#it's not some minor side aspect of the show that's problematic but so irrelevant that you can ignore it either

[fernsnouveau]

Anyway maybe people should be allowed to be upset that this show, which spent the first 4+ seasons setting itself up as a narrative where a controlling child abuser is the main villain, and lack of agency as a victim of parental abuse was a major problem to overcome for one of the title characters, did a jarring thematic 180° near the end of the first major story arc (that was originally supposed to be the whole show), and turned into blatant victim-blaming and abuse victim grooming propaganda material.

And the showrunner is also engaging in this victim-blaming and abuse apologism rhetoric and insulting people on Twitter if they question it. Which is... kind of really damning, at this point.

People who are upset about this aren't just "hating on the show" for the heck of it. This is, in fact, reasonable basis to be upset. People are allowed to voice their disappointment after the show wasted their sincere emotional attachment (yes, you should be allowed to have sincere emotional attachments even if it's something silly like a mediocre magical girl cartoon) and spat in the face of its own story and themes and characters.

Also a worrisomely significant segment of the fanbase has gone very mask off in starting to regurgigate and agree with this abuse apologia rhetoric, encouraged by the canon validating it.

[doopcafe]

Star Wars: The Clone Wars (Seasons 1--6), Final Analysis

Well, I made it through. 

Let’s be absolutely clear: The Clone Wars (TCW) is not good television. For the most part, it’s not even watchable television. The show suffers from serious fundamental issues in nearly every aspect of storytelling. Characters are underdeveloped and inconsistent; the dialogue is expository and contradictory; the tone is disjoint and jarring; and most episodes serve no greater purpose than to be a twenty-minute vessel to house lightsaber fights. 

So I want to put this part of the show to rest before I move on to Star Wars: Rebels (and before returning to watch season 7). 

With two exceptions, the show poorly handles twists and reveals. In the earlier seasons, reveals were spoiled mostly due to telegraphing: Captain Sleaze in Cloak of Darkness, Senator Clovis in Senate Spy, and Yolo (?) in Senate Murders come to mind, but there were others. In later seasons, telegraphing was supplanted by “small universe syndrome” as the primary cause of spoiled reveals. In The Academy, a cloaked figure was seen doing shady, back-alley deals, but his identity could only have been the Prime Minister. During the “Ahsoka framed” series, Barriss was obviously the traitor, simply because her character suddenly reappeared after four seasons and there were no other candidates. 

Probably the most successfully executed reveal was that of Krell, as his assholeness was at least initially masked as military rigidity. But even so, it was so over-the-top that when the reveal finally came to light, it felt more like an overdue disclosure than a dramatic twist. It didn’t help that, by that point in the show, the format of “asshole = upcoming reveal” had been firmly entrenched into the show’s DNA. 

I would argue that the most effective plot twist of the entire show was when the dancer/singer girl shot and killed Ziro the Hutt in Hunt for Ziro. Although irrelevant to the greater story, it was an actual twist because it was strongly implied the opposite would happen (i.e., Ziro would betray the girl). If there is to be a second place, that award would go to Ahsoka’s decision to leave the Jedi Order at the conclusion of The Wrong Jedi. But this leads me into my next point...

Who was the main character of The Clone Wars? If we go by the logic that whoever had the most screen time was the main character, then Anakin probably wins over Ahsoka. But if we go by the logic that the most developed character was the “main character,” then this is a show about Ahsoka. Ahsoka---more than any other character---grows in a noticeable way (from impatient, violent child to impatient, slightly less violent teenager). In contrast, Anakin in Rising Malevolence is the same character as Anakin in Voices (only a little more violent and angry for some reason). 

It’s unfortunate that her major character moments were never capitalized on. Intentionally sacrificing herself for the greater good in Weapons Factory apparently led to no lasting repercussions on her character. Her impatience and disobedience led to the deaths of thousands in Storm over Ryloth, but was similarly forgotten immediately afterwards. Even Ahsoka’s major character moment at the end of The Wrong Jedi resulted in her walking away from the show, never to address the implications of that decisions (although I suppose that’s the subject of Season 7). 

On a different note, the show was riddled by a shameful amount of “references” and fan service, for reasons exclusively external to the story. These “nods” ranged from the obvious “Obi-wan Kenobi, you’re my only hope” (or whatever Senator Jimmy Smits says in Cat and Mouse) to the innocuous design of a droid or background device. 

These “references” are objectively problematic for at least a few reasons. (1) They contribute to the sense that the universe is a really, really small place. Is the Mos Eisley cantina really the only place in the Outer Rim where shady deals go down? Is carbon freezing really the only way to store a person in stasis for transport? How long do Rodians live for anyways? Greedo’s gotta be what, like 80 when Han shoots him in A New Hope? It’s ironic that ultimately, this incomprehensibly large, diverse galaxy actually feels much smaller after watching this series because we keep going to the same twelve places...

(2) “Fan service” is tricky to get right because different people have different memories and impressions of the source material. In result, copying material will oftentimes comes across as a blatant misunderstanding of the original content. For example, to me, Vader put Solo into carbon freeze because it’s what Lando had lying around. It’s not a galactically established method of transporting people. Obi-Wan trained Luke with those laser balls aboard the Falcon because Han had them lying around and Obi-Wan needed to improvise a training exercise to kill time. 

(3) "References” and “nods” usually are just a band-aid for a lack of creativity. Some of the better episodes in the initial seasons were just direct rehashes of famous movies. Seven Samurai, Godzilla, Stray Dog, The Most Dangerous Game, King Kong... I mean, it’d be pretty impressive to mess-up stories like these, but it’s concerning that there were just so many episodes made from other people’s stories. 

These “references” even seep into the most innocuous of scenes. When Prequel!Wan lands on Mandalore to attempt a rescue of Satine from Darth Maul, one of the Mandalorians takes aim at him, only to have their blaster pushed down by their companion who’s shaking their head. This is a direct reference o the Tusken Raiders on Tatooine when Luke went after R2 in the desert. Even if this scene served an important plot purpose (it didn’t), there’s undoubtedly a multitude of ways to communicate the same thing. Instead, a small reference to the OT is interjected into the show, deimmersing the audience from the events shown. Unfortunately, this is just one (very small) example of hundreds over the whole show. 

Let me say something positive. The episodes that worked best (especially early in the show's run) were ones that focused on mortal people, usually the clones. Innocents of Ryloth was one of the first watchable episodes, simply because we didn't have to sit through twenty minutes of unlikable, unrelatable “Jedi” and instead followed around a pair of troopers helping a little girl using their limited abilities. Likewise, Pursuit of Peace was way more enjoyable than it probably should have been, simply because the story was understandable, the consequences clear, and the drama real. Plan of Dissent (when the clones actively rebel against Krell) was also noteworthy for similar reasons: clones we liked must subdue a “Jedi” we’ve learned to hate. 

This isn’t to say that episodes focused on the major characters were inherently unenjoyable, it’s just that none of these characters had any room to grow (with the exception of Ahsoka). Dooku, Grievous, Anakin, Prequel!Wan... They were the same characters as portrayed in Episode II and III. As presented, there was nowhere for these characters to go. Dooku was literally identical at the beginning of the series as he was at the end, and the same can be said about the others. 

But these are false constraints the writers imposed upon themselves. Grievous was not in Episode II and was introduced in Episode III. TCW could have started him however they wanted and then illustrated his change into the character he later becomes. Who was he? What was his motivation? Why did he hate Jedi so much? The show was handed a completely clean slate to deliver a character from scratch, but instead we were immediately shown “Episode III General Grievous” with zero introduction because fans were expected to already know who he was. 

This is partly why the backstory episode to Grievous was so compelling, at least in premise: viewing his home was personal to his story and it represented a chance to learn a bit more about the character and where he came from. Of course, it was mostly mishandled by a reliance on meaningless action, but the high ratings of that particular episode suggest there was room for quality television here, it just was never capitalized on.

Instead, we have completely static caricatures, especially for minor characters from the movies. Admiral Tarkin, Admiral Ackbar, Greedo (among others) were written out of cardboard and their roles in the plot could have just as easily been played by anyone else (there was nothing unique about their roles that required them to be these characters). 

This is a shame because a lot could have been done with the established premise to really focus on Anakin, his motivations, and his relationship to his Padawan. I would have been okay with a lot of backtracking if it meant I could begin to grasp his “fall” to the Dark Side. Instead, I’m honestly more confused than ever about his motivation.

One argument is that Anakin joins the Dark Side because he like, “loves” Padme (or whatever). However, what we’re shown in this show---consistently, clearly---is that Padme and Anakin have a toxic, dysfunctional relationship. He is uncomfortably jealous and rarely trusts her. They argue nearly every time they’re together. Their “love” (or whatever) must remain secret, equating their relationship to something “wrong” or even “illegal” that must be kept secret, even on the verge of death. In a later episode, Anakin orders Padme to listen to him because he’s the “man” and, as his wife, she doesn’t have a say in the matter. This is clearly a broken relationship and the best result is the one that actually happens: They stop seeing each other. Anakin wants to save this woman from a vision? Why? 

This brings up a second point, which is that Anakin can’t stand the pain of losing someone. His desire to protect those close to him may be Anakin’s only redeeming trait. He has a single selfless scene (in the entire show) during the opening of Jedi Crash where he sacrifices himself to delay an explosion and save his companions. I want to stress that any other scene where Anakin saves or helps someone isn’t done because he’s a good person, it’s done because he’s a broken person. It’s done because he, personally, would struggle with the emotional toll of knowing he allowed someone close to him to be hurt or die. In other words, he’s doing nice things for selfish reasons. 

As far as I’m concerned, Anakin has always been Darth Vader. He is given choices between being a Jedi and allowing a lot of people to die, and he enjoys choosing the second. In Ghosts of Mortis, we’re shown that the threshold between “Anakin” and “Darth Vader” is disconcertingly low, requiring only a few choice words and less than a minute to convert him. In short, what I’ve learned from TCW regarding Anakin Skywalker is that he was an unlikable dick, and his “turn” to the Dark Side was just a long-overdue reveal. 

While the later seasons worked towards the events in Episode III in a way that at least made a bit of sense, earlier seasons were focused on adult-themed wacky hijinks. In a way, the show almost would have worked better as a kid’s show, but this was clearly meant for adults: politics, war, slavery, and lots and lots of horrific violence. In comparison, the silly adventures of Star Wars: Resistance worked well because the show didn’t take itself too seriously. It was very clearly, from the start, a lighthearted show about kids going on fun adventures. In contrast, TCW suffered because its themes were adult in nature, but was portrayed as a Saturday morning cartoon show. The humor was misplaced, the tone disjointed from actual events, and the violence excessive. 

Let me say a few words on the “Jedi.” Initially I labeled them as overpowered (OP), because in earlier episodes they seemed invincible and dissolved tension in every scene. Later, we see a slew of them get cut down as plot fodder, even against widely different situations. We see Luminara and others push through hoards of droids only to see “Jedi” Master Yoda-like dude get taken down by a dog. We watch as Fisto *heh* powers through entire battalions and the cone-head guy counting coup against an army, only to watch as pink girl gets shot in the face by a single clone who stands in front of her for several seconds before pulling the trigger. 

It’s nearly impossible to feel tension in these scenes because the metrics for judging the true strength of a “Jedi” keep shifting as a function of the plot requirements. Anakin suddenly forgets how to use the Force when the plot needs his help to fake some drama. Prequel!Wan pointlessly fist fights with a slaver cat for an hour until the plot needs him to get back up again and OP everyone in the room. Even their ships are only as strong or weak as the plot needs them to be. Plo Koon’s fleet is devastated in seconds in order to portray the Malevolence as being a threat; Anakin’s fleet powers through a larger force three times its size because Anakin’s like, really mad about something. 

Secondly, the “Jedi,” in general, were unlikable assholes. They were consistently portrayed as violent and ignorant and I struggled to understand them as real people. Frequently, we witnessed them torture victims, default to a lightsaber to solve problems, and enjoy death to the point of counting coup against sentient life forms defending their homes. Anakin threatened civilians with his lightsaber. Ahsoka was annoyed when she’s asked not to murder a defenseless creature in Jedi Crash. Prequel!Wan and Anakin team up to hurtle enormous rocks into a beaten monster in Dooku Captured. A trio of Jedi Masters mentally gang bang a shackled Cad Bane. They supported state terrorism when it suited their needs, but agreed to abandon their friends for political reasons. 

I mean, these are not good people...

This is a shame, because my impression of true Jedi comes from Luke, Yoda, and Obi-Wan in the OT, as well as the expanded universe novels that take place afterwards. It always seemed to me that being a Jedi was about conquering oneself, one’s fears, and learning to use the Force to selflessly help others and let go of all worldly attachments. You know, like the Buddhists they were originally inspired by. I always had the impression that the Force was extremely powerful and that Yoda was only showing Luke a portion of what was possible. That the Emperor was only using Force lighting to toy with Luke. That Vader only Force choked his officers because it was visually intimidating and kept them in line. 

Instead, we’re treated to some garbage about how a “Jedi” is nothing greater than an actuator to swing around a lightsaber. When Luke enters Jabba’s palace in Jedi to rescue his friends, it’s not with lightsaber swinging, cutting shit up, flipping around like an acrobatic monkey. Imagine Anakin and Ahsoka in the same scene. They’d blaze through the palace corridors before Force choking Jabba as the Darth Vader theme plays. Forget the rancor, these are demigods. They have lightsabers. Have you seen them? They go “woosh woosh.” 

In short, there was little to look up to in terms of a “hero” character. I can see how children can look up to Luke as a role model, someone they want to emulate or play with as a toy, but looking up to Anakin? Ahsoka? Hey kids, wanna learn to become a psychopath? First, you use your power to abuse those who are weaker than you. Then you need to get really really angry and uncontrollably choke someone, preferably your sister or one of your cousins. 

And so, for a Saturday morning cartoon show, it is very unclear who we’re supposed to care about. I liked when Ahsoka went against Anakin because I hated his character so much. I liked everything with Hondo, a pirate. I liked Ventress a little, because she was actively seeking to kill the main characters. I liked some of the clones, but I don’t know which ones because they all looked the same. I cared about Darth Maul because I’m honestly a little worried about him, especially after the loss of his brother. I kinda liked General Grievous just because he hates the “Jedi” and was therefore relatable (even though the reasoning was never explained). And... that’s it. 

At no point did I ever “look forward” to the next episode. I painfully died a little on the inside hitting the “watch next” button every single time.

This “review” is already way too long, so let me summarize by applying my five-star rating system (developed for movies) to each episode. In review:

5. Amazing, classic, culturally important. Something everyone should watch.  4. Great; very well done, no significant flaws. 3: Entertaining with only minor gripes/criticisms.  2: “Watchable,” but suffers from flaws and has some poor parts.  1. Uncomfortably bad; suffers from serious flaws. 0. Painfully bad, would actively fight against being forced to watch a second time. 

The 3-star episodes were: 

Hostage Crisis

Lightsaber Lost 

Pursuit of Peace

Carnage of Krell

The Wrong Jedi 

Hostage Crisis was the introduction of Cad Bane, Lightsaber Lost was the remake of Stray Dog (and the only episode to include a real Jedi), Pursuit of Peace was the random Padme/politics episode that was strangely well-executed, Carnage of Krell was the reveal of Krell as a bad guy and his clones working to apprehend him, and The Wrong Jedi was Ahsoka leaving the Jedi Order (and the only episode to include a true character moment). 

Also, I scaled the IMDB ratings of each episode to my ratings and then detected outliers in their overlap. In other words, I wanted to answer the question, “which episodes did I rate the most differently from others?” 

Turns out, I rated every single episode lower except for seven. Those seven were: 

Mercy Mission (+1.853) - R2 and 3PO discover an underground world with ents. This one is universally panned by “fans,” but was a competently handled episode apart from the disappointing resolution. 

Pursuit of Peace (+1.382) - Padme struggles to win support for a Senate bill. Another competently handled episode that focuses on Padme and politics and is ranked low by “fans.”

Lightsaber Lost (+0.6471) 

Weapons Factory (+0.4118) - An average episode with a dramatic scene of sacrifice by Ahsoka and her “friend” Barriss. 

Shadow Warrior (+0.3824) - Grievous is captured during some dramatic moments on Naboo. 

Hostage Crisis (+0.3529)

Front Runners (+0.0882) - One of the rebels episodes, I don’t remember which. 

In conclusion, Star Wars: Rebels is next and I am somehow still alive.

[queerchoicesblog]

A Few Words On Pride Month 2020

So, pride month has come at last. No matter how crazy it sounds right now as we're experiencing first-hand one of those events that will end up in history handbooks one day.

I'll be honest, it's quite difficult for me to talk about it now when everything that is not Mrs Rhona releted seems so well less relevant than it was before. But I want to share a few words that most likely nobody will read but I'll let them flow anyway.

I watch that video every single year during pride month. It's from a series I liked quite a lot back then, it's called Sense8. The character speaking is a trans woman, an lgbtq+ hacktivist, reminiscing her disastrous relationship with her transphobic mother yet finding strength in her own sorrow. There is a passage I love:

Today I'm marching to remember that I'm not just a me

But I'm also a we

And we march with pride

These words resonate with me: they summarise perfectly the deep empathy and acceptance that I feel should make us stick together. Both inside the lgbtqa+ community and as human beings: "I am a human being, and thus nothing human is alien to me". I'm quoting by heart a Latin playwright named Terentius (Terence in English, I guess?) so forgive me if I got something wrong but what I mean is...we should all care about each other because no matter our differences, our sexuality or color of skin or class, we are human. We are brothers and sisters: I'm an only child but I believe that the definition of a healthy family is one where people overcome differences that don't truly matter in the end, they don't define us as worthy or unworthy of love and respect which should always be given to another human being.

Unless there are valid reasons not to.

As the latest happenings in the world have shown, a hard truth we all know has been reinforced: we live in a cruel, unfair world where, as Nomi said, "hating isn't a sin on that list and neither is shame". A world where people get hurt or killed for reasons which can be hardly called a motive for violence: not being white, not being rich enough, being different, holding a hand or kissing a person of the same sex in the street.

We may comfort ourselves saying these fears were past fears, last century or even Victorian age fears but no, they're still out there. And we can't turn a blind eye.

The current pandemic added new ones, making our lives even more miserable. Speaking of the lgbtqa+ community, I think I can say the social distancing is hitting even harder. Does anybody feel lonelier now? I rise my hand, I do. I'm not referring to the fact that pride parades are cancelled (because we all know there is a freaking valid reason atm), but getting in touch with other people is way harder now. In my personal experience, getting in touch with fellow lgbtqa+ folks was rare even before the pandemic, now it's hella tough. In the street we hide our faces behind masks and don't have the same careless attitude we used to display. Shaking hands and even the lightest touch or proximity are not allowed under the new restrictions: a few weeks ago, over here a couple was charged for hugging each other in the street. How sad and dystopic are these times we live in...

Virtual meetings can help but they're not like in person meetings: the warmth of personal interaction is simply not there. We try but it's not there. Couples are separeted by lockdown rules and so are some families. Lgbtqa+ hotlines are a saving grace and I cannot stress enough how important they are and how anyone struggling with their mental health or literally anything concerning themselves, their gender and sexuality should feel free to contact those volunteers who are a blessing restoring a little faith in humanity.

My thoughts are for those of us who got stuck quarantining with homophobic/biphobic/transphobic etc parents or roommates, and those stuck in abusive contexts. Yes, even relationships because - I know I'll be super unpopular saying this but we can't lie especially to the minor or vulnerable ones- lgbtqa+ relationships can be abusive and toxic too. As I said, we're human and I am sick and tired of the honeyed sunshine rhetoric of lgbtqa+ people and love as an ever right and righteous safe haven. It is a safe haven for us to some extent but we must acknowledge there are problematic issues in our community. We have to be honest with each other especially for the sake not only of each other but for the vulnerable ones and the young. Like criticising or reporting abusers, predators, rapists and so on don't make us all filthy creatures who will burn on a stake for our abominable sins. It just makes us responsible and looking out for each other.

We spend so long dreaming of finding someone of the same sex to be with that when someone shows us any sign of affection our feelings for them grow fast, even when red flags or abuse enter our lives. We stay because we're hungry for love and crave what straighties seem to get so easily: love, acceptance, reciprocity. To the young and everyone who needs to hear this I wanna say: it doesn't have to be like that. Don't ever settle for cheap love only because you feel you will lose your only chance to be loved. There are good people out there too and you deserve one of them at your side. You will find them, your paths will cross: just be patient and never ever forget the importance of respect and consent.

To all those experiencing anything like the relationships or toxicity I mentioned, who feel silenced by the sunshine rhetoric, I say: you are not alone, stay strong and you did nothing wrong, others did and I'm sorry you're going through this cause you don't deserve it.

I share a similar shutout to those struggling with mental and/or physical disorders. If you ever felt pretty much invisible, you're not. I see you, many others see you and we're all rooting for you. You're stronger than you think and you're beautiful.

The not-as-unfortunate-as-the abovementioned but still quite forlorn are the star crossed lovers meeting that special someone in a bad time. Quarantine will see the blossoming of some romances but also takes no prisoners, blowing off others. They don't vanish though, in most cases they turn into those impossible loves and what if we love so much in the movies and hate in real life. I wish I could lay a blanket or pull into a tight hug all those going through this. Your pain is not irrelevant even if there are worst things in the world right now, our souls hurt for things like that. I hold your shaking hand wherever you are as you stare blankly at your phone, waiting for a message or a call that will never come, or you reminisce, listening to a romantic playlist you still have saved on your device. Your suffering is my suffering.

On a brighter side, cause I don't wanna be a complete downer, the luckiest ones among us are blessed with love and I can't be any happier for you, whoever you are. I can picture the one day a few years from now when I will be talking to someone and they will share their story saying how they met the love of their life during the pandemic. How it wasn't easy at first because of all the uncertainty and fears but they kept trying and it all started with a social distancing date at a park or via Zoom. You lucky ones, cherish that and never take what you have for granted: the love you feel and that special someone is showing you is a balsam in hard times. Please cherish it dearly and never stop loving: one day you'll warm these old bones and lonely heart if we ever get the chance to cross path.

Actually I don't have any more wisdom to share, granted what I wrote can be called wisdom, nor giveaway. I considered doing a lgbtqa+ one in honor of the pride month but I feel nobody would be interested. Or at least not by me and I fully agree: writing is getting hard and I feel like I risk of ruining everything I dedicate myself to, as I usually do in my life. I'll follow the tips of a few anons (I think?) and devote this month to educate myself over aspects, nuances or realities I am not fully familiar with: so I'll watch Pose and Sex Education. Hopefully I'll learn something new that might make me a better human being.

Feel free to share further advice: books, articles, movies, series, documentaries...you name it! Drop a message or an ask and I'll make what I'm starting now a lasting project!

That is my advice: if you're stuck inside with nothing much to do this month, find something that might enrich you, even a little thing, and go for it.

As well as reminding yourself the usual stuff: you are not wrong nor unlovable, you're not offensive or dirty for being attracted to your same sex or both or none. Not to quote Lady Gaga, but it's truly is that simple: you are born and beautiful this way.

Stay safe and stay strong, my darlings 🏳️‍🌈

Love,

E.

[seyaryminamoto]

Do you think they could make Azula gay in the netflix live-action? Many people in the fandom seem to think she had a thing for Ty Lee. I don't see it, but do you think they could retcon the show just to pander to shippers?

Somehow I knew this sort of question would pop up in my inbox one day. I just did. Such foresight powers I have (?)

Anyways, the answer got pretty long, but I hope it’s comprehensive enough in regards of why I don’t think it’s likely, why, even if it happens, we shouldn’t freak out about it regardless of if it negates our headcanons, and why, on top of it all any characterization the ATLA cast gets in the liveaction should be judged as part of a second timeline, removed from the first, and analyzed as such.

Alright, first of all... despite what popular opinion these days would have everyone believe, a character’s sexuality and sexual identity are not the only relevant and important factors in them; in fact, I wouldn’t even call them the most important factors unless you’re outright telling a story with very specific socially critical purposes in mind. Yes, you can deal with these subjects in stories that aren’t exclusively about sexuality, and yes, it offers important representation to communities that were largely unseen for the bulk of human history. But making a character’s entire story arc revolve around nothing but sexuality and their struggles because of it is actually a failure at offering good representation? The point in having media featuring representation in the form of diverse fictional characters is based on allowing minorities to see themselves in this kind of content and for majorities to understand these minorities and their stories are just as valid as theirs are. If minorities are reduced to a single aspect of their multifacetic lives, the only thing the story in question would achieve is turning a character with the potential to be dynamic and complex into some flat minority stereotype, throwing away the countless human complexities through which media can tell rich and important stories that do provide genuine, quality representation to these communities.

Ergo, if Azula were written as a gay character in this Netflix adaptation, this aspect of the reworked character should not, and frankly, CANNOT, be the only thing that matters about her. Azula has a large role to play in this story, a role related to the war, her family, her friends and her nation, and a lot of her complexities stem from how she deals with all these subjects, none of which have anything to do with romance or sexuality. Therefore, I’m pretty sure a lot of us loved her character for reasons that had nothing to do with her interactions with potential love interests, whether they’re of her same or opposite sex: Azula has always been SO MUCH MORE than whatever we’ve headcanoned her sexuality to be, and this is something I hope everyone keeps in mind for this liveaction show.

We need to stick to our priorities, to a fault, as Azula’s fans: whatever sexuality or love interests she’s given, if she’s given either thing to begin with, her story isn’t exclusively about that. So, if Bryke decide to alter this aspect of her original characterization by dialing up Azula’s love life, it’s not the driving aspect of the character and it’s not the only thing we should be concerned with when it comes to her new portrayal in the future liveaction show, regardless of whether said sexuality agrees with our headcanons or disagrees with them.

Alright, then. After that particular clarification had been made... I’m of the opinion that Bryke have indeed pandered to shippers and fans in the past, namely in their sequel show and certain later announcements related to it, announcements that were basically the LOK version of “Dumbledore was gay all along but I thought it’d hurt the book sales and that’s why I only said so in a press conference after the final book was a bestseller and my bank accounts were overflowing” (by which I mean, the last-minute sudden “Aiwei (the dead guy) and Kya (Aang’s daughter) are also gay” comments Bryke made post-Book 4 to convince people they were aboslutely pro-LGBT and their world was very diverse despite said diversity only became known in the final scene of the show and was never portrayed positively or properly through these side-and-background characters...?).

So, would I say, categorically, that Bryke would NEVER write Azula as a gay character if they thought it’d make their show more popular? Nope, I can’t. I really don’t trust them enough to think they’ll prioritize top-of-the-line storytelling over pandering to the crowd that will cheer them on most loudly.

THAT BEING SAID...!

The story they told with Azula in ATLA, despite what certain people are convinced of, had a very straight-forward message, one that I didn’t like very much, especially since that message seemed to render irrelevant the character’s incredible storytelling potential and remarkable complexities. Where Azula could have been so many things, in the show’s finale she became some sort of flat, sad warning stating: “don’t try to control people through fear or they’ll turn against you and you’ll end up all alone.”

As much as I have no doubts Bryke will want to incorporate new themes and somewhat “update” ATLA into more progressive times, I really doubt they’ll sacrifice the story they’re apparently so proud of having told through Azula only to pander to a specific part of ATLA’s audience. For that matter, there’s been a growing movement promoting many same-sex ships and trans interpretations of virtually ALL ATLA characters, so if they were to pander to the fanbase through Azula, why her? And if they do pick her, why stop there? If they do stop there, then they’re not being inclusive enough with their fandom. Why satisfy one portion of the fandom and not satisfy the other ones too? :’D

Worse yet, accusations of foul play will absolutely be guaranteed to rise when a potentially gay Azula isn’t given a redemption (because, considering the latest Azula-related comments by the creators and comic writers, they’re not likely to do it this time either), because “irredemably evil lesbian trope, that’s so sexist and homophobic!” And with that, the long, glorious time ATLA has spent as the golden, poster child of western animation will suddenly be overrun with the very same hysterical purity police that has overtaken all newer fandoms and filled them with antis who attack creators, writers, actors and other fans for creating or supporting “toxic” content.

Point and case being... if they don’t stray from the story they already told, they have a slam dunk since a lot of people will love the show if it’s virtually the same as the one they watched when growing up. All they have to do is alter a few events, maybe expand on a few things, stall the story for a few more years so the actors can age realistically and not be overworked... and tadaaaah! You have a blockbuster! Change fundamental aspects of characters by adding new factors to pander to certain fan demographics? You’d basically be poking a wasp’s nest and hoping they will turn out to be honeybees instead, ESPECIALLY if the character being coded as LGBT is either evil or fated to die, as both those tropes are what seem to incense that side of fandoms more than anything else.

If they want to write Azula as openly gay, they’d have to alter her general character message and whole arc to avoid the guaranteed problems I’ve pointed out up here. Paired with this? They’d have to retcon their recently established “the Fire Nation became homophobic in Sozin’s time!” canon imposed by LOK’s comics, so, if they stick with this tidbit of recent LGBT info, a gay Azula would most likely have to be a highly repressed lesbian who can’t even accept herself? It’s not impossible to tell that story... but it kind of feels counterproductive, and absolutely discouraging too for people who are struggling to come to terms with their own sexuality to see themselves reflected in a repressed character who most likely will meet the same depressing end she does in ATLA.

Now, my final point: again, I can’t say it’s impossible that this might happen. But EVEN IF Bryke decide that this is how their new story will work, and the new Azula will be gay, and they change everything so it’s non-problematic and they successfully avoid being chased with pitchforks by the purity police...

A new characterization doesn’t negate the one from the original show in the least. The first ATLA is what it is, a finished product that can be judged and interpreted in a thousand ways, and has been, for the past 10+ years. A new canon does NOT overrule an old one, a thought that I’m sure the very same purity and nostalgia police I’ve mentioned will absolutely adhere to once the new story changes ANYTHING and they don’t like it. Whatever new possibilities they test out with a new story don’t have to be taken as facts that apply to every iteration of the characters. For reference, imagine judging every Marvel comics character for the actions and behavior of their MCU counterparts. Imagine people raging at Peter Quill in the comic books because he’s in love with Kitty Pryde and how DARES he cheat on Gamora with her?!

... Just how would that make any sense? :’) Likewise, it would make no sense to behave this way with ATLA and its future liveaction adaptation. What happens in the liveaction concerns the liveaction. What happened in the original show can serve as a guideline for the liveaction, if anything, a frame of reference, but they can (and will) change elements in the story as they please in the new adaptation. However similar as they might be, they’re TWO stories, and they should work perfectly well as standalone shows.

Let’s look at it from the opposite POV, to further illustrate my point: if the new show SOMEHOW made Sokkla canon, unlikely and damn near impossible as it is: that doesn’t make it canon in the original ATLA. Hence, if I were to run out in the streets screaming Sokkla is real and endgame in EVERY POSSIBLE VERSION OF ATLA, the entire world would have every right to throw rotten eggs at me and tell me to shut the fuck up because it’s not true, it’s only real in the liveaction, and that doesn’t have any bearing on the original show.

Same principle applies with a potential gay Azula :’) Even if it happens, it’s liveaction only. The original show remains what it is, and her characterization there can be interpreted and derived from as we see fit.

To close this answer, I confess that I, personally, have next to no interest in this liveaction remake. I can’t even say I’ll watch any of it. For one thing, I’m really annoyed by the trend there is these days to turn animation into liveaction, because it seriously feels like an underlying way to say that liveaction is somehow the superior choice for audiovisual storytelling and that really grinds my gears. Animation has been fascinating media for me for years, I’ve always felt it’s more versatile than liveaction, and if I ever happened to write something that gets an onscreen adaptation, I’d probably choose animation over liveaction even if I’m not given a choice on the matter :’) So, for starters, I’m not happy with the notion of a liveaction remake for this show. If they wanted to remake ATLA and had chosen to do so with animation, I’d definitely be much more interested. But this way? Uh... not my cup of tea.

So, whatever Bryke want to do with this new product is absolutely their business (same as it was their business with ATLA, frankly). People will criticize it, that’s a guaranteed thing, and people will love it, and people will be angry, and people will be happy. But I’m probably not going to be one of any of these people this time around. The only way I would likely enjoy that show would be if it’s a genuine, critical overhaul of everything they did in the original show, reworking many key aspects of MANY characters, no matter if the main anecdote remains intact. And considering how highly self-critical the recent ATLA-related content has been, I doubt I’ll get my wish. So... good luck to everyone who wants to watch this liveaction, have fun, I won’t spoil it for you by dumping on it this time as I did with the comics, but I certainly won’t be joining any of your parades much either :’D

[littlemisssquiggles]

Some people say seasons 4 and 5 were weakest in terms of stuff happening for Ruby and character progress for her, compared to the focus of several episodes on Blake. Like Ruby doesn’t get that too much. What would you say to refute that? I’m just curious I like seeing people’s stance on things gives me a new perspective at times.

Hello again Sweet. Seasons greetings to you and your family. Whelp as I toldyou before, I didn’t exactly see V4 and V5 as Ruby’s weakest seasons. On thecontrary, this squiggle meister hasthe opposite opinion in which I think that V6was Ruby’s weakest season (with the current V7 potentially becoming a closesecond) despite her enduring quite a bit of focus and development during that volume.

Although much didn’t happen for Ruby during V4 and V5, I personally didn’t mindit . While the title of RWBY says that the storycenters around the adventures of all four RWBY girls, I’ve always had the greater impression that Ruby was the mainheroine of the story.

This was evidenced by the fact thatshe was the first character to be introduced to us both in her originalcharacter trailer and the first episode of the series. Not to mention that for a good chunk of the Beacon Trilogy (V1-V3), you can say that much emphasis was based onRuby, often by her own peers which made her stand out compared to her oldermore experienced teammates.

Basically what I’m saying is thatfor half of RWBY’s narrative, Ruby had been a focal character. So when V4rolled up and we got an opportunity to focus on the JNR members for a change,particularly Ren and Nora, for me, I actually enjoyed it. I know some Ruby stansdidn’t like that Ruby’s time with JNR involved her receiving less focus as opposedto the rest of her team (who were the focal characters of their own plots whilethe team were divided during the first 2/3 of the Mistral Trilogy). But like Isaid, I didn’t mind it coming off the high of the Beacon Arc which, in myopinion, had a good amount of Ruby development to satisfy me long enough untilthe PLOT was ready to resume fleshing out what’s next to come for her story.

To me, my biggest gripe with V4 andV5 had less to do with that. As a matter of fact, I actually disagree withfolks on saying that Ruby did receive focus during those two seasons. What wasproblematic for me was what the PLOT—here go the CRWBY Writers at the time(Miles and Kerry) chose to focus on as part of Ruby’s story for the Mistral Trilogy.

During the Beacon Trilogy, Ruby’s arcwas her starting her journey to become a huntress and most of her story fromV1-V3 was about her training to live up to that aspiration of hers whilelearning to be a leader as part of a huntsmen team. It was an establishedaspect of Ruby’s story that remained pretty consistent until the conclusion ofthe Fall of Beacon.

However at the end of V3, the CRWBYWriters introduced this new element of intrigue to her character—her being aSilver Eyed Warrior. After the end of V3, I was hoping that the nextinstallment in Ruby’s development would’ve involved her unlocking the mysteriesof these mystical powers she alone seemed to possess, learning about its strangeorigins in connection to her mother and even Ozpin who seemed to be the onlyperson at the time who knew any info on the Silver Eyes, as revealed by QrowBranwen back during the finale of V3.

I thought Ruby learning aboutthe Silver Eyed Warriors and potentially starting her training to become a fullyrealized one was what the Writers’ had next in store for her story.

But rather than watching three seasonsof Ruby learning about the Silver Eyes, instead we spent two full seasons—V4and V5—feeling as if the PLOT had forgotten this new part of Ruby’s story asthey had her focusing on other things. 

At the time, I previously chocked upRuby’s lack of interest in learning more about her Silver Eyed heritage as her concentratingmore on the upcoming Battle of Haven and the acquirement of the Relic ofKnowledge since that was the main objective of the Mistral Arc at the time. Howeverthe more I thought about it, the more I started to think that it probably would’vebeen a better idea if the PLOT had spent more time providing the groundwork forthat side of Ruby’s story.

Even if it was as small as Ruby simply askingfor more information on who the Silver Eyed Warriors were, I would’vetaken that as opposed to having her not care about it at all for two seasons.Especially since it was tied to her relationship with her mother as well aswhat happens later in V6 after Maria Calavera’s debut. 

This also illustrates my biggestpeeve with the treatment of Maria. As much as I really, really like our veteran pocket abuelita,right now she feels like wasted potential.

The Writers had an opportunity tomake Maria a significant character in Ruby’s rise to Silver Eye status as theold lady is the first and only other Silver Eyed Warrior that Ruby has met inthe story thus far.

Instead, the PLOT practicallyrendered Maria’s character irrelevant bythe finale of V6 after rushing Ruby’squintessential ‘magnumopus’ moment with her Indomitablescene against the Leviathan Grimm.

They still had a chance to redeemthemselves by progressing Ruby’s relationship with Maria for this season. Butfor the second time since V4 and V5, the CRWBY Writers have once againabandoned focusing on building up Ruby as a Silver Eye in favour of forcing development onto another side of her character.

What do I mean by that, you might ask?

Back in V5, it was said that Ruby’s so-called‘problem’ was that she needed to learn hand to hand combat…in spite of her alleged ineptitude forhand to hand never being a key liability to her fighting style inprevious seasons. I mean yes we saw Ruby struggle without Crescent Rose duringher brief altercation with Mercury Black during the Vytal Festival back in V3however we’ve also had moments when Ruby was able to hold her own without theneed for her trademark weapon as shown back in her last fight against Torchwickand Neo in the same season.

So the Writers making the choice to alter that trait in Ruby’s character to suit the PLOTfor that respective season honestly came off as a minor retcon for our little red rose .A retconthat was ultimately made pointless bythe end of V5 entering V6 since Ruby was never seen using or even needing to use hand tohand combat ever again; making me ask the obvious of question of whythe Writers chose to have that be a point of focus for Ruby back in V5 sincethem dropping it a season later  madethat aspect of her story from the season before quite meaningless.

Now this squiggle meister is starting to get a weird sense of déjà vusince I’m seeing a similar pattern being repeated for Ruby’s character for V7only now it’s with her semblance.

While I understand that one’ssemblance is capable of evolving withtime and proper continuous training as mentioned by Ozpin back in V5, however Ican’t tell whether Harriet’s remark to Ruby in V7CH3 about “there being more to her semblance than sherealized” was an indicator that Ruby’s Petal Burst semblance might be evolvingwithout her realization or not.

I mean that could very well be thecase going on with Ruby. However instead I’m left feeling like it doesn’tmatter or that it’s not really that important since Ruby herself has been shown to notthink about it at all; in spite of characters like Harriet and later Oscar inCH6 pointing out that there is something different going on with her signaturesuperpower. 

Instead I’m left thinking that thewhole thing with Ruby’s semblance for V7 is just another example of the PLOT forcing attention onto another aspect ofRuby’s character that’s didn’t really need it.

Back in V5, hand to hand combat didn’tneed to be an obstacle Ruby needed to overcome since a) scythe-wielding has alwaysbeen her signature combat style since her introduction and most importantlyof all b) she never needed to learn hand to hand since it’s never been a  liability to her as a huntress in the line of combat prior to V5.

And now for V7, I’m seeing a similarthing with Ruby’s semblance seeming to be getting some focus but I’m leftfeeling confused by this choice since Ruby’s semblance had been consistent(mostly) for many seasons and honestly didn’t really need any focus at allsince I wasn’t expecting Ruby’s semblance to be developed moving forward.

I was expecting it to be her SilverEyes especially coming off of the end of V6. However it appears that onceagain, Ruby the Silver Eye plot thread has been dropped for yet another season whichunfortunately makes all of progress back in V6 (as small as it is) feel …well…kindof pointless.

Now the impression I’m left with, asa viewer and Ruby Stan, is that the CRWBY Writersdon’t have a clear blueprint or treatment for what Ruby’s Arc is supposed tobe.  While it’s evident that they do haveIDEAS for what they can do for Ruby’s story, a proper PLAN of how they intendto go about executing said ideas per season isn’t there and it SHOWS in the show.

Case in point, Ruby being a SilverEye. Despite presenting the allusion that Ruby being a Silver Eyed Warrior mightultimately play an important part in her story with Salem, the implementationof them building up that side of her story has not only been sloppily handled butit’s also been very fickle with how they flipflop with other things they claim to be important to Ruby’s development.

And as someone who was very excitedto see the progress of this stage of Ruby’s character, seeing the way the PLOThas been handling Ruby in that regard has been a disappointment. Nonetheless, inspite of the oddness in choices made for her writing, this squiggle meister still likes Ruby as our protagonist. She’s stillmy second all-time favourite RWBY character.

If anything, my feelings for Rubyironically match my other favourite character: Oscar—Still one of my favs howeverthe treatment of their side of the story within the series has been so questionable that it’s made it hard toremain invested in whatever the showrunners have planned for said character.Granted that there even is a clear plan which I’m left feeling like there isn’tone based on what I’ve seen so far. However, this is only my opinion.

If anyone reading through myresponse respectfully disagrees withme since they’ve been satisfied with Ruby’s story up until this point then that’sperfectly fine. Like I said, this is my stance onthis subject matter and I hope no one is offended byme taking it this way.

That being said, my verdict isn’tthat Ruby doesn’t receive a lot of focus compared to other characters. As I’vestated throughout my post, I think she receives a good amount as the leader ofour main four. It’s just what the PLOT decides to be the focal point of Ruby’sside of things and the execution of those ideas. This has been my issue withRuby for the past three volumes and even as we’re in V7, it’s unfortunatelystill a problem with the writing for her character for me.

It’s as I said. During the BeaconTrilogy, Ruby’s story was that she wanted to become a huntress to protectothers and a pivotal part of her arc back then was watching her grow into thatrole while proving herself in the eyes of other characters who either doubtedher abilities (such as Weiss) or rose to challenge her on her ideals (such as RomanTorchwick).

It was great watching Ruby grow intoher own as a huntress back in those early seasons because it was a stable part of her character writing that grew withevery season that followed the last.

It’s why I’m having issues followingRuby’s development into a Silver Eyed Warrior (or anything the PLOT has donewith her after V3). The consistency thatwas present with her development has been lost a bit and thus, I’m left feelinglost on what Ruby’s story moving forward is going to actually be.

This isn’t me trying to throw shadeat the Writers or the writing for RWBY in general. It’s just an issue that I’vebeen noticing over the past few seasons, especially since I did my full recapof the whole series last year in preparation for V6.

It’s an overarching issue that, forme, began a bit back during V4 until it was made more apparent by V5. While V6and V7 have shown improvements andsteps in a better direction for the series, unfortunately I’m still noticingthe same lingering problem that has impacted the overall treatment ofcharacters such as Ruby.

Don’t get me wrong. There has been plentyof material dropped by the last few volumes from which I can see the PLOTworking off of to further strengthen Ruby’s story and character. But just likeher treatment back during the Mistral Arc, I’m concerned for the execution of those said ideas and that’s where I mostlystand in that regard.

~LittleMissSquiggles (2019)

[gameingnow]

Silent Hill: Homecoming Review

I can say that Silent Hill, especially Silent Hill 2, has a very important place in my life. Apart from being the game I once best fed my hunger for a real horror game, I don't think Silent Hill 2 will be able to replace a game with its subject and the memories it has left me. It is not difficult for me to predict this, since the games we are playing now, consisting only of graphics, may be even more ayyuka in the future. But Silent Hill makes something wiggle inside me play; I guess years from now, as the new Silent Hill games come in, I mean, after seeing this homecoming scourge and digesting it into me that it's fashionable, I'll still tolerate it. But on the other hand, one of the last games I want to be affected by this change will again Be Silent Hill. Nice, after I played Homecoming, I didn't say "You Too, Brutus." Because after seeing that character weight, atmospheric pressure and feeling of loneliness presented in Silent Hill 2, the first game I played, in Silent Hill 3 and relatively in the room, Homecoming created its first impression in me that it was a very shallow and ordinary horror game. Although I find that I am relatively wrong in this idea as I explore the game, I can say that Homecoming does not deserve to be a Silent Hill game. Home, Sweet Home The character we checked out in Homecoming is Alex, and he's an ex-soldier. When we start the game, we find ourselves being carried on a stretcher, or rather, this sequence corresponds to the moment when we come to ourselves, and naturally we don't know what's going on. The place where we were brought in is the operating room of a hospital. Developments that we are trying to get out of here on our own strength and understand what is going on lead us to our home, Shepherd's Glen. And that's where the theme of the game begins to take shape. It's like an atomic bomb has fallen on Shepherd's Glen, and the whole town is completely in the fog with its people living on it. Whoever we see is a welcome to us, why did you come, I wish you hadn't come, and he's talking and leading us straight home. And when we get home, we find out that our little brother and father are missing from our mother, and then some events lead us to Silent Hill. And we're trying to find someone again. I can't say that I'm actually very complaining about Silent Hill's lecture in this way; because first we are made an excuse and taken to Silent Hill, and then there we are told the story in very different aspects, and thus we are faced with the old secrets of Silent Hill. Homecoming also did it beautifully. Apart from that, Silent Hill is obviously quite happy in the cloud of fog that we know, and we are running around in this madness to find our brother without even seeing the tip of our noses. Of course, the biggest feature that distinguishes All Silent Hill games from their counterparts on the market was its unique element of fear. The way he did it was that he showed you the feeling that you were alone, hitting you in the head, and distracted you with their voices and even silence, rather than scaring you with the monsters that suddenly appeared. Because it was the silence in itself that made you nervous that something was about to happen. You were nervous or not. You opened the door of the room and went in, a dim atmosphere, your flashlight made various shadow plays on the wall, you saw a hole in the same wall, you had to put your arm in that hole, but you knew not to put it in, but you had to put it in here, you put more, you took what you needed, and then you walked out the door. This sequence of events of about thirty seconds caused you to be stiff, but look, nothing happened. That's what made Silent Hill different from the others; it stretched you like a drum when there was nothing. And how many of these are in Homecoming? I've just deliberately given an example of taking something out of a hole in the wall, because similar events take place both in Silent Hill 2 and in Homecoming. There can be no better opportunity to compare the two games than this. Because during this event in Silent Hill 2, butterflies were flying around you, and yet fear was in your bones, but nothing was happening to you. But in Homecoming, you have to get something out of the hole in the wall again relatively early in the game. Blood is flowing through the hole, there is blood on the walls of the room, and everything is scattered. Naturally, a nice environment has been created so that you don't want to put your hand in that hole, but unfortunately even this doesn't scare you the way it should. You put your hand in the hole, and when you hold what you need to take, something pulls you from the other side. At this time, you need to fall on the left click of the mouse, constantly click on each other; otherwise you will die. And then you think, what was on the other side and what he pulled, and what was it supposed to be like that? Because this event shows that a very different Silent Hill is waiting for you almost as soon as it starts. Rather, it focused on the action, mostly turning into something that scares you with sudden visual shocks. The fact that the action part was weighted officially changed the game from head to toe. Of course, the change in the combat system is the overall and most impressive part of them. Before I come to him alone, I want to talk about the difficulty selection screen when you start the game. As you may recall, in previous Silent Hills, there were two different difficulty sections here, one affecting the action in the game, the number of ammo and health packs, and the other determining the complexity of the puzzles you encountered. Homecoming doesn't have that. There is only one choice of difficulty, and this completely adjusts the dose of action. Puzzles that are already very few are not affected by this choice of difficulty, and in general, the fact that the puzzles are not very difficult further fuels the action side of the game. My cute little brother In our battles with enemies, there is usually a gameplay where we take advantage of the weaknesses of the other. According to this, some enemies briefly reveal the point where they are weak so that we can attack there, and some allow you to attack in advance because of their speed. But despite this, you must fight them very carefully. As a matter of fact, at moments when you engage in close combat with slow ones, they become a threat from nothing with fast and hard blows. The biggest example is nurses, one of the main icons of the series. Don't look at them walking, finish them off before they let them near you as much as possible. Because they use knives very quickly, and even a single nurse can consume you in a short time. In addition, new enemy types have added very different flavors to the game. As I said, every enemy has a certain weakness. It is also necessary to use it so that you do not have a shortage of ammunition. You can't find ammunition on all sides, and it also forces you to fight strategically over time. The weapons we know in the Silent Hill series are back at hand. You'll be using weapons like an iron water pipe and a knife in Homecoming more often than you've ever used. This is because, although this is the same in previous games in the series, you may be attacking more forcefully due to the weight of the weapons. For example, even if you do more damage with an axe, because you attack very slowly, the enemy in front of you takes up the position until you throw it, or because the weapon in his hand is lighter, he attacks you until you attack. Over time, the more you see the enemies ' attack styles, the more you need to do, but the adjustment phase can be problematic for some. In terms of helping with this, you can read the recommendations on the intermediate installation screens (which did not bother me; why don't we decipher them by trying them ourselves and read them from there? and against the bosses??!). I also want to mention that these deceleration screens are extremely long. As a Silent Hill Classic, you have the ability to save in certain places, but suppose that after you have gone too far, you have died in an irrelevant place and returned. In Homecoming, you will be told the intermediate loading screens as well as you will decry the part where you go before you can save it. You may have to lose at least 1 to 1.5 minutes at a time to pass through a place where you work hard, where you have the potential to die after 10 seconds. Not only do you suffer when you die, but also when you move from one place to another. My dear friend Orçun, who studied the console version, did not mention such a problem; but on the PC, it is really a different file of life. We meet in Homecoming with a new attack technique as you fight against your enemies. Accordingly, you now have the opportunity to avoid or block the attacks of enemies and make even more massive hits. If you press space and any direction key when you are in combat position and the enemy is attacking you, Alex will jump in that direction or somehow fend off the attack. If it is a hit that you hit at this time, it will do good damage. Almost every weapon has two different attack options. With the left click, you perform a type of attack that causes minor damage, and with the right click, you perform a strong hit. Powerful strokes are a little time consuming compared to the other. You can also increase the damage caused by this stroke according to your long or short press. In addition, right-click attacks have a feature that will briefly neutralize the enemy (stun). At this point, you can kill him quickly without any trouble with an attack; you also have the opportunity to watch beautiful and violent animations. This gameplay is really beautiful and smooth. The producers who want to transfer the action element to the game have done a successful job, but how much of it is needed in Silent Hill? This is one of the aspects that bothers me the most in the game, and I am unfortunately still very amateurishly attached to Silent Hill, so I have largely abandoned this form of gameplay. But as a standard action game, it's not very disturbing. My quiet, foggy town As the reason why the PC version of Homecoming did not come to market at the same time as other consoles, it was shown that its controls would be overhauled again. And we said, if it happens, then it should be like a man, and we stepped on our hearts and waited. It's worth the expectations. This situation, which you will encounter most at points that require you to move abruptly during the action, does not give you a problem. You're finally doing what you want to do. There are no problems with simple controls either. In addition, as with all Silent Hill games, you will see cumbersome inventory - weapon screen transitions in Homecoming. For some reason, I don't want to talk about it as a minus. Homecoming also featured a dialogue tree for the first time in the Silent Hill series. It means that the communication between you and the characters you talk to and the things you talk to develop in different ways, but no matter what path you follow, the result you get does not differ from the other. In the visual and auditory points of the game, we see breezes from the usual Silent Hill atmosphere. Some of the points that are handled differently in the film are beautifully transferred to the game, however, the fog and disturbing atmosphere are in place. The city's transition to an alternative state is indeed a touching visual feast. All of a sudden, the places you walk are getting old and flying, and then everything gets its dirty rusty look. The fact that this is given in real time compared to previous games excites fans of the game completely. However, the changing game world and, of course, the designs of enemies (even the remote stances of some are frightening) are impressive. But in Alex and other side characters, you can't quite get the mood in previous Silent Hill games. Although they have a much newer image, a very different reality, they do not have the facial expressions and helpless expression of James or Heather. In Homecoming, the whole world is so beautifully drawn, so vivid, and atmospherically satisfying, but the inability to create the desired emotional integrity makes it completely unacceptable. Big, Pyramid Head Silent Hill: Homecoming was a production I was looking forward to as a Silent Hill fan. In addition to my eagerness to wait, the importance of how the game will take a step into the next generation was, of course, huge. If we perceive it as a brand new Silent Hill that comes with a new generation, maybe we can fit the desired description a little bit, but one thing is for sure, this game is very different from The Silent Hill we know. The game has largely lost the theme of psychological fear, which takes the direction in which it is most important, making it an ordinary horror game. That means he's lost a lot. gameingnow.com Read the full article