you really know is yourself, and even then, not all that well. There’s plenty of things I’ve done I couldn’t explain to you.

Shout out to that time my sister tried to convince me that she knew me better than I knew myself. Not in a malicious way, mind, we were kids, and she just figured that because she could remember more of my life, she knows me more.

Yeah, I mean, I guess it's for everyone I guess, but here I am with my impulsivity and memory issues having no idea why the hell I did so many of the stupid things I've done. You whole life is just justifying to yourself the decisions you've made, so maybe I'm just not grand at that /hj.

“What an idiot! How the hell could he have done such an obviously stupid thing? How was I surprised it went so badly? What a relief I’m now so much older and wiser.” Except that last part never really turns out to be true, does it? The line of when you were your dumb younger self seems to keep moving forward with you, until each more mature and reasonable version of you eventually falls foul of it and becomes a young idiot.

A year ago, I thought I had really worked on my anger and just become an all-round nicer person to be around, and then I look back and realize that yes, my anger was still very much there, and also that I was quite... passionate? I am still, I'm pretty loud, it comes with the territory, and that can be misinterpreted as or become anger, given the right (or wrong) circumstances.

It's not really worth it, is it. I can berate myself from 4 years ago for being an angry, clingy little prick, but there's not really a point anymore. I understand them, I understand why fae was angry and clingy and sort of mean, and now I know how to not be angry and clingy and mean, and being angry at your younger self really doesn't accomplish anything. This is @ jon sims, pull yourself together man.

The thing is, when we both found ourselves in positions to be working from home, we actually thought it was going to be really good for our relationship. The two of us, spending all our time together; we reckoned it was going to be real romantic. We were real stupid back then.

If I know anything from the statistics of domestic violence in the pandemic, then yeah no. No. Not that their relationship was abusive or anything.

Also, I like how Herman goes from saying how believing you're much older and wiser is a lie, to saying that they were really stupid "back then," there's something in that. I don't know what.

Hell, technically it’s not even a suburb. It’s just a village that looks so much like a suburb that you could pull it up drop it on the edge of any dull town in England and it would look the same.

Can't believe the suburban hellscape episode isn't even set in a suburb.

Just street after street of identical, blandly pleasant houses, all winding around each other in dead ends and cul-de-sacs and one-way streets, making sure every house has plenty of inoffensive garden. I’ve never seen people happily living in a place so obviously dead.

CAN I QUICKLY TALK ABOUT GRASS?

Grass, the short lawn grass, it's not great. It is bad for the environment actually. Suburbs slash neg.

Just that last bit of that paragraph. Real.

I’d say that cheating on him was a foolish act of past me, but honestly, it’s one of the few decisions I’ve ever made that I completely understand. I didn’t even try to hide it, not really, and when he found out and it all ended, I kind of hated myself for just how relieved I was that I’d finally be able to leave that place, to get in my car and drive away from that gentle suburban nightmare.

I like that phrase, "gentle suburban nightmare."

I got a cheap apartment in Liverpool and tried to tell myself I was happier. The single life, footloose and … sitting at home binging bad TV. I tried to get back into the club scene, but honestly, I think I’m just too old now. The music was too loud, the drinks were too expensive and the sort of thing I used to take to be dancing all night now hit me with a comedown so hard that I had to write off almost the entire week.

As mentioned above, I don't really think The One Alone is only about physical isolation. It can be, sure, but I feel like it's also about the failure to connect. There are so many people and none of them see you, and you don't see them, and there's an insurmountable difference between you and them.

It didn’t help that, over the course of a ten-year relationship, “my friends” had become “our friends” and there weren’t any of them siding with me in this situation. Some would drop platitudes about maybe reconnecting after the fallout was done with, but I know when I’m being handled by people who “don’t want to create any more drama.”

✨ loosing all of your friends at once ✨

Ah... good times, good times.

It's like, not only have you lost one person, then you lose everyone, and if you had anyone left you just sort of... assume you don't. It's so easy to cut yourself off, and when you've done it once you can do it again, and again, and again, and again.

I don’t know. I was younger, then. Foolish.

There is something there!

Then Jon does a litte laugh, assuming in statement character, so I'm guessing the statement giver was laughing at himself. Neat detail.

It was late when I got to what I thought was his street, driving through the one-way signs and well-maintained gardens that bordered that snaking road. The sun had disappeared, but the sky was still fairly light, that late-summer twilight that seems to just drag on forever.

Mate, I love the aesthetic of the fog and The Lonely, but that's not really what feels lonely to me. This feels lonely, slightly humid, sun shining into your eyes, slight breeze, no one around, flat and empty.

Yes, I know I'm just describing an Ontario summer.

There was no answer at any of them. There were no lights on behind the drawn curtains, and all the house numbers were zero.

It's so freaky! The growing dread, you know this could almost be an I Do Not Know You statement, what with the things playing at being normal houses, and the tv show shown later.

I wished I hadn’t thrown away the wristwatch Alberto had given me, but it was too late for those regrets.

I may be reaching, but could this be a microcosm of Herman's regret at having thrown away him and Alberto's relationship, and seeing it as too late to salvage it. Now he's left with no way to tell the time, as it were, in a manifestation of The Lonely.

At the start, I was counting how many houses I passed, but when I got to a hundred, I stopped. It was beginning to eat away at my careful rationalisations, and I couldn’t allow that.

I'm just highlighting it because I find it interesting how his mind works. Not in a bad way or even a good way. It just is.

I marched up to a nearby front door, prepared to kick in the flimsy-looking wood, but trying the handle revealed it was unlocked. I don’t know why I picked that house. It was exactly identical to all the others, and I’ve often wondered if there was anything that drew me to it. Perhaps I was just unlucky, or perhaps there only ever was one house.

I just really like this section. "Perhaps there only ever was one house," should be up there with "the blanket never did anything," as creepy lines. The theme of inevitability. This is going to happen, there is only one possible way this can end.

It feels tired, that's the lonely to me. Just being tired. You can cry all you want, you can be afraid but... at the end you're just tired and alone and it hasn't changed a thing. Inevitability in that way.

Or maybe, inevitability that you were always going to be alone. Maybe there's just something wrong with you.

Hhhh I love this episode so so so so so much.

The lights worked, which was a relief, and the inside looked exactly how I expected it to. And I mean, exactly how I expected it to: from the blank IKEA furniture, to the subtly-patterned cream wallpaper, to the picture frames lining the wall containing what were clearly stock photos, each of a different family pantomiming a scene of domestic bliss.

Firstly, the line "pantomiming a scene of domestic bliss" is just so... I love it so much. I love this episode so much. A family home, a happy family home from the outside looking in.

Secondly:

I did find several pictures of her and her new boyfriend though, which puts my mind somewhat at ease. Well, mostly. There’s something about him that doesn’t seem quite right. Something about the smile, maybe? I mean, they’re all pictures of Sasha and Tom, as I’m told his name is, having fun together, but… it’s hard to put into words exactly, but every one of them looks somehow like a stock photo.

(MAG 57 - Personal Space)

I could point to this and say that this is an example of it potentially being The Stranger, however I'm going to use it to point out something else.

You’re thinking too literally. Examining the physical categorisation, but ignoring the meaning of the thing. What are the bones? In the Distortion, your “Michael”, the structure of a skeleton, an established reality in your mind, is twisted and warped into an impossible form. But in other cases? Are they a symbol of slaughter and butchery? Are they the familiar made wrong? Or are they simply part of the messy, physicality of flesh?

(MAG 80 - The Librarian)

What matters is what it is, in this case the stock photos, what matters is what it means, what it makes the person looking at it feel. In Tom and Not!Sasha's case, it's representing how Not!Sasha is pantomiming as a real person, everything looks like a stock photo because she isn't actually a person going on dates with her boyfriend, she's pretending to be.

The stock photos in this episode are representing the pretense of this home where atrocities are committed being a normal family home. It's set up like a little suburban home, beige walls, sofa tv, family pictures, lovely place to raze a child - sorry raise a child - just so long as you ignore the blood dripping down from upstairs!

She was talking, or at least, it sounded like she was. The cadence and the sounds were so much like English that it took me almost a full minute to realise that she wasn’t actually saying words.

I recently relistened to episode 48 - Lost in the Crowd, and it's reminded me just how much I like the little bits of it focused on language. Easy to feel alienated when you don't know what people are saying.

The Lonely and The Stranger are pretty similar - one could say that they're part of the same thing and separating them with no room for nuance was a stupid thing fictionalized Robert Smirke - but yeah I mean, it's pretty easy to feel lonely in a crowd of people you don't know. The Lukas', the crowd, these people on the TV, they're all strangers, people you don't know who you feel scared of.

It's interpretation, really.

I hit the remote again. A shopping channel. The host was a tall, clean-shaven man with close-cropped hair. He was holding a brick and talking about it in that same flow of non-words, that still had a familiar salesman’s patter. The screen scrolled the message “buy now!”, though there was neither price nor contact details, as this man, who wouldn’t look at the camera, earnestly pretended to sell me a brick.

Firstly, Spamton G. Spamton is that you? Secondly, this is so freaky, I like it a lot. Just someone really trying to sell you a brick in complete gibberish, that's just so cool! Jonny just blew it out of the water with this one (it's my favourite non-metaplot episode).

I didn’t know them, as it turned out.

OOOOH JUST! HM! Just another person, dead upstairs, unknown even in death, not missed, alone even in death.

"I didn't know them."

She had a bag with her, and her ID read ‘Yetunde Uthman’ – not a name I’d ever encountered before. Just another victim of this place.

The line "just another victim of this place" is making me so unbelievably bouncing at the walls, tearing and ripping. Just another person, one of a million, just happened to be here, just another victim of this place.

I... don't know how to describe what I'm thinking when I hear that line. Just another victim of this place, just another poor unfortunate soul (in pain, in need) who somehow stumbled upon this suburban hellscape and died for it. Just another person with no one who would miss them, no one who'd notice they were gone. Just another lonely person, one of millions.

I am so abnormal about that line.

It looked as though she had forced her head through the mirror on the dressing table, the shards cutting her face and neck to ribbons, a particularly large piece piercing her jugular, spilling blood all down the unremarkable white table and onto the light brown carpet below. I don’t think she’d been dead that long, but I’m not a doctor and I didn’t really try to check.

I like how it's noted that their blood was spilled onto another piece of set dressing for this ordinary suburban household. "Spilling blood all down the unremarkable white table and onto the light brown carpet below." Noting the how the table is "unremarkable"... I just think that's neat, you know? How her blood has shattered the illusion of a normal home, a normal family posing in the picture frames.

How many corpses lay waiting behind the placid façade of this endless false suburbia?

Quiet terror. Private terror - you can't let anyone know. Put up a united front, and let things fall apart at home. Houses so put together in the front exactly like the others, but when you get inside there is the unmistakable sent of rot.

I need to write something with this, good lord.

Also, this reminds me of a line in 188.

ARCHIVIST But if you think there’s a lack of violence or suffering, then I’m afraid you’re mistaken. There’s plenty, it’s just… hidden. Trapped behind identical doors and down silent streets of unknown neighbours. The suffering here is deep. And it’s private.

(MAG 188 - Centre of Attention)

I say this as if I did not already think this already. I was not just reminded, I think about this podded cast quite a bit.

He was calling me; I don’t know how. But the tears came even faster now, as I answered, sobbing with relief to hear him yelling at me for taking so long. Had I forgotten? Was I even planning to bother? I tried to reply, to explain, but all I could manage to say, to get through the shaking sobs, was, “I love you.”

That's just a really beautiful moment, you think you're going to die and then you remember you love someone, and then someone comes to help you, because people love each other.

It's just... I really love that the way to beat The Lonely is love. Being loved, loving, not necessarily romantically, but human connection, love from person to person, in families, romantic partners, strangers, friends.

I think it's really great, I think this moment is really great, and I know Gerry says there are no entities of hope or love but I don't think we need them, 'cause we love enough on our own.

We’re working on it, the two of us. We’re not exactly back together yet, but I think it’s going well.

Yay! Fuck yeah! They're okay, or they're getting there, and you know what, great for them, great for them. Goddamn horror podcast with hope? And love? Hhhhh /pos.

As far as I can tell, she disappeared a year ago. And nobody noticed.

I've said this before in this, and I'll say it again. That really gets to me. Just being alone there, having no one even look for you, notice that you're gone, even care.

It's... horrible.

It’s not that easy though. When everyone has so many walls, so many defences, sometimes you can feel lonely even when you’re all in the same room. But it’s better than the alternative, and at least none of us are suffering alone.

That must be so awkward, like they all have so much baggage with each other, what do they do? Play scrabble? Jenga? They can't play cards 'cause Jon would accidentally cheat - or they'd accuse Jon of accidentally cheating - which sucks, because Sevens is fun. I learned Sevens from some guy in a pub in Ireland. It was fun.

MELANIE Jon, have you got a moment? ARCHIVIST Uh, course, I was just, um, having a statement. MELANIE Oh … A-an old one? ARCHIVIST Wha— Yes, an old one! I’m not— I’m doing my best. MELANIE Sure. ARCHIVIST What do you want?

My first reaction was "there was no reason for it to get so antagonistic in five seconds, Melanie" but then I reconsidered, and I understand why Melanie would say that, but why did she though? Like, what was the reason? He's in his office? The statement's right in front of him? Why? Like, fine, whatever, I get it, I can be nice and nuanced or whatever, but sometimes I don't want to and I want to get a bit miffed at Melanie for making it an angry conversation when it didn't have to be.

MELANIE Look, I’m not going to do my job anymore. ARCHIVIST I’m not sure I follow. You know we can’t quit. We’ve all tried. MELANIE I didn’t say I was going to quit. I said I’m not going to do my job: no researching, no filing, no field trips, nothing that is going to help the Institute in any way. I’ll still be around, I just … I can’t be a part of this anymore. If I get sick, I get sick, and if I die …

I get why they were still doing their jobs, out of the fear of getting sick or dying from it.

MELANIE Because this place is evil, Jon. And so, doing this job, helping it out, even in small ways, is in some ways evil tool. Every time we try to use it to do good, it just seems to make everything worse. And … And I will not be a part of that anymore. ARCHIVIST What about the Unknowing? W-we saved the world. MELANIE Did we? I-I mean, I think it was the right thing to do, but how many people were killed to do it? W-we weren’t even a neutral party. We did it as agents of The Eye, because Elias told us to.

Yeah! Yeah it is evil! Good on Melanie, honestly, for Jon it's... less of an option, but I'm glad Melanie's doing it. Also why is she nearly spot on-

MELANIE Martin put him there. A-and he’s still doing harm! You ever think that maybe this whole ritual business is just an excuse, and that we’re all just part of some huge, miserable fear machine?

So, what if I told you-

I mean, she's not wrong. She is not wrong.

Does this count as striking? Is she striking from her evil eye job?

MELANIE Right, right, okay. I know. That is why I ruined my first four sessions and almost torpedoed the chance at a genuinely really good therapist, because I was so paranoid that she was going to turn out to be some … some thing trying to manipulate me. But no. She’s not full of spiders, or made of wax, or wearing the therapist’s skin or whatever. She’s just a well-trained professional, who I am paying to help me.

Look hm I'm just, I'm cheerleading. Go Melanie! (woo) Idk what to say. Don't really care about this post statement.

MELANIE Look, I didn’t come here for a fight. I just wanted to let you know what was going on. If you need me, I’ll be trying to get Daisy drunk.

Hey, I mean. High stress situation, they're bound to be a bit snappy. And by them I do mean both of them, whatever, my blorbo isn't infallible or something.

I don't really care about the post statement.

In conclusion, I love this statement so much. I think it's really cool, I like the themes of quiet and private terror, and love saving people. Cul-de-Sac my absolute beloved, I started this at ~4pm, it is now ~8:30pm.

[wack-ashimself]

Sense of humor IS different among whites especially.

The Lobster: Super european dark comedy. Less than 30 minutes in, I knew the average USA citizen would not find it funny. But English people would find it witty. English (tech Greek) humor is dry. A lil daft. Taking a chunk of the humanity out of the humans to make a point...but it makes them less human. 'Look at this social commentary on humans if they didn't act human.' WOW. It felt like I was watching aliens try to be human.

YOLO Silver destiny (side note: LOVE smiling friends. Bring that back): it's so stupid, I would almost THINK that it was from the USA (tech says from Australia tho the show ITSELF says new zealand), but....it's one of those 'do anything, be offensive, bs' like rick and morty however without any of the meta, deep reflections upon society, or black comedy. This show feels like two jocks turned into women then partied across the cosmos. Rick and Morty but frat boys with vaginas. btw-so are we going to think it's funny forever when a man voices a woman? You see women voicing little boys, but rarely grown men. But grown men voicing grown women? Why TF not?

Now I am not saying USA* comedy is superior. Or mine is (I love puns. I KNOW puns are dumb). It's more I want to know how as a society, a culture, these senses of humor differ so much (and are consistent in their respective cultures). The Lobster was dark, violent, dry, and too on the nose. Like many english arts. The closest movie I could remember close to it was wristcutters: a love story (And I am pretty sure that is english too). Yolo was nonsensical (even more than rick and morty) but not in a fun way. Like she grabs a beer from her vagina, cracks it open on her vagina, then sits down and watches her friend dream having a bet she'll lose on their dream. I laughed ONCE in the episode, and that's a newer one**. It's mean spirited (seems to be a running theme in animation lately), and, kind of like velma, who is the target audience? Like velma, you kind of just piss off every audience...pleasing no one.

<SERIOUSLY VELMA IS TERRIBLE> Watch the pitch meetings of velma on youtube: he hits EVERY nail on the head of why it's fucking terrible>

*I say USA and not america because a year ago I watched top 10 things the world doesn't understand about america. And one of the top ones from EVERYWHERE was 'why do you fucking call yourself america? You are the united states of America. 'America' is canada, USA, and mexico.' And...they have a point. Kinda a big ego to say were are ALL of this.

*and I objectively asked if it's because the 'women' are the leads, but there's tons of comedies where woman are the leads I love. Parks and Rec, Birdgirl (which I found FUNNIER than birdman), and 30 rock. KIDDING. 30 rock is rich people writing about rich people to rich people and those who idolize them. I have NEVER met someone who LOVED 30 rock who I didn't find at least a littlepretencious. FUCK tina fey. She peaked on weekend update and mean girls (LOVE LOVE mean girls).

[essskel]

I think my point was not as 'fare' to Roche and Ves's character, since they were created in the second game. I was trying to make an argument on how Cdpr's writing is dogshit, so I should show the other example, but in the game where they make their original appearance. Sorry for disturbing you again, english isn't my native language, so it's really hard for me to articulate my thoughts properly. I put more brainpower into sounding smart. But anyways, back to the point.

In tw2, there's one thing that absolutely fucking destroyed my brain with how stupid it is. And that thing - is the genocide of vrans. The devs really said: "The elves are oppressed and all, but we kinda made them too good, we need to make the situation more grey. Hm...UH YES, let's make them guilty of genocide!! They're actually as bad as humans! See, player!! Don't feel too bad for them!"....why, Cdpr, WHY?! Sapkowski shouldn't have sold his books to these morons...

So yeah, I really-really doubt, that Cdpr wanted us to perceive Roche and Ves as some kind of metaphor.

Okay, I hear you, and I'm never going to come on here and defend CDPR's writing as a whole. They treat women like hell, they've tried to equate genocidal military forces with minority freedom fighters (your example with the elves), they've been explicitly racist with the way they framed the Ofieri people in hearts of stone, there's antisemitic tropes used in the added vampire lore from blood and wine, and on and on, sometimes stuff just literally doesn't make sense, I could go on forever.

They're a corporation, they selling a pop culture franchise product, of course it's a mess when it comes to social commentary sometimes.

But there is still a team of professional writers behind it. They're aware of concepts like archetypal characters, mirroring between two story lines or people, theme, metaphor, tone, and social commentary.

continued with sources below:

You mentioned the Bloody Baron in an earlier ask, I agreed with you, I also can't stand his quest. I think it's badly written, it reads way too much as a centrist stance on domestic abuse and that's useless, he'll never be a sympathetic character to me. And yet here's an interview with Paweł Sasko who wrote the quest:

The roots of Family Matters can be traced back to Sasko’s childhood, growing up in a poor village in the Polish mountains. “I saw families destroyed by alcoholism and violence,” he says. “I saw parents fighting with each other and beating their kids, but they were also in love and loyal to their family.”

“The Baron was created as a parallel to Geralt,” says Sasko. “They’re two fathers who have lost their loved ones; two men with blood on their hands; they both have personality issues; they’d do anything for their families.” (Link to full article)

The whole interview is really interesting, I still think it's a bad quest, I think Sasko failed to write the nuanced story that he set out to tell, but regardless, he was trying to tell a story. He considered real life examples, he attempted to created a character parallels, he approached social issues, cultural links, he DID want us to view this character as a metaphor for something, something from his own community and childhood - and I really doubt that he was the only writer at the studio who at least tried for similar depth, or that the Baron was the only side character who was written with similar considerations in mind.

Here's story director Marcin Blacha on the writing choices in the witcher games:

“We want to talk about serious problems, about complex situations, about things that, sometimes, make the player uncomfortable. Choices must then be crafted in such a way that they do not simplify the world, but instead, have the player think and interpret it.” (Source)

Again with this emphasis on more complex levels of storytelling and the inclusion of heavy themes. When they write a character who does something super racist like a militarized hate crime, it's safe to assume that yeah, they're probably trying to address or at least touch on racism here, or misogyny, or nationalism, or something kinder like the difficulties of fatherhood. Maybe you disagree with the way I interpret a certain character or story line - good! normal! - but the writers still intend for us to interpret, to discover our own real word links, to challenge our own views.

Here's a link to a (way too long) presentation by two quest and level designers from CDPR about how they approach narrative and tone in a video game -> If you jump to minute 32, they discuss how even something as benign as choosing where to place food items was done with a narrative in mind, with the intention of enhancing setting, atmosphere, relatability, ect.

There's also a great interview with CDPR writer Karolina Stachyra who talks about how she got hired, why she loves the witcher, how some scenes (specifically in hearts of stone) pay homage to classic polish literature, and she also says: "We make sure to establish [the characters in TW3] as real people, so they are not just there to advance the plot." (source)

I'll stop cause this is getting long, but there's also this interesting interview with writers from TW2.

What I'm trying to say here is, yes, CDPR has a lot of bad writing going on, I'll never defend that, but there is a still a clear attempt at genuine storytelling - a process of narrative, framing, metaphor, ect. I fully expect you or anyone else to disagree with my personal opinions of what a character may stand for, but do you really believe that these characters therefore were meant to stand for nothing? I'm sorry that there's a language barrier here, I hope I'm addressing the core of your ask, but this the best response I can give you right now.

disclaimer: really don't want to excuse any of CDPR's failings either. I'm not saying: aw, but at least they tried, that's better than nothing! And actually, in a lot of cases, the intent makes things worse. When they do something like approach the harsh realities of misogyny in military settings through Ves' character but then just write more misogynistic shit by having her enthusiastically jump into a sexy cutscene with geralt.....yeah now you guys made it WORSE???

[moonmultimuse]

The reader gets to experience two sides of the climate spectrum here. First, we start with Willa’s childhood. Parents, who I would say are far-right conspiracy theorists, who only view the negative that nothing can be done to stop the apocalypse and that you should only focus on yourself and your small family, when the time of the end of the world comes. In most literature that I have read, we always see things from a leftist perspective, now I may not agree with a far-right point of view, but I do want to read from all standpoints and see people who have different beliefs than my own. Later on, in Willa’s life, we see her meet Roy Adams and his local of Camp Hope, Adams is an optimist, he is trying to prevent climate change or make it easier for the people who will go through it. To Willa, this is the complete opposite of what she has known, and it intrigues her, gives her hope in the world.

Willa is a character who grew up in isolation. She seeks out other people to compensate for the lack of relationships with other people in her childhood and teenage years. Rather this be, following her cousins, with their crazy schemes throughout the city, stalking a Harvard professor until she becomes her closest companion, or flying to the Caribbean to join a somewhat cult to stop climate change. Very unique character work.

If we think back to Willa’s childhood, growing up in a secluded cabin, in the middle of nowhere New Hampshire; that makes me want a book with that atmosphere. Yes, we do get bits and pieces in flashbacks but that would play into a really cool story in itself. Boston, it was like you would expect it to be. The Bahamas, Camp Hope, very intriguing, especially as someone who had been to the Bahamas, and not for vacation purposes. It was very easy to picture and just overall fascinating at the thought of someone making a camp or compound like Camp Hope.

The writing is what I marked the most of in my experience annotating ‘Eleutheria’. There are positives and negatives. At first, I had no idea how this writing would be for me, I knew that I was either going to love it or hate it, well, I fell in the middle of that. The quotes lack actual quotation marks, but I never had a hard time telling who was speaking. This is the first time a book that I have read has been successful with that. Another thing, at the start, the author seemed so focused on making the writing sound poetic or metaphoric. I could not help but roll my eyes at some of the comparisons. However, as the book progressed, it became easier and easier to read and I started underlining more and more quotes. That being said, some of the paragraphs were beautiful and had great commentary on the society we live in and are going towards.

That leads us into the plot. The first plot point that I will focus on is how Americans view climate change and really anything in the world that is not at our front door. A lot of us, Americans, don’t seem to care what is happening in other parts of the world. We just scroll on by and say something like “Oh, that sucks.” and just go on to the next post but no, most really don't care unless it is right in their backyard threatening their actual way of life. This can be said for a lot of first world countries in the Western Hemisphere. It was just great to see this brought up and how no matter the number of protests and petitions are done, most of the time nothing is actually done to fix the issue. Hyde, the author, just goes to show the morals, or lack thereof, that go behind so many campaigns on making the world a better place or just social movements in general. Just great, great commentary on the political climate around us and how it is truly all messed up. I highly recommend picking this book up for the ideas and themes that are presented.

The reader gets to experience two sides of the climate spectrum here. Very unique character work. If we think back to Willa’s childhood, growing up in a secluded cabin, in the middle of nowhere New Hampshire; that makes me want a book with that atmosphere. The setting was very easy to picture and just overall fascinating at the thought of someone making a camp or compound like Camp Hope. The writing is what I marked the most of in my experience annotating ‘Eleutheria’. That being said, some of the paragraphs were beautiful and had great commentary on the society we live in and are going towards. I highly recommend picking this book up for the ideas and themes that are presented.

[voidspacecowboy]

Contains Spoilers

This is the part where everything changes.

I love chapter nine. It’s where things really start to move forward; the truth is revealed, and suddenly the stakes are so much higher. Suddenly, a story you thought was about a girl trying to flee her controlling father for a life of adventure is about so much more than that. But the thing I love more about it is that at the time of writing it, I didn’t know where it was going either.

I’ve never been much of a planner. I’m better now, through experience, but at sixteen I would literally start writing with a few beats I knew I wanted to hit, a vague idea of where it was leading to, and some vibes that were the most important part of the process for me. I was an absolute chaos goblin first draft writer. The only part of this I knew was ‘people think there is a war but actually there isn’t’. Everything about the kids and what happens to them, all of that — I made that up along the way, and then in edits I added breadcrumbs to make it look like that was the plan all along. It’s like movie magic, but for books.

So things amp up, and Cat’s character really starts to shine — at the time of writing this, YA was big in the Hunger Games/Divergent era. The era of a ‘chosen one’ who is not actually chosen, but who makes themselves so. Cat is definitely that kind of character for me; there’s nothing enormously special about her, other than being Nathaniel Hunter’s daughter. She wasn’t destined to save the world. But she sees the privilege she grew up with and how it’s being used to harm others and she decides she will not stand for it any longer. She realises that while one person cannot change the world alone, it only takes one person to start that change. 

It’s a little sad how that is still so relevant to our society, eight years later. If anything, it’s even more relevant now than it was then. We see so much injustice in the world, are overwhelmed with so many awful things, that it seems absurd to think we could do anything about it. Many people will see something happen that they don’t agree with, but they will keep their head down and look away because they don’t feel they have the power to stop it alone, or they’re worried that standing up will make them a target too. It’s a running theme in history; if enough people turn a blind eye to some small bad things, they’re never looking in the right direction when those small bad things become much bigger and more insidious. 

You can absolutely tell I was going for what I probably thought was some very sophisticated social commentary at the time. And, to the credit of my teenage self, there’s a lot I still love about the message and impact of this book. Some of the feminism, particularly in chapter nine, is a bit clumsy, but that’s the thing about hindsight. I would be worried if I hadn’t grown at all in eight years.

My favourite part about chapter ten is the way Cat uses her background as an advantage. Her very existence is a skill that most people would overlook, her awareness of government life and the surrounding culture. While she was terrible at pretending to be common, this is exactly what she’s good at; being unnoticed around government types and listening while they spill their secrets.

Plus it helps that she gets to be a bit smug at Fox over it, too. Again, is it all perhaps a little heavy-handed? Maybe. Is it an enjoyable read regardless? I think so. What are your thoughts, friends?

[grey-spark]

The Symbolism of Spamton, and what he says about us

I don't usually analyze Undertale/Deltarune characters but I love Spamton. In this post I'm going to go over what Spamton represents, and all of his relevant symbolism. I'll try to keep this one short and straight to the point.

Before we can talk about Spamton we need to explore the context of Chapter 2. It should be clear to most people that Queen, her plan, and level are a metaphor for social media. Specifically Twitter. More specifically Twitter Drama.

Even her name is a play on the word “drama queen”

The whole level is centered around a blue bird character, Berdly. A possible reference to Twitters blue bird logo. I mean, just look at her boss battle. If taken out of context, what do you see?

You see a person sitting in a chair controlling a blue bird to attack people. 

Is that not Twitter? 

Although its important to note that Berly himself doesn't seem to connect to this social media metaphor in a narrative sense, you could still argue that Berly's front of intelligence could represent how people act online, trying to appear as someone cooler and smarter than they really are.

Point being that like the first game, Deltarune was created to be a commentary on fiction and role play. The first chapter is literally about games, and this one is about our digital presence online.  

Another more obvious reference to Twitter in the chapter is the sidequest about collecting “blue check marks:

You have to bring the Hacker “checks” which could be a reference to “Verified Checks” on Twitter, and when you give them to him he creates a fireworks show “in dedication to you.” Symbolizing how for many people on the internet, getting a verified twitter check is the symbol of becoming famous, worthy of celebration. A sign that you've become a “big shot” now.

On that note, let's finally talk about Spamton.

The most obvious connection is that Spamton seems to be like Mettaton. 

Spamton and Mettaton have similarities, beyond their names. Both are “robots” that want to steal your “heart shaped object” to become big and powerful. 

But the key difference between the two is the motive, and this is where the social media angle comes in. In the first game, we meet Mettaton who at first seems cut throat and sinister, but is revealed to have a real passion and dream. He wants to “get big” to make music that everyone enjoys, and even decides to stay behind out of an altruistic devotion to his fans.

Compere this to the cynicism of Spamton. Notice how in the first battle with Spamton you progress the battle by engaging with deals, but he doesn't seem to care about the money itself. You cant pay him off because its not about the money. He just wants to feel like a “big shot” making deals. The thrill and freedom of feeling like someone important.

In this sense we can then divide Mettaton and Spamton into two types of influencers. Whereas, Mettaton has a dream. Spamton just wants clout.

The kind of influencer who wants to use their platform to enrich themselves and fuel their ego, as oppose to someone like Mettaton with a real desire to change the world for the better. In one of the genocide routes, we can even see him take over Queens mansion, representing how these types of influencers are bound to take over the social media structure, sans the right people step in.  

Given the social media and fame metaphor. Its impossible to examine this boss and not read into the context of its creation. Although this is purely speculation, its possible that Spamton was created as open meditation on Tobyfox's baggage regarding his own fame, and also the effects of social media fame and clout chasing in general. Imagine the pressure of being that famous, of everyone expecting you to follow Undertale with something just as good or even better, and Toby probably doesn't even know what made the original game blow up like it did in the first place, and probably never expect it to. 

Consider this line in his first boss theme:

“... Now's your chance! Now's your chance! Now's your chance! Be a big- be big- beeee-”

Over and over. It can almost be read as Toby's internal monologue. An unrelenting pressure to outperform and succeed, to make sure the game is a success that fulfills everyone's expectations.  

Simply put, Toby is a big shot now.

In the matter of a single year, Toby went from being a nobody on the internet to being twitter famous celebrity. Getting “calls” from Nintendo. Again this is all unconfirmed, but its even possible that Nintendo offered Tobyfox a deal. A chance to be a big deal, with a big salary; a corporate puppet.

Toby would (hypothetically) rejected this offer. Like Mettaton, he cares about his fans, but has no interest in the acquisition of clout and power for its own sake. But hey, that's just a theory.

Which brings us to his central message about internet drama. While its not my place to psychoanalyze how someone is feeling from afar, a message is certainly here about internet fame and clout chasing. Its clear that Toby has become twitter famous, and consequently has found himself thrust into the heat of internet drama time and time again. It seems that Toby Fox is horrified by the affects social media is having on the indie gaming community or just more broadly society in general. In the past, toxic fame was a niche problem faced by a handful of Hollywood stars and musicians. But now Social Media has democratized fame, and all its problems to everyone that owns a phone. 

Chapter 2 seems to be Toby's response and warning: that being a big shot is not all its cracked up to be and certainly not worth parting your soul over.

[seaoflittlefires]

On Folklore, Solar Power and whatever went wrong in between (stay with me a minute)

So in 2020 when we were right in the middle of the pandemic, the BLM protests and so on, Folklore by Taylor Swift came out, and was universally adored. It was *also* an album about wanting to escape society and find quiet solace in nature. And it became *the* album of the year, perfectly representative of the way we all felt. So what was different about it? Why were so many of the same people who loved this album unable to connect with solar power (including myself)?

I think there were a few key differences: Folklore is an album about *wanting* to disconnect and find peace, not about effectively achieving it. And in this context, that makes a huge difference. Most people relate to songs about being tired and needing to run away, but few can relate to songs about running away for real.

This also applies to other themes in the album, like romance, or most importantly, fame: Folklore does a much better job of universalizing its themes. The song “Mirrorball”, which is essentially an exploration of how fame makes Taylor feel, is written in a way that ensures it can also be interpreted as the struggle of a popular high school girl or a person in love with someone who barely gives them the time of day. It explores the experience of fame in a way that invites the non-famous listener to connect with the more universal aspects of that experience. And even that happens only in some songs. The theme of fame and pressure is only one among many that are tackled in this album.

Another key thing is that Folklore takes seriously its theme of wanting to run away from the world. It never once brings up social problems or political issues (even the pandemic is alluded to just twice in a very lowkey way). The album doesn’t attempt to be a commentary on our current sociopolitical context *and* an escapist fantasy at the same time. It knows it can’t be both, so it settles for the latter. (And it works excellently, because I don’t know about Taylor Swift’s political analysis skills but she sure as hell can tell us a good story).

I’m going to jump over this quickly (she says and then writes a whole paragraph about it anyway) because I think it’s the most obvious part. However I think it’s important to add it because a large part of why people didn’t enjoy Solar Power is the musical aspect of it: Folklore is a fantastic album melodically. Each track is distinct but connected to the others by some underlying elements. Every song is strong on its own, not just as a piece within something bigger. But the new layers that do emerge when you put all the pieces together are also extraordinary. Lyrically this album may be Taylor’s best up to now. In contrast, one of the biggest criticisms I’ve seen about Solar Power, even from people who didn’t mind the thematic issues described above, is that it’s musically boring. The melodies are unoriginal and very similar to each other. Few of them are memorable on their own. I’ve seen them described as background music, which Folklore could never be. In fact, I think I’ve rarely seen people listen to Folklore without wearing headphones.

So in short, Folklore and Solar Power were extremely similar albums in that they attempted to do many of the same things in a similar style, but there’s a reason why one didn’t hit the same way the other did. This is by no means implying that Taylor Swift is a better musician than Lorde or that Folklore is a perfect record, but I did feel the need to understand what happened after seeing so many of the people who really liked the first album be completely underwhelmed by the second.

tl;dr I think it comes down to greater musical depth, but also to a more intelligent handling of the themes in the lyrics.

(thank you for reading I am aware I say a lot of words)

[shihalyfie]

I’m a diehard 02 fan who does not want a reboot and never wanted a reboot, and here’s why

This is one of my few editorial-esque pieces, but this is something some friends and I have been discussing for a while, and given what’s going on right now, I feel like this needs to be said at some point.

Sometimes I feel like there’s a really massive gap between what 02 fans want (especially diehard ones) and what people think 02 fans want. I'm not saying that media should only be catering to hardcore fans, and if more casual fans of 02 or people who simply just happen to have a stake in the full franchise have their own opinions on what they wanted to see out of 02-related media, that’s perfectly fine, and they have a right to have those expectations. What I’m mainly writing this about is sentiments that talk about how Toei is apparently doing 02 a disservice or sweeping it under the bus by not rebooting it (which basically comes with an implication that giving it respect would mandate it being rebooted just because Adventure was), or talking about how doing a reboot would please 02 fans just by giving their favorite characters more rep. (Although, I suppose the simultaneous reveal of an actual 02-related movie kind of killed any grounds for claiming that the lack of a 02 reboot meant sidelining 02. You can’t really claim that they’re sidelining 02 when they’re making a whole movie, after all...)

Of course, I don’t claim to speak for every single 02 fan out there (so if you’re a 02 fan who doesn’t agree with anything I’m about to say, I apologize and hope I don’t sound presumptuous), and I highly doubt I represent the mainstream, but I felt I should input my perspective as a 02 fan who’s friends with a handful of other 02 fans, who have discussed this extensively and all have the same feelings on the topic, and why it’s kind of frustrating to keep hearing this kind of thing from people who assume that all fans of something should want to see more things that resemble them by default without any more nuance to it.

It won’t actually improve much that’s worth it

I’m going to be blunt about it: I think more people who supposedly want this 02 reboot are people who hate or dislike 02 than people who actually are fans of the series, because they’re doing this under the sentiment that “this was a bad series, so a redo would improve it.” You can especially tell because a lot of people acting like a reboot is in 02′s best interest are the same people being scathingly critical of the current Adventure: reboot right now, so you can see that this kind of mentality comes from people who clearly understand that a reboot won’t necessarily be something everyone likes all that much, and thus believe 02 is so unsalvageably bad that you couldn’t possibly make it worse. So you can probably understand why I’m not exactly patient with this kind of take.

If we are to be charitable, though -- if this sentiment comes out of a genuine feeling that 02 had missed potential that could be addressed by the reboot -- I want to ask everyone if they really believe that this theoretical reboot would be a net improvement, especially one that’s worth all the time and effort involved, and even more especially given the writing style that the current Adventure: reboot is employing. You don’t have to claim it’s a perfect series or anything to understand the sentiment that it held up enough by itself to not necessitate a whole anime series being made to do another take on it.

Something I would like to remind people who love to claim that 02 is such a despised series is that it made around 89% of Adventure’s revenue at the time it aired, and despite those who despise 02 being very vocal on the Internet, the actual mainstream tends to be very positive about it, especially in terms of anything to do with Ken (whom most reasonable people will agree had a character arc that deserves acclaim). So in other words, if you want to do a reboot, most likely you would want to do it without offending the base that likes the series already, right? (Especially since, you know, recent events have proven that upsetting the real-life 02 fanbase is actually a pretty inadvisable idea...)

Here’s the thing: Once you filter out most of the “scapegoat” reasons people tend to criticize 02, the one that’s generally the most agreed upon is how disorganized the plot gets in the second half. So this so-called ideal situation reboot would supposedly iron out all of the messy plot writing and make use of the “wasted potential” the series had -- but 02 was way more than just a narrative storyline with characters walking around in it, and when it comes to the reasons people were so drawn to it, they’re tied to the series themes about regrets and making up for the past, and about the unreasonable pressures that society places on children. That, and also the most important one, the central theme of human relationships, and the charismatic and well-developed (yes, really) characters. The so-called “messier” second half of 02 was full of payoff for a lot of what was set up in the first half in regards to its themes, and a lot of its subplots or character flairs are packed in really small nuances that are easy to miss on the first watch.

What this means is that 02 is a series that works off of a lot of delicate balances. Adventure could be “rebooted” because everything was very clear-cut and straightforward, which meant that you could change almost everything about the plot and still relatively adhere to the primary points of “kids gain self-awareness through a journey in another world”. (Like, I really hate to break it to those who put Adventure on a pedestal, but this is mainly possible because Adventure doesn’t really have much of a plot besides “defeat enemy” followed by “defeat bigger enemy”...) In the case of 02, everything regarding the story is, for better or for worse, much more deeply tied to the plot, the narrative behind the Kaiser and the traces of psychological horror laced into everything, and the second-half evolution mechanic, Jogress, has a lot to do with the developments related to the human relationships narrative. Moreover, a lot of the reasons that people call it “bad” for are deeply tied to the exact same reasons a lot of people like it -- that its takes on certain topics were heavily nuanced and unconventional, meaning it could cover ground that most media wouldn’t go anywhere near -- and so the series loses too much of its identity if those aspects are removed, even if it ostensibly seems like “streamlining” it.

So if you mess with one thing, a lot of it falls apart -- and in fact, considering the writing style that the Adventure: reboot is using right now, it’s hard to imagine that applying it to 02 would make it any better. Actually, it seems like it wouldn’t address any of the grievances anyone has with it to any substantial degree, and it’d be more likely to axe all of the stuff that were integral to 02′s identity, like the social commentary, or the heavy focus on human relationships, or the unusual sort of character nuance it employed, and...basically, we go back to the same question: is this actually worth it?

02 itself was about not having this kind of sentiment

The main reason most 02 fans get upset about the 02 characters not being included in Adventure canon-related things that should rightfully include them is that, quite simply, they’re part of the canon! In fact, most 02 fans like Adventure too, so they like the way 02 built on Adventure’s worldbuilding, and moreover they’re attached to the web of relationships between the Adventure and 02 groups -- 02′s additions to Adventure’s worldbuilding and the nature of what it established around the neighborhoods of Odaiba and Tamachi were not only added on but also deeply entangled with what was established before, so you can’t just act like none of it exists!

So this also means that once we’re talking about a completely different universe, absolutely none of this applies and there’s no expectations to adhere to any of this. The 02 quartet doesn’t exist in this universe? Cool.

Funny thing about 02: one of the biggest themes the story revolved around was “not getting caught up in the past, and moving forward with what you have instead,” so it’s probably pretty understandable that a lot of people who like 02 would be the type who wouldn’t be fond of rehashing stuff too much (and even more so it involves 02 itself), especially since being okay with 02 as a sequel likely means being okay with change in general. To make something really new out of it, you might as well...actually make something new out of it, or cover some truly new territory, instead of bothering with this whole reboot business, you know?

One thing you might notice about a lot of 02 fans is that they’re not actually all that fond of the idea of canon putting the group through more massive suffering or emotional ordeals after 02 compared to most. I mean, I think it’s pretty normal to enjoy your favorite characters going through emotional trouble, but the aversion to it often tends to be much stronger than usual, regardless of what country’s fanbase we’re talking, and even the official staff for Kizuna seems to have somewhat recognized that the 02 group is most in its element when in the context of fun and silliness. All things considered, this probably isn’t particularly surprising when you take into account the fact that “just being able to hang out with each other as casual friends at all” was considered such a blessing, and such a difficult goal to reach, that there’s a natural aversion to seeing them go through more emotional suffering again. The new trailer for the upcoming movie seems to have Daisuke in a relatively good mood (and even then, “please don’t make it too emotionally vicious for them” is a pretty common plea).

So if you want to talk about rehashing all of their old problems, seeing it all over again is just not very fun. It’s like holding Ken’s sins over his head again, even if it’s in a different universe; it just doesn’t feel right when the series itself endorsed the best possible outcome for these kids to be “to live happily and at peace with themselves, no matter what happened beforehand”. They worked so hard to get out of it, so to decide we have to do this entire rodeo again for the sake of doing it again, instead of trying something new is...well, it’s not that appealing of an idea, I have to say.

The real-life impact would be intolerable

It’s no secret that the 02 hatedom is a bit uncomfortably vocal about it, but what tends to be really frustrating about it is how many of them love to dunk on the series based on misremembering it. It’s fair that, if you don’t like a series, you probably wouldn’t want to watch it again, but as someone who’s spent a lot of years unpacking all the little details in the series and noticing that it’s much deeper than it initially seems on the surface, it’s honestly annoying to see “criticism” of the series that’s actually just dunking on it based on details that are genuinely factually incorrect (it’d be one thing if it were a question of subjectivity, but no, so many of the insults 02 often gets are based on things that legitimately did not happen in the series).

In the end, I admit that 02′s penchant for ridiculous subtlety probably worked against it a bit too much, and I’ve already covered its impact on how the series gets misread a lot. Thing is, this kind of subtlety was a thing in Adventure too, and it all leads to the unfortunate effect that a lot of people tend to forget what actually happened in Adventure if they haven’t seen it for more than a few years. With the current reboot right now, you’ll see people saying that certain characters are the same as they were in the original series, even though in most respects they’re actually the opposite -- because a lot of said people only remember them by the surface characteristics that seem to be similar.

So when you look at 02, and consider the fact that even official media -- including the official American English dub and V-Tamer -- has been a bit too prone to not handling Daisuke’s character tastefully and reducing him to traits that make him easy to dislike, you might realize that handling these characters improperly runs an extremely high risk of actually turning them into the flat, unlikeable characters that people tend to accuse them of being -- imagine Daisuke where his entire character is about fixating over Hikari and being impulsive, or Miyako being nothing but self-centered and selfish, or Iori being genuinely stoic and missing the nuances of constantly holding his emotions back. And making it worse is that this would basically solidify these negative perceptions of the characters even further -- because people, especially those inclined to hate the series, would take it as further evidence that the characters have always been like this, reflect it back on the original, and everything would really just become a miserable experience. (Those who are particularly inclined to be malicious against 02 would probably even claim a reboot to be “better than the original” no matter whatever it is, because of the belief that 02 is so incredibly terrible that literally anything would be better than it.)

It’s not my business to dictate other people’s opinions, but it’s already been a frustrating twenty years of dealing with this kind of thing, so of course I’m not going to be enthusiastic about the idea of putting up with more of it...

[heavensmortuary]

🍁🍂🍁🍂Alright, since its mid-September, its time for my annual spooky movie reccomedation list! I include ratings, and I can include trigger warnings for any of these films upon request as well! I'm also looking for horror movies to watch myself, so feel free to comment/ask any as well!! So, here we go, in no particular order...🍁🍂🍁🍂

Fantasy/sci-fi horror:

The Thing 1982 [R]: A group of scientists find a shapeshifting alien underneath the ice in Antarctica, and they just survive as it imitates them. Trust no one. The Thing is one of my favorite movies in general. Its scary, retro, and the special effects are insane. It reminds me of classic Lovecraft, but better. Very terrifying. 10/10

Pan's Labyrinth 2006 [R]: During the Spanish Civil War, a young girl named Ofelia enters a world of twisted fantasy while above, her step-father's brutality causes trouble in the midst of a rebellion. Genuinely a beautiful movie. It's like a fairy-tale, and sometimes you forget it's a horror movie. It's simply magical, but frighteningly real. If you love classic fantasy, monsters, history, and horror, you'll love this movie. 10/10

Alien 1979 [R]: A team on a shipping vessel in soace come in contact with a parasitic alien within the clausterphobic confines of the ship. A classic, and it's still absolutely terrifying. Sharp insight on early 80's consumerism (in more than one sense), and a marvel of alien horror. Its very claustrophobic, tense, and 100% worth watching, especially if you love scifi. 10/10.

Aliens 1986 [R]: Continuing the story of Alien, space marines must investigate a distress signal from a colony, and what they find is more horrifying than they could have imagined. Full of retro action, humorous quips, scares, and plenty of bullet spray, it's a terrifying and fun watch. I enjoyed it just as much as the original, and its just awesome, while being scary at times. 10/10

Annihilation 2018 [R]: After the mysterious death of her husband, a Biologist goes into Area X to discover what horrifying cosmic entity his team found there. Not nearly as good, or accurate as the book (I CANT reccomend the Southern Reach trilogy enough), but this movie genuinely frightened me at points and the setting is simply beautiful. Its clever, creepy, and it's a strange watch. 8/10

Signs 2002 [PG-13]: After strange symbols appear in the cornfields on a family's farm, they must protect each other, and their faith, during the invasion. Love this movie, it's just spooky enough, but outside if the monsters, the people in this movie are what really matter. It's compelling, and a beautiful story. Simply excellent. Plus you'll know where the screaming guy in a closet meme comes from after seeing this one. 10/10

A Quiet Place 2018 [PG-13]: Could you survive a world where making a single sound could spell your death? Monsters decend upon the Abbot family, just as a baby is on the way. One of my favorite movies ever. Its beautiful and ABSOLUTELY horrifying. I think I forgot about eating my popcorn while watching this one. Overall, the desperate survival of the Abbots is heartwarming, but oh so stressful. If you can, PLEASE watch the sequel right after this one. 10/10

A Quiet Place 2 2021 [PG-13]: The Abbots face new challenges as they traverse a devestated landscape, and monsters wait around every dark corner for them. An EXCELLENT sequel. I caught myself actually going "NOOO AAAA" at some points, and its totally a worthy sequel to the scares in the first one. Again, great story, great characters, great cinematography, great message. 10/10.

Coraline 2009 [PG]: Coraline Jones, unhappy with moving to a new house, suddenly finds a whimsical world in a little hidden tunnel inside the house, but she learns the sinister truth behind the candy-colored world beyond the wall. Dont let the stop-motion animation confuse you; this movie is terrifying. A classic from my childhood, and its a treat to watch every Halloween. The Beldam has to be on the list of the most horrifying villains ever. 10/10

Zombies, ghosts, ghouls, and everything in between:

The Haunting 1963 [G]: Based on the novel The Haunting of Hill House, a group of people must stay in a supposedly haunted mansion. Eleanor, one of the women, suddenly believes that the house is talking directly to her. One of the many adaptations of the book, it's spooky, and it's very disturbing, while also having a nice theme. Perfect for setting the mood on a October night. 8/10

Night of The Living Dead 1990 [R]: Survivors take shelter in an abandoned farm house while the undead attack. Can they work together, or let their own prejudices get the best of them? I havent seen the original yet, but I love this movie. Very scary, and its directed by Tom Savini, so lots of good ol zombie gore. Not only that, there's a good bit of social commentary here on racism. The classic was the original zombie film. 9/10.

Dawn of The Dead 1978 [R]: As the undead rise up, survivors take to a shopping mall in order to survive. I don't know how to describe this movie's vibe. It has this weird retro 70's feel, mixed with uncanny horror. It's campy at times, but it doesn't take away the scariness. Very fun in a weird way, and its an on-the-nose satire of american consumerism. 10/10

Train To Busan 2016 [R]: While the world crumbles around them, a small group of survivors must learn to protect each other on a train headed to Busan. Seriously, please watch this one. It's completely unique to any zombie film I've seen. It's scary, but you genuinely care about the characters, and its VERY intense. Love this one. 10/10

Murder and ect:

Scream 1990 [R]: A masked serial killer stalks high school students in middle class suburbia. Its a parody of the modern horror genre, clever and scary all at once. I enjoyed it as a classic and I liked the commentary on how violence with no essence effects people, especially when glorified with horror films. Definitely not for everyone, but its good never the less. 8/10

Wait Until Dark 1967 [NR (I give it a PG-13)]: A gang of criminals looking for heroin attack the home of a blind woman, and it turns into a horrifying game of back and forth between them, until it can go on no longer. Literally one of the best thriller movies ever. Genuinely scary, and genuinely clever. This was actually the first film I saw Audrey Hepburn act in. Super tense near the end, I was biting my nails the whole time. 10/10

The Village 2004 [PG-13]: A rural community is faced with a hard decision as the monsters in the woods leave bloody warnings around their small town. I watch this one every autumn. Its atmospheric, the score is breathtaking, and its a great story. Its beautiful, gently frightening, and its overall a love story. I love this one a lot, even though I know a lot of people didnt like it. Don't go in expecting a great twist at the end, and you'll enjoy it. 10/10

Jane Eyre 2011 [PG-13]: Jane Eyre becomes the governness to an estate, and find a dark secret there. Not necessarily horror, but its gothic and absolutely beautiful. Its the perfect october movie. I love it lots. Nothing hits different than a rainy october day, a cup of chai tea, and this movie playing. 10/10

TV Series:

Stranger Things 2016- [PG-13]: After a child is taken by a supernatural force, the small town community of Hawkins must search for answers and find him before its too late, but as they search, a horrifying conspiracy comes to life before them. I adore this series. Its a love letter to the 80s. Cant reccomend it enough. 10/10

The Twilight Zone 1959-1964 [PG]: A serialized series featuring many different stories ranging from scifi to horror and everything inbetween. Its genius honestly. Each story is compelling, and thought provoking. A great Halloween watch. 10/10

The Walking Dead 2010- (seasons 1 & 2) [R]: A sheriff wakes up from a coma to find himself in a terrifying world of the undead. Its a decent series, at least in the first two seasons! Its pretty scary. Its great if you like zombie movies! 7/10

Over The Garden Wall 2014 [PG]: Two brothers find themselves lost within the world of the Unknown, a place where time is blended together and reality isn't quite right. Ok, real talk here. Its my favorite series of all time. I could go on and on and on about it. If you haven't seen it, please I beg you. Theres nothing like it. Its literally the BEST autumn show to watch. Clever, funny, lightly disturbing, deep, nostalgic...its fantastic. 11/10

So, there you have it. Huge list of horror movies I've enjoyed and actually reccomend. I have seen quite a few more than this (Halloween, Dawn of the Dead 2004, Nightmare on Elm Street, ect), but I specifically picked out the ones I love the most. Enjoy! And have a great autumn.

[pixelsandpins]

One of the Best Romances Ever Written is From an Action RPG

Because of my job(s) and the genre of game I write in, I consume an absolute unnecessary amount of romance. Sometimes willingly, sometimes as an adjunct to a larger story. And I often find that the placement of the romance in the latter condition creates a genuinely more effective emotional investment than one in which the romance is the central theme. Oh, Ashe, so you’ve got something poignant and insightful to say about the human condition and how the footprint of an inter-social narrative conveys the ways in which we, as people, desire to connect and experience the world?

No, I simply finished Mass Effect: Legendary Edition (the first time playing the trilogy stem to stern since Mass Effect 3 came out), and it left me with too many emotions to process on my own. So YOU get to do it with me.

I’m not sorry.

…

Okay a little sorry.

Because this is about Garrus Vakarian and Commander Shepard.

A Strong Core of Platonic Affection

The key to the ShepKarian romance is a deep and unwavering friendship built on mutual respect. Shepard doesn’t even move with romantic intention until halfway through the second game. At this point, as a pair, they’ve survived waves upon waves of AI soldiers, a galaxy altering event, a particle beam right through their ship, Shepard’s literal death and resurrection, a reunification in a mercenary combat hot zone, and about a hundred existential quandaries. Just prior to flirting with him properly the first time, Shepard prevents him from killing a man in revenge by refusing to leave the scope of his sniper rifle. These two are equals. She’s technically his commanding officer, but they are on the same footing in every way that matters. More importantly, they’re friends. They’re comrades. And those are the building blocks of a good romantic relationship.

And when it is time to start moving into romance? There’s no frustrating will-they-won’t-they (that we all know becomes a “they will” at the press of a button). No tiptoeing around with awkwardly built up sexual tension.

“Hey, Garrus, we should bang.”

“Okay. Sounds good, Shep. Let me go Google how we do that.”

“That’s not romantic!” you scream.

I don’t know? Maybe it’s not? But you know what it is? Perfectly sensible for these absolute idiots. They live bullet to bullet, catastrophe to catastrophe. There’s no time for “tee hee I like you, let’s smooch, maybe.”

No.

These are adults who have had adult relationships in the past and are facing down the possibility of their own death at every corner. They’re literally preparing for a suicide mission where one of them could actually die, in-game, if you don’t set things up the right way. They know what the hell is up, and they act on it without reservation or hesitation. They know what they want, and they’re going for it. Done. Deal.

Ludonarrative Harmony

You also can’t ignore the integral part the interactivity of video games play in the narrative development of their relationship. Shepard and Garrus don’t exist as passive characters that interact with each other in a set way. You, as the player, are Shepard, and from a meta-game perspective, you have to build a balanced team. Garrus, it so happens, is a mechanically well-rounded character, so there’s a high likelihood you’ll be bringing him on to your team for a large number of missions. He also appears early in the story in all three games (a slight advantage over Tali’Zorah, who despite appearing in all three games, as well, tends to be recruitable later). These things combined mean there’s a lot of time available for you, as a player and, therefore, Shepard as a character, to spend with the turian C-Sec agent/mercenary/military adviser.

Garrus becomes an active participant in the ever forward development of Shepard’s own personal arc. It’s not just scene to scene, passive elements in a romance on rails. They’re dodging gunfire together. Riding elevators together. Providing pithy, sarcastic commentary together. Their romance isn’t just about being together. It’s about saving the galaxy together.

The Pallor of Doom

And, okay, yeah, if you know what happens at the end, it’s like…okay then if it’s doomed from the start, what’s the point? And even if you don’t know what happens at the end, all three games go out of their way to make sure you’re aware how fragile the bonds holding up that sword of Damocles are at all times. But that looming specter of death is diegetic. It’s not just the audience lamenting with pre-broken heart that this romance has a dramatic expiry date. Garrus and Shepard know. They can wish for it. Hope for a future that expands out into the unknown infinity. But they know the odds, the real chances, that one of them won’t be coming out the other side. From the first proper I love you at the top of the Citadel to the last one at the base of the Reaper teleport beam, they always knew that they were living, and loving, on borrowed time.

But it didn’t matter.

Because a finite number of days being in that love was worth it when the alternative was never having it at all.

I think I need to go lie down, again.

[mashkaroom]

Lengthy analysis of Holes, as promised!. This will include spoilers, which will be marked. Just gonna go through the book and the philosophy/themes/connections I caught onto this time around. Stuff discussed, in order: connections to Camus, on the question of children’s books, systems, cycles, and why Stanley is gay and jewish 😏

Camus:

The first and perhaps most obvious set of texts/theories it makes sense to put Holes in conversation with is the works of Albert Camus. Holes starts out with a description of the sun and the heat, which readers of the Stranger will remember are major themes there. The heat continues to be a prominent part of the story, though thematically, it functions very differently in the two books. In The Stranger it primarily represents the indifference of the universe (or at least so claim a ton of sources and I’m inclined to agree) and the lack of control we exert over our own lives while in Holes it’s basically the opposite of that. The heat and drought is implied to be a semi-divine punishment for a past injustice and, moreover, the elite adults of the camp have air conditioning and access to shade: the sun does not affect everyone equally in Holes as it does in The Stranger (though even that is debatable: I don’t think this was Camus’s intent, but it’s notable that it’s only the white englishman who’s driven to murder by the sun. This could certainly be read as critique of colonizers who cannot/refuse to coexist with the land and environment and how the indigenous population always suffers for it, but I digress). The other Camusian parallel one is immediately inclined to draw is that, of course, of Sysiphus: there’s the repetitive and seemingly meaningless act of digging holes not to mention that carrying stuff up a mountain is both thematically and plot-wise a very important part of Holes. But, once again, it is eventually revealed that both acts do carry an inherent meaning. Holes does not present the image of an uncaring universe: on the contrary, destiny and semi-divine influence plays a major role. The story may start out with a series of seemingly random and inherently meaningless events, but as the story progresses, people, actions, items, and events become increasingly imbued with meaning. In the Holes universe, one must imagine Sisyphus redeemed, not through the act of rolling the stone but by rebelling against it. I have difficulty imagining that Sachar was not thinking of Camus while writing Holes, or, at the very least, that if he encountered Camus afterwards, he must have been struck by the similarities. I don’t know if there was a specific intent in creating a story so embroiled in Camusian absurdism, especially since the target readership is (allegedly) children who almost certainly are not recognizing specific allusions to Camus, so perhaps the similarities are purely aesthetic — after all, everything that is nominally similar does play quite different thematic roles. However, I would never pass up the opportunity to talk about the myth of sisyphus and I think placing Holes in dialogue with Camus can raise some interesting questions about the nature of meaning.

Is Holes a children’s book?

Speaking, though, of the target audience, the audience for this book is in fact children. What about it makes it a children’s book makes it difficult to say: the protagonists are children (and, I would argue, it is not a coming of age story, despite the claims of one piece of lit crit about Holes in which i disagreed with almost every claim made, but i digress once more) and the writing style is fairly simple: you can read it with a second-grader’s vocabulary. Also, of course, being a children’s book doesn’t (and crucially shouldn’t!) mean that it’s lacking in depth and complexity. However, I think most thematically rich children’s books tend to be quite allegorical. The Little Prince is a good example. Holes is just way too specific for its sole market to be children. It’s either intended to be read by multiple generations at once or for child readers to return to it as an adult. It addresses themes of racism (and not just generic racism, anti-black racism in the reconstruction south), homelessness, intergenerational trauma. and the modern carceral system. These are social critiques that will probably go over most kids’ heads (certainly over mine). However, the themes of the text are not inaccessible for children. You don’t have to understand the particular history of the US criminal justice system or even that Sachar is making a comparison to anything specific to get that the system that he’s portraying is unjust. Knowing the real-world context just adds another layer to the text. Holes also has one of the hallmarks of children’s books that I really like, which is a particular type of absurdism that the child characters come up against. This always rang true to me as a kid and well into my teens, when you start understanding that your life is controlled by some set of systems, but you haven’t quite gotten what those systems are or why and how they came about. Like nowadays, I can say “we did this in elementary school because of a state law, that because of a federal law, that because of the history of puritanism, and this because we got a grant for it”, but as a kid nobody tells you these things or really even cares to explain why the rules are as they are, and the systems that govern your world, often with no small degree of violence and almost always with an inherent disregard for your agency, are ineffable and slippery, and good children’s books capture this really well (Series of Unfortunate Events is probably my favorite example of this, where a secret organization that everything is implicated in and more more tragicomic details about it get revealed until the Baudelaire children find themselves to some degree members with mixed feelings is honestly an excellent coming-of-age allegory. oh, not to mention the constant conflict with bureacracy. god that series is so good, everyone read it). Back to Holes, Sachar weaves the more fantastical ineffable elements in with real-world issues so neatly. Stanley’s family is allegedly cursed, which is why Stanley keeps having bad luck, but he also lives in systemic poverty, which is also why he keeps having bad luck. Sachar eschews neither the allegorical elements common in children’s literature nor the more direct systemic critiques more often found in YA and adult lit, and it creates a really unique vibe. I think the story really benefited from having a children’s author, and I would love to see more authors in both children’s and adult lit do this!

Systems

Speaking of the systems, this book is surprisingly radical. Like it’s full-on an abolitionist text. The law is pretty much only ever presented as adversarial, both in the story of Stanley’s present time, and in Kate and Sam’s story. It’s implied if not stated repeatedly that Stanley and the other boys are pretty much victims of circumstance and have been imprisoned pretty much for the crime of being poor. The hole-digging is shown to be cruel and bad for the boys. It’s noted that in digging the holes Stanley’s heart hardened along with his muscles. This is of course very evocative of the system of retributive justice we have in America. Additionally, Camp Greenlake’s existence can ultimately be traced back to an act of racist violence, also in close parallel with our prison system. Hole’s stance on justice is very restorative. Punishments are never shown to work: only through righting the wrongs can true justice be achieved. Moreover, Holes even gives the opportunity for redemption to a minor antagonist when [minor spoiler] Derrick Dunne, the kid who was bullying Stanley in the beginning ultimately plays a small role in helping Stanley regain his freedom [spoiler over].

Cycles

Cycles are a major theme in holes, and Sachar creates a unique temporality to support this theme. There are 3 interwoven stories: that of Stanley’s in the present date, that of Stanley’s ancestors, and that of the land that Stanley is on (though, as I will delve into later, it’s at least a little implied that Stanley is descended from the characters in that story also). The stories from the past reach in and touch the present. You can’t untangle the past from the future. Looking at this again through a social justice lens, it could be seen as fairly progressive commentary on what to do with regards to America’s past wrongs. The past cannot and will not be left in the past: it must be dealt with on an ongoing basis. Even the warden, the greatest villain of Stanley’s story has a sympathetic moment at the end where it’s revealed that she, too, is stuck in a cycle of intergenerational trauma she can’t break free from.

Stanley is gay and jewish

Ok, I will now talk about how Stanley is a queer Jew, but this entire section will be riddled with spoilers, so read the book first and then come back!

A queer Jew?? i hear you ask. You’re just projecting. Yes, 100%. However, I think that interpreting Stanley as both these things adds to the thematic richness of the text. Let’s start with the Jewish bit: it’s not explicitly stated that Stanley is Jewish, but his great-great grandfather is a nerd-boy Latvian immigrant with the last name Yelnats, and his great-grandfather was a stockbrocker, so, like, ya know. Louis Sachar is also himself Jewish, as was the director of the movie, who cast Jews in the roles of Stanley and his family (dyk Shia LaBeouf is Jewish?? i did not), so I know I’m not the only one interpreting it this way. And honestly, does it not resemble the book of exodus quite a bit? They escape what is pretty much a form of slavery and wander in the desert. Sploosh resembles the well of Miriam, and then they ascend up a mountain to the “thumb of god”, perhaps in a parallel to Moses receiving the commandments. Is this a useful way to look at the text? Who knows. But what I think we do get from reading Stanley as Jewish is a more nuanced discussion of privilege and solidarity. If Stanley and his ancestors are Jewish (or at least Jew-ish), then what placed the curse upon his family (and, we see, Madame Zeroni’s family isn’t doing so great either) is the breaking of solidarity between oppressed people. But also, the fact that you are also marginalized does not wash you of the responsibility to other marginalized groups. I don’t think Sachar intended it this way, because I think he probably would have talked about it more if he had, but I would say this book can be read as a call to the American Jewish community to take an active role in forging solidarity with other marginalized groups and actively righting the wrong you, your ancestors, and your community wrought upon them.

Now, why do I think Stanley and Zero are gay? Before I go into how it augments the text thematically, I bring to your attention this passage.

Two nights later, Stanley lay awake staring up at the star-filled sky. He was too happy to fall asleep. 

He knew he had no reason to be happy. He had heard or read somewhere that right before a person freezes to death, he suddenly feels nice and warm. He wondered if perhaps he was experiencing something like that. 

It occurred to him that he couldn't remember the last time he felt happiness. It wasn't just being sent to Camp Green Lake that had made his life miserable. Before that he'd been unhappy at school, where he had no friends, and bullies like Derrick Dunne picked on him. No one liked him, and the truth was, he didn't especially like himself. 

He liked himself now.

 He wondered if he was delirious. He looked over at Zero sleeping near him. Zero's face was lit in the starlight, and there was a flower petal in front of his nose that moved back and forth as he breathed. It reminded Stanley of something out of a cartoon. Zero breathed in, and the petal was drawn up, almost touching his nose. Zero breathed out, and the petal moved toward his chin. It stayed on Zero's face for an amazingly long time before fluttering off to the side. 

Stanley considered placing it back in front of Zero's nose, but it wouldn't be the same.

Girl, I’m sorry, that’s gay as shit! It’s such tremendous tenderness, not to mention the traditionally romantic imagery of moonlight and the flower petal. There’s also the non-romantic aspects. Stanley’s inexplicable happiness and suddenly liking himself evokes, for me, at least, the experience of coming out to yourself, of realizing who you are. Later in this chapter, Stanley contemplates running away with Zero despite the fact that it would make them lifelong outlaws. This book, remember, was written in 1998, and homosexuality was decriminalized in 2003, and the book takes place in Texas. It would have been, if anything, even more evocative of gayness when it was published. Now as to how this increases the thematic richness of the text: obviously, in carrying Hector up to the thumb, giving him water, and singing the lullaby, he redeems the wrong done by his ancestor, after which his family’s luck immediately changed. However, after Hector and Zero return to camp Greenlake, rain falls there for the first time. What was redeemed here? Remember that earlier on we learn that what caused the drought was the fact that Sam the onion man (who was black) was murdered for kissing Kate Barlow (who was white) — so what would a [post-factum wronging of that right look like? Zero, as we remember, is black while Stanley is white, so them being in a romantic relationship would be a successful interracial relationship to redeem the one Kate and Sam weren’t able to have. It’s also, as I said earlier, implied that Stanley is descended from Kate Barlow on his mother’s side: Stanley remembers seeing the other half of the lipstick tube with her initials on it in his mother’s bedroom. I’d also argue that Sam the Onion Man is implied to be descended from Madame Zeroni (chronology-wise, I think he’d be her grandson). First of all, there’s no follow-up with Madame Zeroni’s son who moved to America, and pretty much all other plot threads are followed up with in Holes. Secondly, Sam mentions water running uphill, just like Madame Zeroni does. Even without these speculations being true, Stanley and Hector being gay would redeem the land they’re on, but If they are, the parallel with the other ancestral redemption arc becomes to much to imagine it was unintentional.

So anyway, those are my thoughts on Holes, now everyone go read it!

[pandoratheprocrasticreator]

I listened to the TAZ Grad finale!

Fellas is it gay to become imbued with the essence of the sea after influence from your water genasi teammate, pester said teammate afterwards to name a boat after you, and sail away with them into the sunset to run a cruise line scam and become morally righteous pirates?

Ive been looking at people’s reactions on the finale and yeah I loved the chaos magic parts! The whole issue with the mishandling of D&D mechanics was never really a problem with me, although I know some people feel more strongly about that than I do.

Personally, I’ve always listened to TAZ for the story and not the actual D&D so I never really took issue with any of the DM-ing mistakes Travis did. Parts of the actual story had problems (the centaurs, Ranier, other points where Travis tried to be inclusive but implemented it where it wasn’t relevant) but overall I think the enjoyable parts far outweighed the bad.

And the McElroys in general are funny as hell so even though Grad wasn’t as profound as Balance or as sad as Amnesty I still enjoyed it a lot! I would probably put Grad above Amnesty but below Balance, but of course Balance holds a special place in my heart.

A problem people had with the finale that I didn’t notice while listening was that of all their talk of “destroying capitalism,” the trio settled down to comply with capitalist society at the end. And while I do agree that the “this system is bad but let’s slowly make change from within” message has been done to death, I don’t think that the ending was necessarily performative and disingenuous on the McElroy’s part.

The first point is that even though the trio decided to participate in Nua’s society in stereotypically “exploitative” careers, (particularly in Fitzroy and Firbolg/Gary’s case) they did so explicitly to keep people from being exploited by the system. Not to mention their paths fit their character arcs pretty well. 

Fitzroy’s “who will protect the weak from the strong” speech doesn’t indicate a sleazy lawyer willing to exploit the law to make a quick buck. One person described him as one of those pro-bono lawyers and I agree with that comparison. Fitzroy is a morally good person at his core, and he initially thought the hero society would help him do good, and after becoming disillusioned with hero society, he decided to carve out his own system to allow him to do good, both by being a lawyer and by being a pirate that only attacks rich assholes. (I really like that he clarified he would only attack rich assholes my chaotic good lawyer boi <3)

Firbolg’s whole character arc of being conscientious of resources to help the community instead of hoarding things to himself, in my opinion, culminates neatly with his decision of becoming a financial advisor. He has learned that both the “share all your resources without regard for the future” ideals of the Firlbolg and the “hoard all your resources for your own benefit” ideal of Nua’s society are both flawed extremes, and has dedicated his career to helping communities find a balance between the two.

Argo’s cruise seems more of a small business to me than a capitalistic venture, but I have never taken an econ class in my life so I digress. His character arc was about finding something to live for other than the past and I think it’s a good conclusion to his arc that he commemorates his mother and friends with the cruise line but still seeks out his own future outside of that by becoming a pirate. His original plan was to go with the establishment and work with one of the most powerful heroes in the world until he gets revenge, so it’s nice to see him grow to find his own self sustaining outside of the establishment.

The second point is that TAZ Grad was never about destroying capitalism. That was a joke that Travis laid the foundation to, but it was the players who made that joke and rolled with it. Tumblr user @fitzroythecreator wrote a really good analysis of how the main theme of Grad was self reliance which I agree with. While that is one of the main themes, I will be focusing on the theme of capitalism that a lot of people tend to focus on.

The characters’ goal was to destroy the HOG, which was an allegory for how organizations function under capitalism, but never a direct parallel with capitalism as an ideology or functional system itself.

When they first joked about “ending capitalism” by blowing up the HOG I was concerned because that’s not how anything works. The HOG was just one cog (heh) in the capitalist machine that was Nua’s society, and while destroying it would cause significant damage and change, it wouldn’t immediately shift everyone’s worldviews to discard their capitalist society as a whole. If the boys carried out the mission and all of a sudden the whole world was fixed, it would be even more disingenuous to present a utopian solution to a pressing, real world problem that simply cannot be solved this way.

I’m glad that they didn’t end capitalism. Social issues like this can never realistically be resolved by three spunky heroes on an adventure. You would need action from an entire population. Often violent action. There were already issues with too many NPCs in the spotlight so describing and entire population’s uprising would have exacerbated the problems even more. As four white men, the McElroys neither had the answers for how to end capitalism, nor would their medium of a D&D podcast have allowed them to present them effectively.

From my perspective, the way they would have actually ended capitalism was to go to war like Chaos and Order wanted. In this case, the entire social order and way of life for Nua would have been overturned. The main characters, Fitzroy most vocally, reject this option because of the human toll (or elves, or dwarves...whatever the term for that is for D&D races). Instead, they disturb the system to expose its flaws and let society recognize said flaws in the background. (Again, they couldn’t focus too much on it as it would take away from focus on the main characters.) Then, they choose to find their own place in the system and fix it from within.

I’m not surprised that the McElroys would pick the “change the flawed system from within” route over the “use continuous and possibly violent action to force rapid social change” route in the end. While the second stance could work if written correctly, there’s a lot more room for the message conveyed to be catastrophically bad if the writing doesn’t work. I’m personally glad that the McElroys, who don’t have a solution, presented the tamer first take instead of trying to give a solution with the second take and failing spectacularly.

TAZ: Grad was social commentary on the problems of late stage capitalistic society, but it never tries to present a clear answer on how to end this society. Rather, it recognizes that this is a problem that can’t be solved by one small group of people. It presents several possible solutions to navigate this society to bring yourself happiness within this soul crushing system while slowly changing the attitude of the society. After all, if everyone quietly changed societal attitudes for the better, then perhaps one day the population will be united enough to bring about the drastic social change that we all hope for.