#like i think having a set narrative would eliminate a lot of the problems with this game's writing

[leofrith]

acv hate on my dash and i can't even be mad about it because they make some good points 😶

[comicaurora]

If you were to actually write a tournament arc (be it in Aurora or a future story) fashioned in your own preferences and ideas, what would it be like?

Oh boy. That's an interesting challenge, because there are so many factors to the Tournament Arc that I just don't like on principle-

Foregone conclusion. If the tournament is centered on a final battle with the Super Scary Big Bad, as they so often are, the heroes are just killing time before they get there, and at least one of the heroes is guaranteed to get to the final round. If the stakes of the tournament are too high, the conclusion is set in stone from the outset. If the heroes are being forced to participate for hostage or supervillain reasons, their victory becomes narratively assured. If the heroes aren't being forced to participate by narrative necessity, then the whole thing becomes an even bigger waste of time.

Formulaic. There's only so much you can mix up a tournament format - environmental hazards, minigames, ring-out rules - and without that, it's just a linear series of fights. Can give the heroes a chance to show off their unique movesets, but narratively they're just ticking up a progress bar before they can get to the end.

Fuckton of characters. Tournament needs meat for the grinder, let's make several dozen characters to throw at the heroes of which maybe five will be memorable enough to recur later. Better make sure they all have interesting gimmicks too - otherwise the formulaic fights will become even more formulaic!

None of these are particularly enticing for me, so in order to construct a tournament arc I actually liked, we'd need to find some way around them:

To avoid a foregone conclusion, the tournament stakes can't be a simple boolean value with "heroes win" and "heroes lose" tied inextricably to things like "heroes save hostage" or "villain destroys entire world." The easiest way to do that is to remove "the heroes" as a single unified participant. It's not a question of whether good will triumph over evil, it's a question of which characters will win and under what circumstances? Part of the reason I liked the tournament arc in MHA more than most is the actual overarching victory was basically irrelevant and our protagonist got eliminated in the quarterfinals, because it was actually all about character development inspired by that fight. So splitting the heroes up, letting them work independently and making their opponents something other than a monolithic antagonistic force would probably help to reduce that issue.

Some tournament arcs also make things more interesting by having a single loss not categorically eliminate a character from the running - the Dark Tournament arc of YYH was pretty good about this, despite being way too long, since it meant protagonists could actually lose fights without being kicked out of the arc entirely, which was a very smart way to keep the tension going, since only a few fights became foregone "either the heroes win this one or they die" situations.

The problem of fights being formulaic can also be addressed here, although I think the more relevant way to fix that is to simply make sure the tournament doesn't drag on for too long. Like, three to five fights is probably the max number we can really focus on. But we can also dodge the formulaic-ness accusations by making sure the fights have more going on than just "which action figure gets mashed harder." This is where most tournament arcs solve things by making a lot of unique gimmick characters with weird powers (so the heroes can't just smack em around the same way every time) and by giving the heroes either handicaps or new abilities/powerups they're still figuring out. This makes the choreography more interesting, and honestly even a really boring plot can be significantly brightened up by extremely cool fight choreography. "They fight and [character] wins" is a single line in the screenplay that can translate into something very spectacular in the execution. But this is, again, something they did in the YYH Dark Tournament arc, and that was still way too much tournament arc, so I think plotline fatigue is a problem that can't entirely be solved by finding new spices to pepper onto the same bracket structure.

You can, of course, also add emotional stakes like "this character's self-worth is tied in with their victory" or "this character is being manipulated by someone else" or "this character is having a personal crisis and handling it poorly" or even something really basic like "the other people in this tournament think we suck, let's prove them wrong."

The "fuckton of characters" problem isn't intrinsically an issue, because it can also be an opportunity to create and introduce a lot of very interesting secondary characters, but it does unfortunately lock them into an extremely artificially constraining plotline. The problem with a tournament arc is it is literally the same subplot template over and over again until the finale inevitably breaks the format. It's an extremely rigid scenario to lock a character-driven story into, and no matter how individually rad parts of the fights are, the overarching structure is repetitive and it limits the characters' ability to shine. Ultimately, no matter how neat or complicated a new character is, they only exist in the arc to be defeated and then get out of the way of the plot. They can have cool stories when they show up later, but in the bounds of the tournament arc they're just more obstacles.

On paper a tournament arc should be a fantastic way to elaborate on a character. The number one recipe for cool character moments is putting that bitch in a Situation and seeing how they handle it, and "a bunch of different fights with different enemies with different powers and different rules" sounds like an ideal Situation Gauntlet. But practically speaking they're all the same! Outside a tournament arc, the stakes of a fight can be anything and the victory condition can be anything. The heroes can bypass the fight, talk down the antagonist, plan a heist, turn the bad guys against each other, organize a prison break, hide and be sneaky - they can find allies, negotiate with political leaders, get captured or rescued, protect someone from pursuit, navigate a hostile and unfamiliar environment, outwit a super-persistent predator, join an underground resistance movement, run off for an angsty solo arc - but within the confines of a tournament, no matter how wacky that tournament might be, everything boils down to a fight with a clear-cut victory and defeat condition. The space of characterization carved out by this format is very, very narrow, so I think legitimately the only tournament arc I would uncritically enjoy is a short one.

[weatherman667]

Most of the Problems With Mass Effect Come Down to It LITERALLY Losing the Plot

The first Mass Effect game was a lovecraftian horror set in what seemed like an extremely hard science fiction setting.  They did a fantastic job of combining the two elements.  They did a better job of each element than most dedicated Science Fiction and lovecraftian horror stories.

But the problem with lovecraftian story is the unknown and the moral beyond the means of understanding.  And when bought out by EA, they had to eliminate anything that might make audience to think.  ME2 coasted on the coat tails of ME1, and ME3′s main story was horrifyingly bad.  This is because they decided to FIGHT the Reapers.

Because it makes a lot of sense to fight the god-machines that live in cycles of wake and sleep that last 50,000 years.  ME1′s plot involves you keeping them asleep.  ME2 involves you discovering that their harvest are about reproduction, which is beautiful.  Until you fight the Human Reaper.  On foot.  And it looks like a Human.

They slat-out forgot about the “each a nation” quote, even though Legion brought it up two missions ago.  The fight literally had a weak point labelled “Weak Point.”

But the start of ME2 was the biggest warning sign.  Because they kill you and have you resurrected by space nazis.  From a narrative point of view this makes sense, from the point of view of the audience it’s fucking idiotic.  What they wanted to do was excuse the ability to rewrite your character and give you a bigger ship.

How about we try this?

Normandy gets destroyed.

Council and Alliance refuse to help you.

TIM shows up offering his aid.

This would do everything - single - thing it wanted to accomplish without pissing off the viewer.

Except Cybernetics.  Which they could have Miranda and Chakwas add to you, and it only works on you because it’s Prothean!  It would then give you a way to make you super Human without trying to hide in the code and bad enemy AI.

Later in the game you get offered the chance to use cybernetics copied from dead collectors.  I mean, they could have added XCOM here.  Research weapons.

But, that said, ME2′s combat engine was a preview of ME3′s.  After ME1′s game engine, no one was complaining.

[hopeshoodie]

How do you think Rocco would have done in s1 and how do you think your s1 mc would have handle him if they were couple-ed at the beginning?

👀

Also so many asks I want to send ahshshs spams you

This ended up being super long oops, readmore inserted for anyone who doesn't want to read me rambling about S1 and Rocco

Honestly I don’t think there’s many people who would do well in Season 1, not because there were a lot of eliminations (there really weren’t), but because the islanders in S1 did really realize the value of building up their personal narratives through relationships 

MC/her partner and Tim/Jen were the only ones who got close. The rest of the islanders were kind of just vibing, doing the challenges, and picking on each other. It’s one of the reasons I really like S1, it genuinely feels like a pilot season where the characters don’t know the meta of what’s happening and are just generally messier than shows that have established seasons. 

So as for Rocco, the question isn’t really how much drama he’d get into, it’s if there’s a character who he’ll like enough to create an organic storyline with. And that’s where I struggle. Because Allegra would NOT be into him, Lucy and Cherry would see right through him, Erikah likes pretty boys, Sammi is too good for him and comes in too late, and Talia has better options. 

That only leaves Jen. I can kind of see Jen defaulting to him the way she defaulted to Tim, and Rocco never has a problem with his partner being poorly behaved, but I don’t think… They’d be endearing in the way Jen/Tim were. Jen and Tim were shippable to the audience because they felt mismatched, you kind of root for Tim. But Rocco, with his cluelessness to how out of touch he seems socially, isn’t as endearing as Tim. So instead of having an incredibly endearing (but a little annoying and uggo) partner paired with a bland but attractive partner, you just have two generally attractive partners who are both insufferable. I don’t think the audience would root for that. 

Then again, Rocco already has a leg up on the other competitors, because he has depth that he’s willing to get into. No one else really confesses personal issues or gets super intimate with the other islanders in S1, but Rocco’s ready to come out swinging with ‘I dropped out of college because of depressions and also I think maybe I need to respect women more and also I struggle to connect with people because they always seem to make fun of me’, which gives him more intimacy to the audience and islanders AND sets him up for personal growth. The producers would want to keep him around/bring him back just to foster that growth and have a story to root for. 

So here’s my S1 route for Rocco- he comes in as an OG islander. He cracks on with all the girls, but instead of it blowing up into ‘he’s a snake let’s all bully him!!’ the S1 girls are just… Not impressed with him. He gets paired by Erikah because it’s either him or Jasper/Miles. She’s visibly not happy about it. He does his Rocco schtick- trying to get in on conversations, telling drawn out travel stories, trying to joke around with people but missing the punchline- and everyone generally ignores/makes fun of him. He gets eliminated, but the producers bring him back on day 10 as a returning islander, and that’s when he apologizes to the women for not really listening to them and only focusing on himself and what he wanted. I think he gets paired with Talia (instead of Jasper/Miles, ew) and she’s chill with that as long as he’s committed to actually being chill. 

Also my S1 MC Clara would eat Rocco's heart in the marketplace. She's a bitch.

[rametarin]

How I'd resolve the "female space marine" problem

One of the reasons why the Space Marines are exclusively male is because, "of tradition." Why is the Imperium bad? Because, as per the setting, it's a crumbing imperial power. Things are bad, BECAUSE of the hatred, the prejudices, the dogmas, the stigmas, the bigotries. It's part of WHY imperialism is bad. It's why the hive cities are sprawling dystopias that are perfect examples of death cults and totalitarian shitfests with authoritarianism at the top and anarchy on the seedy underbellies like Necromunda.

If you add female space marines to THE most regimented of factions, you institute change and hope to the setting. It's supposed to be an example of how society abuses the male sex into forced conscription, starts their training and indoctrination off as virtually child soldiers in their early teens, and then disposes of them.

Narratively speaking, sexually integrating that would serve the same purposes of adding white people and white slaves getting whipped alongside the black slaves in early colonial America, just to show how white slaves existed alongside the black and Asian. In a movie emphasizing the horrors specifically of black chattel slavery, it does little more than deplete the message and emphasis of the inhumanity happening to the black man in a movie about black slavery.

Meanwhile, the Sweet Baby Incs of the world simply do not want an all cis male faction to exist, because they see cis males as oppressors and perhaps even something to wash away in a sea of options and alternatives. To even have an all male faction to them, much the same way hard-leftists view all male-centric aspects that exist in our culture or society, as inherently oppressive to women. And yet, they will go to bat and defend all-female groups, clubs and things that explicitly say, "no boys or boy-identifying allowed." It isn't JUST about giving more appeal to female fans by adding women to the space marines to them, it's about imposing their standards and ideology to existing properties, bugger their narrative importance.

Among those that hold these disgusting beliefs that, "fiction is reality," that your work and art needs to reflect THEIR sensibilities and standards of what constitutes acceptable for, "our culture," and "our society," that means if you even have an all male faction in fiction for narrative purposes, you'd best prepare to have them make a big hullabaloo of "bringing your work into the 21st century!" and then talking big about how they're, "Juuuust sooo progressive and good, gais!" How they're, "making changes and improving the lot of women and minorities!"

What you're doing is making a big deal out of justifying elimination of art and story because it doesn't fit your agenda- one that says even allowing such things to exist in fiction somehow "sets a precedent" to allow people to think that's okay. You won't allow the image of rats for fear the existence of the images will encourage rat infestations in homes. It's asinine. You can't control peoples minds, so you create this elaborate nonsensical worldview where if you can just control art and speech, you can control their culture, and through controlling culture, control their thoughts.

And that to me describes the motivations of the loudest voices behind wanting female space marines. Anyone that argues for it and uses the word, "chud," can be described as this kind of shitty person. They don't want female space marines just because it'd be cool, but because it's about principle to them.

Therefore, I judge these motivations for wanting female space marines to be invalid and shit.

However, sidestepping the Sweet Baby Incs. of the world, if we were going purely by logic, there's no reason save some superscience space magic involved in why a female space marine couldn't exist.

Space Marines are created by a process in which they take some of the DNA of a Primarch and treat it, somehow making it an injectable thing into a prospective human being. This, 'geneseed' then starts mutating the human being into a minor homunculus version of their, "gene father." The process is extremely painful and horrific as the human being becomes a transhumanist weapon of war, their body not even belonging to them anymore, as they become an esteemed yet extremely expendible soldier of the holy human empire.

It is absolutely body horror, it is absolutely dehumanization, it is absolutely objectification. That is part of the horror of the setting. The Space Marines as an institution, by design of a farcical sci-horror-comedy, are a caricature of war and military and imperialism to the umpteenth degree, where traditions and standards don't change for literal tens of thousands of years because the horrifying existential stagnancy and bleakness of that change prevents any real progress, and the end user sees, unlikely to change or improve into the future.

And that is the point. That is the fucking point.

It's like if someone tried to have a movie about bigotry but wouldn't allow any of the characters or the laws they operate under to be bigoted. There'd be no conflict, no lesson, no example of things to change. There'd be no working reminder of how shit that thing is. Those that haven't experienced the oppressions would not understand their absence.

To be a Space Marine is the male experience of existing in a binary sexed species wherein because you are not the designated sex designed to bear children or expected or capable of nurturing the young in the same way as the females, you're expendable meat. The Space Marines scope out human populations for potential viable candidates, find them as pre-teens or teenagers, get them into programs to indoctrinate them, educate them, hock them up on geneseed to turn them into mini-versions of the named brand offspring of the Emperor and exemplars of the imperialist creed and imperium at large, and then go die in a trench as a faceless, nameless instrument of the state.

To sexually integrate that is basically a bad faith move to cheapen how that was a uniquely male expectation ("But women experienced it too!" Shut up. Women were never expected to be fodder on the front line and you fucking know it.) and retroactively censor how that was a unique burden placed on men by society and the state. Because it doesn't sell the image of women and other non-cismale sexual minorities as The Oppressed in their dichotomy of whom is oppressor vs. whom is oppressed. Arguing that society is baseline male supremacist, male dominated, and patriarchal. Which isn't true.

And yet, if we marginalize and minimize the horrors of war, imperialism, the bleakness and the despair, and think logically, there's only one unknown that causes the idea of female space marines to not work:

It's literal space magic with the black boxes of the geneseed. It's already purported to be between 20% of aspirants die during geneseed implantation and augmentation, and Fabius Bile is quoted as between 1/100 and 1/1000 that live to acually make it to the battlefield. And it's maintained solely because of the sheer SIZE and SCALE of the Imperium of Man. And that's with the sex more compatible with geneseed.

Do you know what happens when you give the wrong sex the wrong dosage and medications of certain drugs and chemicals? They experience minor complications, to death because the female physiology is not equipped to function that way. It's pretty much how the chromosonally male body is not physiologically set up to handle pregnancy beyond the existence of a uterus. The hardware isn't there and the function is incompatible.

To have female space marines, in the context of the setting, both hard functional and social, one would have to rethink the entire idea of a space marine, what is is, and how it's made.

Option 1: The Retconomicon Continuous.

Perhaps the least satisfying but most humorous option. The first alternative to designated all male sexed chapters, is simply say the Space Marines have always had female members, but they became battle brothers.

I'm not satisfied by this for the simple reason that it's stupid. They only take males, and after they give people a thorough exam to check them for possible problems, you'd think intersexed disorders or being female would strike them off from being acceptable candidates, given how expensive the geneseed resource is. It's... An Option. Not one I'd choose, but an option.

Option 2: The Imperial Hammers

Okay, imagine if you will, a joint project between the Adeptus Mechanicus and the Imperial Navy and Guard. Resources and development goes into an alternative to the Geneseed process, instead creating a more Captain America-esque system, and more Disel Punk, Exo-Squadian power armor. Lower quality than space marines and their armor, but you also have the advantage of a sexually integrated force, the ability to forge entirely new ground, and now the opportunity for elite special forces for the Imperial Guard.

Not only does it offer the opportunity for a special faction with traditions and heraldry and pomp and station, but also allows them to work very closely with the Imperial Guard. A go-between. Not quite as powerful as space marines, but more numerous, more responsive, more localized and convenient. They make up for their lack of raw alpha damage and armor with numerous and coordination and grit, just like the Imperial Guard ought to.

I cannot emphasize enough that these are already sexually integrated and as they do not use geneseed would not even need any way to modify existing continuity of the geneseed or the basis of the Space Marines in order to have more high flying, sonic or power blade wielding, bolter using armored up members of the Guard. It sidesteps ALL narrative problems of changing the Adeptus Astartes and gives people more of what their stated wants are: More opportunities for female frontline combatants, more opportunities for spotlights that are not dependent on sex, more narrative stories between Space Marines and the imperial Guard.

Option 3: The Iron Turncoats.

Imagine, if you will, a multi series long story set over a bunch of novels starring a T'au owned world with a human civilization on it, living under their Greater Good. This world becomes the testbed and hotspot where the T'au try and recreate Space Marines without really understanding geneseed verywell, the same way they try and reverse engineer other species' technology. Like they did with warp travel.

Well shit happens, they actually succeed in making space marines, of a sort, using modified geneseed. Exactly what they do to it isn't 100% known. Maybe it's damaged. Maybe it's just a variant with different minds and eyes at the helm, maybe it's just a fluke. Whatever the true reason, this reverse engineered variant of geneseed serves as the basis and template for their own designs, starting from scratch to accomplish the same goals. Perhaps even implied that they had more than a little assistance by a certain chairbound advocate in a golden room.

The end result is the T'au succeed in creating unique space marines, but didn't get the memo that the magic biological stuff doesn't need to work on females. So, this completely different substance that results in the augmentation process is engineered and designed with the female body in mind. Either as a his-and-hers or to be independent of the Y chromosome or necessity of two Xs.

Well now we have actual T'au Space Marines and an approximate of Black Carapace and not!Geneseed.

Something Happens, and the Ta'u Space Marines wind up meeting Guilliman, or Bellisarius Cawl, or both of them, in some fluke of fate. Circumstances see this T'auborn Faction wind up taken into Imperial custody for study and research via xenobiologists.

Guilleman, being a practical man that speaks for the Emperor, decides to shield these very very heretical entities from the full brunt of Imperial dogma, as is his right to do so. Bellisarius Cawl, similarly. And so they sit down with this strange anomalous faction for a chat.

Fast forwards a bit, and now you have a faction that is not the Adeptus Astartes proper, but fulfills a different niche. For all intents and purposes, it is an alternative method of producing what for all intents and purposes are Space Marines. One where the process does not care if you are male or female, but becomes the method by which female bodied space marines can exist without the rejection by Geneseed.

Option 4: The Holy Fire Control Computer

What happens when you mix the Adeptus Mechanicus and the Ecclesiarchy? An independent branch that operates between them. You get the Sisters of Battle's resources and the Mechanicus maintenance and know-how, and the massive flock of adherents to the Imperial Truth.

The Sisters of Battle don't solely exist just on the basis of "lol female only faction." It's also based on a bit of their lore that made exceptions for defenders, because they weren't men. So, you get Nuns with Guns.

I, also, don't want to pollute those waters that give females and women their own little representative club where they're the important group, with femininity being important to the basis of said group. So being loosely affiliated or borne of the relationship between them and the mechanicus for something new, is the most appropriate. Those loyal to the Sisters way of doing things, therefore, become Sisters of Battle.

The problem with the idea it'd be a Mechanicus only development would be, specifically, fears it'd be loyal to Mars first, not humanity, not the Emperor. Can't have that. Combining the techological resources and skill and know-how of the admechs with the pro-human and pro-emperor positions of the ecclesiarchy, you have a security force that sits somewhere between the space marines and imperial guard that isn't technically owned or a subserviant branch of either.

So take these two factions for their resources and knowledge and philosophy, and you get whatever they make. It would not need geneseed to function, and could use a wholly different process.

You'd therefore have an alternative to Astartes that function as Astartes do, alongside Mechanicus and Ecclesiarchy/Sisters of Battle interests. Room for specialist factions, lore factions, heraldry, and a million stories.

At the end of the day, "Woke" writing is about getting their way in accodance with their principles, in the end. They care as much about the setting and the subject matter and the sensitivities and important of the work, as a rapist cares about the emotional health, the physical integrity and the meaning of sex in the context of the recipients culture, in who they impose sex on. They do not care about what it means to other people, they will have their way.

We see this in how they ideologically demolished Werewolf: the Apocalypse without even trying to integrate passed lore and meta into the new, or square the circles and incongruence of how what they want does not square with what is or has been, they just plain ripped out what did not appeal to them and move on as if the cultural facets didn't matter and weren't important, since they didn't agree with them. They do not care about Warhammer 40,000 or why things are as they are, they see only an opportunity to do damage to something and scream about how they're opposing "the patriarchy" and "freeing people." They don't CARE how the changes they want to institute would change the setting, only that they get their way on their pretenses. That is all they care about. The imaginary smiling faces on the imaginary people that imaginarily care their imaginary rights were defended from an imaginary boogyman.

They do not care about how one might properly expand the setting to incorporate something like what they want. Their model isn't to add a chair to the table, or make the table bigger, it's simply to take someone else away from their seat they can odd-man-out and replace, to add whom they want to it. Alternatives, to them, are just "more acceptable stepping stones" to appropriating a thing and controlling it.

And that's why they won't settle for anything less than, "you aren't allowed to have a boys-only faction anymore." Because it's not about women in power armor, it's about male groups not being allowed to be male groups, anymore.

[semi-imaginary-place]

more dgs 2-5 trial

resolve. kazuma's resolve which started him on the path of law and across an ocean as an assassin. which drove him to britain even after he had lost his memory. and the resolve of ryuunosuke naruhodo to as stronghart puts it "pursue the truth to the bitter end"

yeah isn't there some law (in the US at least) where lawyers aren't allowed on a case they're personally involved in. well this is 1900 great britain so who knows. kazuma looking sketch although he did say he didn't kill gregson and for now i kinda believe him like narratively the writers even had susato comment that he doesn't lie.

ive connected two dots. judge jigoku was also the one kazuma consulted, after which he was set upon the path of a lawyer aspiring to be an exchange student. hmm kazuma was already an aspiring defence lawyer and exchange student when jigoku approached him to be an assassin. he really did want to defend his father in court initially at least. recruiting an actual random university student seems like a stupid plan. better to find an actual assassin and pretend they're a student.

ok im not a vallistics or forensics expert but if he was shot and died indtantly i dont think its impossible gregson crumpled to the floor and ended up curled up like in the photo. this logic is a stretch.

why is the murderer always one of the witnesses... but we havent used all the evidence or solved all the mysteries though that might be wrapped up in the victory antechamber scene. i do like how a lot of the murders were tied to greater pressures. like dr. sithe did so to keep the justice system she had built intact even if that meant living with blackmail above her head. and jigoku is caught in international relations and power struggles and cannot refuse the demands on a powerful empire. hmm contractually obligated to complete the assassination, jigoku could have sent another assassin to take the fall knowing that they would have no diplomatic immunity and would be executed but he decuded to do it himself. why did stronghart accept ryunosuke as a replacement?

accusing barok van zieks of being the conspiracy mastermind, that would be a seperate trial, his trial for for gregsons murder, these are seperate tho related crimes. what sort of kangaroo court is this.

was it really coincidence that barok was the one caught in jigoku's trap? its Suspiciously convenient aaand would eliminate the person investigating the reaper if barok was found guilty of murder.

fabricated conclusive evidence planted and "discovered" during the autopsy to turn genshin asogi into the scapegoat. yup thought we'd be going here. this was the case kazuma wanted to build from the begining as a defense lawyer. and with wilson is japan he'd be a liability for the reaper that was difficult to eliminate. dr wilson was the one overseeing the autopsy and he signed off on the report but dr mikotoba was the one who wrote that report. how much was mikotoba involved? summoning gregson's ghost to the stand. well i mean.... who knows whats possible and ghost testimony was used in court in like 2001. but besides that that leaves the asogi papers and maybe mikotoba.

the voice of the people or the ravings of a mob its hard to tell sometimes. those who hold power have the privelege of propriety and to speak quiety and still be heard.

ahh! this is the problem with me taking a year to play the duology! my memory sucks! that case with shamsphere we found a bloody dog colllar and some other stuff? in natsume's former room. and shamsphere learned of the cache from a prinson inmate who died? just who was the tenant before natsume i dont remember.

[iamnmbr3]

Hi. I've been reading threw a number of your posts related to Loki 2021 and the general impression your post give is that you don't like how Loki 2021 has been written and present (which I understand because while Loki is not a favourite character of mine, I want to see his character done justices). And I guess I was just wondering how you would have tackled Loki 2021, using the plot elements that have been established in the show, but with your own spin. Thank you :)

That's a great question! I think the premise actually had a ton of potential. @nikkoliferous and I often talk about all the really cool things that could've been done and why it's so particularly tragic that they wasted all that good story setup. I think there are 3 main types of directions the story could've gone in with this premise (and then a lot of variations within each type).

Direction 1 - A buddy comedy with a heart

So I think this is what they were trying to go for with Loki and Mobius's dynamic based on the narrative framing and how all the interviews have presented Mobius in a positive light. (Though that's not what they actually wrote at all).

The way to do this would be to set Mobius up in a more sympathetic way and put him and Loki on more even footing. They could've had Mobius be almost as much a prisoner as Loki. They could have started out with him being pretty indoctrinated into the TVA worldview, but also being considered expendable. We could've seen his superiors threaten him with deletion if he can't make things work with the Loki Variant. Maybe he even feels some compassion for Loki and convinces his superiors that Loki can be useful and shouldn't be deleted since he's powerless to do anything else and he figures being enslaved is probably better than dying. Loki could actually be in-character and question Mobius's world view etc. And Mobius could to the best of his ability treat him decently instead of smugly mocking and tormenting him.

We could have Loki escape early on and end up bringing Mobius along with him, either by accident or because he realizes Mobius will be killed for losing him and he feels bad about it. Then we have them thrown together by circumstances and they could slowly grow to trust each other over the course of the show. The series could dig into the parallels between them. Loki could point out to Mobius that he repeats the propaganda he's been taught but he's hardly less of a prisoner than Loki and his masters are hypocritical. This could also lead to Loki realizing that while maybe he wanted to tell himself that he was an ally of Thanos's the truth was anything but.

While they're on the run both could start to realize they're experiencing freedom from the first time. Mobius could learn to question the TVA and Loki could realize that maybe he can be himself and doesn't have to be a tool of Odin or Thanos. Loki could could grapple with how much control he had while attacking NYC (thus allowing Disney to leave that a bit open to interpretation without totally sweeping the torture and mind control under the rug) and Mobius could grapple with how complicit he has been in the TVA's horrific actions.

Rather than Loki "learning to be trustworthy" (smh) Loki could learn to trust someone else and that not everyone will betray him. Mobius could also be a stand-in for more casual viewers and slowly realize that Loki isn't just the uncomplicated villain he at first took him for. There could be a nice mix of substantive character drama and entertaining hijinks. And of course in the end they could burn the TVA to the ground and liberate all realities. There's so many variations on this and @nikkoliferous and I often chat about them. Because the show could've been so good! And yet. </3

Direction 2 - The TVA & Mobius are acknowledged as the great villains they are

This is kind of what they're making by accident without acknowledging it which leads to a lot of emotional dissonance in the narrative. In canon the TVA is a horrific organization and Mobius seems happily complicit. He doesn't seem to have any compunctions about supporting their agenda of using murder, genocide, forced labor, enslavement, torture, police brutality, sham trials without due process, and privacy violation to eliminate free will. He happily forced Loki to toil under threat of death, mocks and humiliates him, manipulates him, and participates in acts of torture. He is INCREDIBLY creepy and a great embodiment of the "banality of evil" concept. The TVA is also absolutely terrifying.

If the show actually leaned into that it would create a great sense of narrative tension. Loki has escaped Thanos only to once again fall into the hands of a horrifically evil and powerful enemy. And it's up to him to figure out a way out of this situation and a way to liberate all of reality from their grip. In this scenario it might be useful to introduce some other prisoner characters so that he has some friendlyish faces to interact with...and potentially an army to lead against the TVA after he's won them over and figured out a plan.

Mobius's parallels to Odin and Thanos would work really well here because having Loki eventually defeat him and tell him he doesn't get to tell Loki who he is or make him into a tool of evil would be hugely cathartic. We'd get to see Loki stand up to and defeat someone who parallels the two individuals who have most hurt and manipulated him and decide to make his own way from now on rather than trying to be what others make of him. It would be awesome.

Direction 3 - TVA are twist villains

Some people think this might be the direction the show is going. The problem is that if that's true it'll just fall flat because the TVA is already clearly villainous so there's no twist. In the first episode already we see them commit acts of murder, genocide (wiping out a whole timeline because they believe the beings in that timeline belong to a class - variants - that are unworthy of life), police brutality, trial without due process, privacy violation, torture, and illegitimate imposition of rule (they are not elected in any sense and yet they have appointed themselves the arbiters of reality) all in the service of eliminating free will. That is...not what heroes do.

However they COULD have been good twist villains with just a few tweaks. Maybe they approach Loki and play on his deep yearning to be viewed as good and worthy as well as his self-hatred and poor self image to convince him that an "evil" version of him is wreaking havoc and they need his help. Maybe they also sweeten the deal by offering him protection from Thanos and the Black Order since he has no idea they are dead in this timeline. (If you wanted to keep audiences more in the dark you could have them just talk about the Black Order so that audiences at first assume they are still hunting Loki even tho Thanos is dead and don't realize the TVA is manipulating Loki).

At first they don't do anything overtly evil. The authoritarian aesthetic would seem like a humorous parody of office culture. It would then take on a new, much more sinister meaning when the TVA get's revealed as evil later and we learn that they obliterate entire timelines, murder people for the slightest infractions, don't view variants as people, and want to eliminate free will. Mobius could either appear first as a friend and then get revealed as a villain or have a redemption arc where he ends up siding with Loki.

Also for all of these scenarios the script and characterization should be good. I should see Loki, not Larry his dumb lookalike cousin. The script should have Loki doing and saying things that are in-character. (Which certainly doesn't preclude humor since Loki's wit is one of his most iconic features!)

[snaamagica]

i think there’s an important aspect to madoka’s wish at the end of madoka magica that is commonly misunderstood. i’ve seen both the show and her character criticized because of her wish — it’s been pointed out by many, many voices that madoka didn’t end the system that exploits the girls who are brought into it, when they felt she should have

and that’s true. madoka could have wished to end the universe’s entropy problem; she could have wished the incubators came up with a kinder method, or that they cared at all about magical girls; she could have made a wish that removed the existence of the magical girl system — there are so many different ways she could have put an end to the entire thing, instead of sacrificing herself to simply prevent them from becoming witches

it’s very easy to look at the setting for puella magi and think the best, most thematic and appropriate solution to the majority of the conflicts in the series would be to eliminate the exploitative system. it makes a lot of sense, since that very system is, of course, representative of the many many many societal systems that takes advantage of girls and punishes them for being themselves and for having hope and dreams. these systems should be dismantled; so, the magical girl system must be dismantled, too, right?

but here’s the thing: madoka didn’t want to conceive of a world without magical girls. and this is something that not only makes sense, but works, for both her character and for the narrative

she wanted those girls to be given the power to make their wishes reality, and for them to not be punished for it. their wishes are granted by magic; their wishes are miracles. it’s true that by removing the magical girl system, these girls might have lived and found other ways to make their wishes real. but for many, their wishes were not things that could be achieved through believing in themselves, their friends, their families. they couldn’t be achieved through kindness, friendship, hard work, or even good luck

just in the lives that madoka knew: kyousuke was never going to play violin again. mami would have died in that car accident with her parents. madoka herself, and mami, and countless other people would have died to walpurgisnacht and that simply would have been the end of the story if homura hadn’t been able to turn back time. their wishes changed reality. their wishes were miracles

the magical girl system exploits the girls, sets them up so they can fall harder to profit off of their despair — but while it can represent real life societal systems, that isn’t ALL it does. puella magi madoka magica is full of layers upon layers of meaning and symbolism; why would this be any different? 

in the end, the magical girl system... is still about magical girls. it is still about girls, of all kinds, all personalities and backgrounds, and the power they have inside them. it is still about their relationships and the power they hold between them

madoka could have made a wish that got rid of the magical girl system. but she didn’t want to take these girls’ wishes, their miracles, their power, away from them

madoka’s wish isn’t about dismantling a horrible system — while far from a perfect solution, it’s about taking action to change it, reclaim it, keep the best parts of it, and turn it into something better

which is why i think that magia record truly honors the original show, because it is very much within that same spirit. it takes that concept and puts it in the hands of even more magical girls, so that it isn’t down to one girl’s experiences, her sacrifice, her decision. it’s up to everyone in the community the system affects to analyze, discuss, and consider what they can do with it, what they SHOULD do with it. and, of course, it’s a very messy thing, because what’s right for some people isn’t right for others. but it all still revolves around that one question presented at the end of madoka magica:

how can we take this system meant to exploit us, and turn it into something that makes everyone’s lives better?

madoka magica, on its own, without the rest of the series, can definitely be taken as a complete story. it was originally intended to be, after all; it ties each of its many layers together with such care it's very clear it was meant to be able to stand on its own. and, yes, the show never sees the exploitative system dismantled — and yes, that’s most certainly worth examination and discussion. (obviously, i have a lot to say about it.) but i don’t think it should be treated like a nail in the coffin, evidence of the show’s failing — there’s just so much more to it than that

[clarste]

Since it's been a few weeks, what's your opinion on Chapter 8 of Arknights? Reading about your opinion on other pieces of Arknights has been very nice so far.

I find this enemy description inordinately amusing so I will start with this before going to spoilers below the break.

1) First of all I am a sucker for flashbacks following the villain, so the basic structure of Chapter 8 was right up my alley. Even if Talulah's arc was more or less predictable—who among us did not expect Alina to die? I think some people might feel that it was a little too long, but honestly I think it said everything it needed to say and frankly there is nothing more important the chapter could have said. If anything, the parts that weren't about Talulah would be first on my chopping list if I were editing this story down. In particular, the whole bit with Kal'tsit and the sarcophagus and all that had almost nothing to do with the themes of this chapter or the Reunion arc, so they seemed especially superfluous. Even if that story might have been interesting told on its own.

2) Talulah. The main character of this chapter, obviously. I think there are two different angles to approach her from that seem almost mutually exclusive, which are that A) she is a tragic figure who started with noble ideals but was pushed to her limits until she became a ruthless shell of her former self and B) she is literally possessed by Kaschey, ie: the Deathless Black Snake, who is the immortal spirit of Imperialism manipulating the country of Ursus into a constant state of war. From what I've seen of people’s reactions, I think most people focus more on angle B, which makes sense because that is literally true in the story, but what I took from it is that it's a lot more ambiguous than that.

What I mean is that the story is constantly emphasizing that the Deathless Black Snake can only take action as long as Talulah agrees with it. It's more insidious than just an external ghost taking control of her (and thereby freeing her of responsibility for her actions), it's a philosophy that was planted in her by her mentor, a way of thinking, an idea. A living meme. So when I say that it's the immortal spirit of imperialism, I don't mean that as a joke, it is the embodiment of imperialism itself, of imperialist ideals and goals, manifested in this particular person the moment she starts seeing her enemies as obstacles to be eliminated instead of people with their own motivations. I certainly don't think that the trigger for the transformation was set arbitrarily, that's just Who She Needed To Be in order to buy into the ideas that Kaschey and the Snake had taught her from a young age. It’s also an ancient god taking physical control over her, but hey, it's fantasy.

Ultimately, we didn't defeat the Deathless Black Snake in battle, we just gave Talulah second thoughts. And she will live with what she's done for the rest of her life.

3) Amiya. In this chapter, more than anywhere else, it's clear that Amiya is the main character of Arknights. Sure, we have whatever Kal'tsit is plotting, and whatever the hell the Doctor is, but that doesn't actually matter. In fact, they spent this entire chapter walking around in the basement and never once interacting with Talulah. The Doctor shows up at the end with no idea what's going on or what happened, which is quite comical when you think about it.

By contrast, Amiya sees the big picture. Of the three people on top of the tower during the climax, only Amiya knows what both Talulah and Chen have been through, or indeed what she’s been though. What brought them all to that point. She is watching all these flashbacks right alongside us through her empathy powers. Which, as I've mentioned before, is really the best superpower in this setting: the power to see the world through someone else's eyes, and to feel the pain that drives them. And we, the players, feel what she feels. In a certain sense, she's even more of a player avatar here than even the Doctor, which I mean in the best possible way.

And of course her empathy gives her cool shounen superpowers that are suspiciously similar to Emiya Shirou, but I will allow it.

4) Chen. Chen is honestly kind of the weak link here, imo. While of course we've been following her character arc since chapter 3 and I don't mind where they've taken her, it ironically kind of felt to me like she had no personal stakes in the final battle. Which is odd since the story seemed to be hammering that it's all personal for her, what with Talulah being her long-lost sister and all that. The problem (imo) is that her close relationship with Talulah is all Told-Not-Shown, and also that Talulah is being possessed by the Deathless Black Snake, so it kind of feels like she's being left out of the loop, both in terms of knowing the facts and also emotionally.

I'm not saying she doesn't get any good lines, or that her banter with Amiya isn't cool or funny, I'm just saying that what should have been a big emotional moment at the climax of the story just sort of fell flat for me, and I was left wondering "wait, why is Chen here again?"

That said, I did enjoy her bit afterward where she's like "you need to stand fair trial for your crimes, Talulah, but in this world that discriminates against the Infected, there’s nowhere worthy of giving you one." I feel that sums up the game's stance on these things quite succinctly.

5) Rosmontis. Rosmontis had sort of an interesting arc here because it separated her from Amiya and I almost want to say that was a good thing? While I thought her relationship to Amiya was one of the most interesting things about her in the previous chapter, it almost feels like it was preventing her from forming bonds with other people and becoming a more well-rounded person? I guess what I want to say that is that Rosmontis was being coddled, sheltered, treated as a child. While some would call her a monster, Amiya was always around to say "no no no, don't listen to them, you're cute!" And while that was certainly nice of Amiya, it feels like what truly made her accept herself was almost the opposite: being accepted as a monster (or rather, a person with monstrous powers) by people used to fighting alongside monsters. Being told that she's allowed to hate the people who hurt her, and to be ruthless to her enemies. That her own emotions, both good or bad, are valid. For the first time, she felt human.

What you'll note, of course, is that these aren't exactly heroic virtues, and in fact they're kind of similar to what Amiya rejects and what got Talulah into so much trouble? Honestly I don't know if I would say Rosmontis is a good person right now, but what she is doing is thinking on her own for the first time, and deciding what's right and wrong for herself. It sounds almost malicious to put it this way, but it's like Amiya and Rhodes Island were trying to mold her into someone she's not. In some ways the opposite of what Kaschey did to Talulah.

I don't think her story is over yet, of course, but I found it an interesting direction to take. Rosmontis is on the path to find her own justice, which may or may not align with Rhodes Island's.

Also, kitty:

6) W. Back when I was doing a write-up for chapter 7, I said that maybe she would have been better off being recruitable in chapter 8 instead of 7, because it seemed a little early in her arc for that. I was wrong. She wouldn't fit in for chapter 8 either. Honestly she probably shouldn't be recruitable at all right now, not that I'm complaining as someone who uses her. Just, you know, narratively she is not at a place where she would consider joining RI, and in fact she ends the chapter pretty much going "later losers, I hope we never meet again." Which implies that the W in my squad right now is like a totally different person who is either from an alternate dimension or the future, after a lot of character development. That's not like the worst thing ever, it just seems a little weird to have her right now. W's story isn't about Reunion and never was. It's about Theresa and Babel, which as of now we are still only getting little hints of. I'd be glad to see that story when it happens, but until then W's just kind of there.

7) Themes. For some reason, this one line in this chapter really hit me. While it's not literally true, especially if you count all the former child slaves or feral children and whatnot, it does feel broadly true that most of the characters come from middle-class backgrounds. Like, your Krooses and Orchids of the world. Kal'tsit goes on to explain that this is because RI can only really recruit in cities, and that rural Infected tend to get thrown into the wilderness on their own and have no idea that RI exists.

Interestingly, this idea also sort of comes up in Talalah's side, when it's revealed that Talulah is the daughter of a duke, making her followers hesitate for a moment. While I don't recall it being explicitly spelled out, the implication was obviously that she's not "one of them" and this might be a cause for distrust. But what are "they' exactly? Clearly she is in fact Infected, she made sure of that herself. But she wasn't abandoned in the same way her followers were. She had a choice, and chose to side with the Infected. Which is honorable of her and all, but it also indicates a fundamental disconnect between them because they never had a choice. She could've used her influence to hide her oripathy and be treated like a normal person (as we saw happened with both Chen and Patriot), or used her wealth to get sent to a fancy private hospital like Rhodes Island, with the latest medical technology and treatments.

So while the story focuses on the discrimination of the Infected, it's clear here that that's not really the only thing going on. Being Infected means little to those in power, while for those without power it's just an an excuse to intrude on their lives and make sure they aren't "harboring any Infected" or whatever. Basically the story starts discussing intersectionality, which I found interesting.

8) This is a good line:

[mc-critical]

Hi darling, Idk if you talked about this before, but what do you think about Rumeysa (Mustafa's concubine)? Do you think they planned to make her Mustafa's wife untill the actress was changed? And also, if she would've become his wife, how do you think she'd act in comparison to how Mihrunnisa (queen) acted? We didn't really see a lot of her but I wanted to know what do you believe they wanted to do with her character

Hey, dear! 🤗 No, I haven't talked about Rumeysa in here. I'll cover the S03 one and the S04 one separately, because in practice, they're both very different characters.

I strongly dislike S03 Rumeysa as a character, to be brutally honest. She goes all good, nice and innocent, when secretly she's sneaky and even manipulative in order to fulfill her goals. The thing that annoys me the most is not necessarily her fixation on Mustafa and how she wants to get him, because after all, it's a harem and everyone wants to get him, but how nearly inexplicable her whole motivation is, in spite and outside of that.

I feel Rumeysa's arc could be split in two almost separate halves - her set-up in the harem (pre-E93) and her as a favorite in the harem. (post-E93). The most interesting things about her were precisely her set-up and backstory. The way she was sent to the harem, the way she was tied to signora Gabriella, the way both of them were about to reunite and when that happened, Rumeysa was just confused more than anything... The idea of sisters finding each other within these harem walls was fascinating, but that was seemingly dropped. I feel even from this point on that the show tried to make a case of a person who's been long in the harem and has lost the touch of a free life to the point of being afraid to leave, but her confusion on the signora and her refusal to go with her was the only part they pulled off. (not to mention they executed that concept much better with Sümbül!) Then begins the second half of her arc that went in another direction the writers didn't succeed to make me get. I didn't get why she wanted Mustafa so much. She said she wanted and appreciated Mustafa a lot and that was why she wanted to leave and this trainwreck began all of a sudden! That doesn't make any sense! She had no (or at least not pivotal) scenes with Mustafa before E93, she neither experienced a desire to get Mustafa, nor was it shown to the audience in any way before the convenient moment. Her build-up was never about Mustafa before then. Her arc was never about Mustafa before then. And yet Mustafa became the center of her character, to the point it's as if they were like: "let's have another woman for Mustafa, but this time with an even more overexaggerated you might think it was Turhan Hürrem-esque arc, so we can make her his full on woman!". She was paving her way through sneaky methods to the point of hypocrisy for no reason, she didn't even have much of a threat, either. Ayşe Hatun put pressure on her once in a while, but it felt understandable when she had a child from Mustafa and that, Rumeysa started acting this confident just like that. I get that in the harem you have to be sorta like that in order to survive, etc., but with Rumeysa that wasn't enough of a motivation! She seemed just fine under Mahidevran and taking care of Nergisşah before then, she could calm people down, what happened? And notice how in the second part of her arc these scenes were lowered to the minimum, or recontextualized, at the very least, so you can't buy anything with her anymore.

But wait, what if she always wanted Mustafa when she arrived? Then every moment of kindness she has shown, even to the little child, becomes even worse in retrospect, because it would either just suit her interest, either become a jarring contrast with what she has shaped up to be. But wait actually, that effect is achieved even without her arc being split in two halves! I would've sympathized with her much more if there was some additional motivation, like everyone else basically, but honestly, the harem excuse is all we could use with her and in her case, that just doesn't suffice, especially for such a big shift in storylines. And then after building up to a halvet, we had the halvet and it was over and left me very unsatisfied. (okay, that's probably because of the actress, but still)

She was screwed up spectacularly at best and downright horrible at worst. Her early concept was way too good to be left out like that and since that leaving out was maybe inevitable for the writers, they had to do this transition better and have the first half of the arc be focused on Rumeysa, as well as Gabriella, instead of making this whole line with her being Gabriella's sister she was searching for more of a plot twist than an organic build-up, because Gabi was the one click baited to want Mustafa! This character ended up being defined by her goal she was trying to fulfill and nothing else, not any redeeming quality whatsoever.

I think Rumeysa was the least suited woman for Mustafa, yes, even less than Fatma. Because if Fatma had some love for him and was genuinely trying to calm him down after Efsun at first, with Rumeysa we simply had steps to get him right from the start and an entire ordeal that wouldn't sit well with Mustafa. We didn't even know not only why she wanted Mustafa, but also what was it she had with Mustafa - was it love, was he just a vessel for her to rise in the hierarchy (that's probably it for me), what was next when he was all hers etc. We have no feelings, no insight here and Mustafa himself was only slightly intrigued at best. And even if she were there for the battle of the throne, she would definetly scheme even more actively than anyone else and that would seriously clash with Mustafa's desires. I don't think she would suit S03B Mustafa's level of maturity, either.

Yes, I would say S03 Rumeysa could very well be the endgame for Mustafa and become his wife if it wasn't for the actress leaving and stuff, because of how she was framed to succeed. This part of Rumeysa's arc existed in a vacuum, it was a tiny victory after a tiny victory due to sly thinking that she was always allowed to get away with somehow. Again, the way she was slowly, but surely getting her way reminded me of all the Hürrem-esque arcs in the series that did end up with these women becoming the total favourites and I wouldn't be surprised at the least if they kept that pattern of success with Rumeysa, since it was very present in her arc.

[While we're at it, I didn't get why Mahidevran believed her so much. On one hand, yes, character development, because, as seen with Mihrünnisa later, as well, Mahidevran no longer gets suspicious of the nature of these women and only intervenes when she sees a decision of Mustafa's regarding them that could potentially be dangerous for his future, coupled with the fact that Mahidevran values loyalty a lot and she has seen nothing but that with Rumeysa. But on the other hand... Mahi is usually so perceptive when it comes to women that could actually be problematic or dangerous for him and Rumeysa being the only exception then was as much character development and the chance of lowering her guard because of the calmer environment as it was.. way too convenient, since we saw Rumeysa was playing a game behind the curtain. Especially the situation when Rumeysa provoked Ayşe Hatun on purpose for Mahi and Musti to see and Mahi not listening to Ayşe or Fidan's warnings about Rumeysa, along with her fully adapting to the harem laws she was previously against and taking on her role as a Valide in Mustafa's harem, was almost like Plot Armor for Rumi similarly to how Hürrem acted accordingly when she saw SS listening to her in the candle mirror in E44, albeit in the opposite way. I view that as a clear recipe for narrative favor and I was appalled that it had to be with such a character.]

If S03 Rumeysa became his wife, I don't see her acting much like Mihrunnisa. First off, due to how her arc was framed, Ayşe Hatun would have very much stayed as an antagonist of hers (even though Rumi wouldn't view her as one in their confrontations) and would try to eliminate her in a secret, subtle and cunning way. While Rumeysa would definetly try her all to keep Mustafa safe and would try to win Mahidevran's support for the marriage the way Mihrunnisa did, Rumi would have more of an agenda of her own she would follow. I won't be surprised if she tried head down on the path to overpower them all in her influence of him, either. Mustafa and Mihrunnisa were partners more than anything, with the same ideals, aspirations and desires. They were very close in their way of thinking and how they would approach problems, that's why they had such a deep bond. S03 Rumeysa would get further and further away from Mustafa's personality as his wife and if the other S04 events are canon, she would probably indeed go and reveal Bayezid's marriage with Huricihan the moment Mustafa refused to and act herself instead.

S04 Rumeysa is barely there, but I like her a bit better. She is an entirely different character with her consistent worries for the future, her more caring and protecting nature and even Mahidevran's more "I'm fed up with all this" attitude to her. Even if we add S03 Rumeysa to the mix, we get at least more feeling out of her and what was she all about and we get some other contrasting facets of hers as a bonus: in contrast to Rumi calming Mahidevran down when Mustafa disobeyed SS's order in E91/2 (my favourite S03 Rumeysa scene, but it was also kinda ruined post-E93), now Mahidevran tells her not to worry so much. Thing is, S04 Rumeysa could very well work without S03 Rumeysa both because of the different actress and the different characterization that could only loosely recontextualize S03 Rumeysa at best, and since there was a time skip, some random concubine and favourite Mustafa slept with and she became pregnant wouldn't be out of the question at all. Yes, her death would probably have less impact that way, but nor could I ever bother with S03 Rumeysa, nor would it be weird because of her different dynamics, which made her look almost foreign in comparison. (that's not on the actress, both Rumeysas were great!) And it would be as impactful as it would've been for Mustafa and Mahidevran, because the loss of the child would be just as devastating for him and was still tied to the mirror of sin.

If S04 Rumeysa didn't die and became Mustafa's wife, I think their bond would be focused more on their future child than anything. Rumeysa would probably act similarly to S03 Ayşe Hatun, only in a more secure position, I see a lot of similarities there. I don't think their bond would be as deep, but they could have the chance to get close for a little bit. I see Rumeysa refraining from acting so much, because of her worrying for the consequences, but when that fear gets the best of her, she could take desperate measures.

[maxwell-grant]

Batman: The Idiot Root Part 2

Following @mirrorfalls​ ‘s ask and Part 1, in which I continue my look at the Batman storyline called “The Idiot Root” 

I feel a strange disconnect reading this storyline, in the sense that this comic is definitely hitting on some really, really good ideas, ideas that could make for a really gripping and incredibly disturbing storyline, but is passing them by too quickly for any of the ideas to sink in, which I’m starting to realize is a problem I may have with Batman comics in general.

But I’m definitely welcoming what this story has to offer. Peter Milligan really knows how to bring out the disturbing in Batman, and when paired with Norm Beyfogle it’s a winning duo.

...Huh, I guess Zeno is indian? Definitely doesn’t look like one, I just thought he was a random white dude getting too much focus. “Zeno” is not a Brazilian name, and I guess the intent was for it to be exotic on purpose? He did say he was “born here” when they arrived in the jungle, but...bruh, no

“my people”

Moving on

God, this should be harrowing and dramatic, and I feel like if this was a prose narrative you could get such delightfully unsettling descriptions of Crosby destroying the children one by one as the great horror from another world feasts on their minds and then the heads tethering him to this world explode as said horror bursts forth and talks about "dipping his tongue into all that succulent consciousness”, and I’m already sounding like I’m about to write a pulp horror story just describing it, but

but he looks so STUPID

he is just a GUY

I’m not even opposed to great horrors looking silly or ridiculous, I’m firmly in the “Mxyzptlk doesn’t need to be anything more than just a little guy in doofy clothing, and any attempts to make him “scarier” than he already is are hokey as shit” camp, but The Idiot’s not even that silly, he’s just a white guy in a straight jacket and a doofy haircut.

Like at this point I think the whole “Idiot” gimmick stopped being cute and funny and now it’s just frustrating and feels like it’s getting in the way of what could easily be a really, really great Batman horror story.

Not that it isn’t a GOOD Batman horror story or even nearing a great one, mind you, because this is still Peter Milligan with Norm Beyfogle at work, and they sell the hell out of the idea. But, again, it’s a couple steps short of being potentially the Batman horror story for the ages it could have been.

I do definitely like the “Zombies are the gateways to the real world” and the idea of a cosmic horror story where the great monster only uses the zombies as means to travel and sustenance, and the zombies themselves are just helpless victims. It’s almost like a Cosmic Vampire kind of thing.

Frankly, I would have liked it more if it was The Queen of Hearts from earlier that transformed into a cosmic vampire needing to hijack minds to survive, then you could blow up her inner struggle from before to greater proportions, as Batman tries to both save her as well as Rio from being consumed by an unholy abomination ever growing in power and bloodlust.

In fact, I’m gonna save this idea for later.

I get that De Freitas here is supposed to be a fairly typical “unsympathetic authority figure who doesn’t like the superhero and is going to be proven wrong by the story’s end”, and I’m definitely not about to start defending a cop character, especially a Brazilian cop, but I get the feeling that his constant remarks that he doesn’t trust Americans and their arrogance, and doesn’t trust American vigilantes, don’t quite make him as unsympathetic as Milligan intended. I absolutely think he’s right to be wary of Batman and to want this American superhero to stay the fuck away from Rio’s streets, which are more than enough of a handful to deal with as is without vigilantes and superheroes.

Well, I sure know who this asshole voted for in the last election.

To the story’s credit, getting torn apart by a crippling fear of birds is absolutely the kind of rushed, horror-movie finale that’s befitting The Idiot’s nature. It also means that The Penguin could kick this guy’s ass if warned beforehand of his capabilties and I absolutely want to see that happen.

Okay, I get that this is also very much an appropriate ending for a horror story, the hero finds a brief return to normalcy that’s forever tainted by an encounter with horror beyond imagination, and definitely not what I expected from a Batman comic, but...

That’s it? Batman just, left them? Didn’t drag the victims and Zeno to a Wayne Enterprises hospital to look after them, didn’t try and find a cure for their condition, didn’t stay in Rio to try and see where else the Idiot might have winded up, nothing? Didn’t even try to completely eliminate said idiot root from existence? Just, took a plane back to Gotham and brooded about it?

...Look, I don’t want to make this a pissing contest, I genuinely detest and never want to do those, but I gotta point that, in the one storyline where The Shadow encountered an ancient, all-powerful evil puppeteering the mindless husks of children to telepathically prey on mankind, the very first thing he did after temporarily putting it down was learn where it came from and travel halfway across the world to take a flamethrower to it.

And frankly I don’t see why Batman would have any reservations about doing the same thing, to a being that’s killed at least 60 people by the story’s count. But, really, he just feels bad about himself for a bit and leaves Rio (and Brazil by extension) to deal on their own with the potential return of a godlike murderous monster created by American machinations and perversions.

...Again, definitely wasn’t expecting that level of authenticity from a Batman story set in Brazil.

I guess overall I’d say I liked reading The Idiot Root, but it’s also one of those things that I keep having mixed feelings about due to the story not living up to it’s incredible potential. In regards to it’s depiction of Brazil, it’s definitely a lot better than I was expecting, considering the writer’s British and this is a Batman comic after all. I can definitely say there was some effort here (really undercut by the baffling decision to draw a supposed indian character as a white man but, hey, can’t win everything).

I can definitely say I’ll be mining some ideas out of this story for my own writings, thank you very much for introducing me to it. It’s quite fascinating, and if nothing else, if I ever get a job writing Batman, I’m definitely going to bring Mister Slim (under a more fitting name like Zé Magrão) back, definitely the most pleasing surprise from the book.

[casualotptrash]

Fixes to the Persona Series

Oh boy I hope you all are ready to talk about this for the hundredth time!

My recent tirade about the FES vs Portable discussion started to make me think about what I think could be done in the next coming installments of the series to make it either feel a bit more fresh or just as an overall improvement. Now, I know many of the things I’m about to say have been said time and time again, but...this is my post so I’m going to give my opinion on this :)

Enjoy and feel free to vent with me about your biggest gripes with the series, because I’m always ready for a salt-fest.

(This post will pretty much have any spoilers about Persona 3, 4, and 5 (including Royal) so beware if you haven’t finished those)

To clarify right off the bat, anything I don’t mention in here as something I would fix I either don’t think it is a problem or I just happened to forget it.

1. Player Gender Options

(Royal Spoilers)

Starting off with a great one, I think that an improvement to the series would be to allow an option between a male and a female MC. I don’t think this choice would affect the story in Persona 3 or 4 very much (and we’ve seen that with Persona 3), but I have imagined and seen so many fanfics about how it would actually be a really interesting twist for Persona 5. For most of the story it probably wouldn’t matter too much, but it could impact the first palace so much. The first palace/story arc is already one of the best arcs in the game, so imagine if the player could relate to Ann and Shiho on an even deeper level? To be clear, I’m not saying the player has to be sexually assaulted or something, but I imagine Kamoshida would at least treat the player more like Ann rather than just a delinquent nuisance.

Also, and this just came to mind, but picture this: in the third semester Maruki actualizes things that he thinks will make others happy. Obviously, Joker and Akechi are against this. In the game itself there are a lot of clues to point that Joker does care about Akechi, and does want to see him again, but in the end they both agree that they need to fight for the real world that they worked for, not for a fake reality. If Joker was a female, they could still go the route of doing this (especially if romancing Akechi was an option? Or they just hint at them having feelings but Akechi doesn’t want to commit because he’s a self-loathing boi who needs to work on himself first).

Alternatively...what about a badass narrative of a girl, in a powerful position as the leader of the Phantom Thieves, fighting against a man who believes he knows what’s best for her and tries to appease her by just bringing back Akechi? Kinda like a “Yeah fuck what you did, you just need Akechi/a man and he’ll make you happy” type of thing. Obviously this would all be subtle, because I do think Maruki has good intentions, but he also blames himself for all of the hard things Rumi has gone through and may internalize that as women needing a “strong man” to protect them. Of course this might seem too preachy for people, but I thought it was an interesting idea to run with and that some people could relate to the whole “Woman trying to think and do things for themselves? Nah just sit in your little fake world and be happy, thanks.”

(Sidenote, Sae would be such a good role model...after her change of heart of course. You crush it girl.)

However, I do understand that this could be a lot of extra work, especially when the game is so long and tedious. That’s why I would also be fine with the strategy of “switching off” per say. By that I mean if Persona 5 has a male MC, then Persona 6 would have a female MC, and if a 7th game was made (in 2040 or whatever) then it could go back to a male. This would eliminate the issue of having to record all the voice lines twice or any other extra work that would come with having to make both genders an option. Honestly I know this option doesn’t matter too much to people, they just want an MC who is either a self-insert or actually a character (more on that later), but I do think it would be a very nice inclusion especially for the female fans of the game. It kind of sucks that three of the most popular games in the series all have male protags, and the female protag who was introduced often gets shafted for very dumb reasons. (Oh no, you have the option to romance a kid that most people don’t even choose or like, that means she’s a p*do! :I I know this comment is normally a joke but seriously it’s not funny).

2. Setting of the game (not transfer but also maybe involve the other games?)

(Spoilers for the Arena games and Persona 5/Royal)

So there are two main points to this suggestion: where the game takes place and how it relates to the other games.

As we all know, the three latest entries in the mainline Persona series have all followed a certain trend. They are all high schoolers, who transfer to a town, and know basically no one there. This formula has been repeated for the last three games, and while they are still great games, I think this trend needs to change. Any amount of switching this up would be better than nothing in my opinion. For example, the MC could be a new college student who goes to a new place for college (if they wanted the MC to move somewhere), and there meets the party members who are a mix of people who also don’t know the area (new to the college) and those who do know the area/some people there. This would appease people who have been really wanting an MC to not be a high schooler, while also giving the feel of meeting new people and seeing a new place.

On the other hand, the next game could take place in the MC’s home town, where plot stuff happens and they connect more to the people they already knew (aka party members) to solve the plot stuff. They could be in high school or college, either I think would work, but it would appease people who don’t just want to be a transfer student each time and also have some connection to the characters prior to the game. However, this would be difficult to do given the current “flow” that the games have, that is that the MC doesn’t know anything and has to ask a million questions. It would be very strange to go up to someone you have known most of your life and ask them a basic question, which is why that style of storytelling(?) would not fit well with this and other methods would need to be used.

Now, for the second point, I understand that they don’t make strong connections to the other games because they want each game to be able to be played as a stand-alone, and not to hold people back by forcing them to play the other games to understand this. Makes sense, but usually what happens is that people play one game in the series and then try another game, if they really like the one they started with. After playing through the ones they want to, and if they like them, then there is an appreciation for the series as a whole. Of course Atlus sneaks in little references here and there, like having the P4 gang go to Iwatodai or some TV news announcements on P5 that allude to Adachi and other characters, but those cant always cut it. One of the biggest letdowns I would come to know is the fact that the Shadow Operatives are not mentioned at all, outside of those small references, in P5.

Persona 5 literally has the PT’s broadcasting all of their heists, and includes major government officials like Shido. There are also the mental shutdowns/psychotic breakdowns, which also have people confused, along with how the PT’s steal hearts in the first place. I don’t know about you all, but this seems like the perfect opportunity to get the Shadow Operatives involved. This is like...literally what they were made for? Investigating persona/shadow activity and such, and we already know that the PT’s deeds reached at least Hawaii so it would be strange for the SO’s to have not heard anything. There are headcanons that they were blocked by Shido or something, which is pretty interesting to think about/develop, but it was only thought up to make an excuse for why they aren’t there. Persona 5 introduced a lot of people to the story, so yeah some people would probably be very confused about who the SO’s are and stuff, but it could payoff in the long run for long-time fans and those who play the other games after.

Depending on the story of P6, I don’t think it would be a bad idea to start including casts from the other games into newer ones...especially when each game introduces 8-9 new characters per game, and those games usually get made into spin-offs that include the characters made in the previous games! Counting only the characters introduced in the previous games (3-5), Persona Q2 has 33 characters (11 P3, 10 P5, 10 P4, and 2 P3P, this includes the velvet room assistants for each respective game). That’s a ton! Sure, having new characters each time is part of the fun, but I believe there is definitely a way to split them up. I don’t think it would be too much of an issue to have a smaller party member group (you can only have 4 fight at a time anyway), that way there is still the enjoyment of seeing new characters, while also filling up some of those spots with preexisting ones.

3. Characterization

This kind of piggybacks off of the second point, but personally I think they need to stop with the self-insert protags. First, like I mentioned earlier, it kind of messes up the “flow” of the game since they have to pretend that the character doesn’t know anything because the player doesn’t know anything (yet). For example, how many times did the option to say “Probation?” or “Expelled?” or something like that come up as a dialogue choice in P5? Too often, in my opinion. I assume anyone over the age of 15 would probably know what those things mean, but in case anyone doesn’t they have to make it an option to say.

Adding onto this, it also seems like people start to like the characters a whole lot more when spinoffs or movies/animations come out that really expand on the character, because in those games/mediums the player is taken out of the self-insert role. I would say out of the three games, the Persona 3 protags have the most characterization in game through their dialogue. I haven’t watched the movies, but I heard it fleshes the MC out a lot more. In Persona 4...well, I see what they’re going for but I also feel like Yu has the personality of a cardboard box. The animations definitely helped out this one, as did Arena, and I’ve seen other people agree that they liked Yu a lot more after playing/watching those things.

As for Persona 5, I think they tried to give Joker some characterization (and oddly enough “Joker” has a lot more to him than Akira/Ren, but he still fell more on the side of self-insert. P5 the animation is...of questionable quality, but I think Xander did a good job in the Dub (which is the one I watched) in trying to make him feel more like a human being. I haven’t played Strikers, but I assume it goes more on the route of P5 because you’re still controlling Joker. Oddly enough, I feel like the dancing game gave him the most characterization? Call me crazy, but his dance moves and voice lines just ooze of his suave, friendly, and supportive attitude. I wish that they took whatever those voice lines embodied and just put them into the game, because I would like Joker a lot more than I already do (which, to be clear, I do still like him a lot).

Although this doesn’t have much to do with the characterization, it would also be nice if Atlus could just put the “canon name” in the game while also still having the option to choose your own name. Again, this might add a little more work but maybe if someone chose the “canon” option then their name could be spoken in voice lines, but if they don’t then the names would be left out (except for text) like usual. Honestly this is mostly up to personal preference because I like some of the “not canon” names more so I would want to use those if I could, but I also don’t like having the characters just randomly cut off in the end of sentences when they’re saying your name. Just kind of breaks immersion, which is probably why I really like Joker because at least they say “Joker” quite a bit.

(Little rant, but why do the PT’s get like two group names? At first Morgana defaults to “The Phantom Thieves of Hearts” but then when you get to choose the name of your team, that name is what shows up instead. However, everyone still calls you the “Phantom Thieves” and the gang refers to themselves as that too! I get naming the group is kind of cool, but I would have preferred if they were just called The Phantom Thieves (of Hearts) and that way their name could be spoken in dialogue too.)

4. Choices matter...please? (romance and regular dialogue)

This might be easy or difficult to implement, I’m not so sure because I’m not a game developer, but I really wish choices mattered more in this game. I feel like most of these suggestions (especially later on down the list) are just little things that could be added to the game that would really amp it up, and this is one of them.

When I talk about choices mattering, I do not mean that dialogue should be so open that there are branching paths and that your choices affect the story. What I mean is that you could choose two different options and not get the same exact answer. I get that this isn’t always the case, but when it is it feels very strange. In this same vein of things, please stop with the illusion of choice because everyone sees right through it. I didn’t really see this as much in P3, and I still need to finish P4, but it was definitely apparent with P5. I felt that so many times in the game there were two options that were just “Option A” or “Synonym for Option A” as the choices.

Along the same lines, I think it would be great if romance choices were actually acknowledged. Again, there is a little of this in P3 and P4 where some party members comment on your relation to the other party members (Ex. Junpei saying to take care of Fuuka if you date, Yukari stating that Akihiko probably wouldn’t want FeMC going on a group date if they’re dating, and Yosuke coming to assumptions about who Yu spends the summer festival with), but they are very few and far between. I also saw no evidence of this at all in P5, which was pretty disappointing. In fact, in Persona 5 Royal if you are dating Ann and go on the Christmas Date with her, she makes some comment about not wanting the others to find out about them. Like...girl, considering someone can finish Ann’s social link as early as June or so on NG+ I’m pretty sure your friend group would notice if you’ve been dating for 6 months?? I know that romance is definitely not the focus of the game, but if you’re going to include it why is it shoved into the farthest corner and never touched?

Don’t get me wrong, it is cute to see the romances in the game play out and such, but on the same hand I can see how much better it could be. In reality it kind of sucks to romance someone in the Persona games because no one acknowledges it, and you only get like 3-4 small scenes in each game to spend with them (beach in P5, festival in all, Christmas in all, valentines except for 3, White Day in P5R). Just imagine if you could take a walk in Kyoto with whoever you romanced, or were able to take your partner to the Jazz Jin in P5R and they would get like special date dialogue or something? Very very small additions, but it would go a long way in making the romances feel a bit more connected.

5. LGBT Romances

I went into this in some detail in Part 3 of my FES vs Portable debate post, so I to save your eyes from reading more I’ll just quickly say that Atlus definitely needs to add in more LGBT romance options because it’s ridiculous at this point. The fact that you can’t romance any guy (because all of the MC’s are male, this is not including the FeMC stuff because that’s not typical in the Persona series) but can have a whole harem (despite what they may do to you) is just ridiculous. They’d rather let you date a fully-fledged adult than someone of the same gender.

Also they’re cowards for scrapping the Yosuke romance and that’s that :)

6. Fixing Social Links

Link to the stand-alone post about this section.

I literally was going to include this in this post, but this section alone (which I knew was going to be the biggest) was almost as large (a few hundred words off) than everything prior to this point put together. I’ll make a separate post with just this section soon, but this criticism of mine can basically be boiled down into the fact that the main growth of a character should happen outside of their social link in order to avoid tonal whiplash in the story, and that this will fix the problem of some characters feeling “one-note” if you do not do their social links/confidants. Essentially, go back to the P3 method.

However, something that needs to be fixed for all of the games is that you shouldn’t only get social link points for saying what the person wants to hear. I get the train of thought that if you say what they want to hear they will like you more, but that’s not how real friendships work? Obviously you shouldn’t be saying something that offends them and think it will raise your points, but sometimes people just need to hear things?

I can think of three standout examples: Nozomi in P3 (Gourmet King), Mishima in P5, and Shinya in P5. Nozomi’s link is a hot mess in of itself, but it was very frustrating to at one point just be like “Hey can you chill?” when he’s trying to induct you into a scam/cult or whatever, and it reverses the social link. Like ok buddy fuck you too, I was just trying to say no and that you need to stop scamming people?? For Mishima in P5 (I’ll go more in depth on him in a later post), it’s just kind of strange that you can clearly see him starting to obsess about the PT’s but you can’t really tell him he needs to stop until the social link demands it. Even then, the only way to get points is pretty much to go “Wow Mishima, you’re the best! You’re the reason we exist! We love you!!!” and it just feels kind of wrong. Shinya’s is very much along the same line as that, except you basically have to do something even worse and encourage him to keep being a bully? Thankfully P5 doesn’t reverse confidants, but I probably would have done so with Shinya because I kept telling him he shouldn’t bully others until I realized how to get points with him. It just feels wrong to encourage such behavior until the character suddenly realizes they’ve been acting wrong. No shit, I’ve been trying to say that.

I think social links need quite the fix to them, but this is definitely one of them. Strong, real relationships are not just built upon telling the other person what they want to hear.

7. Have Characters Hang Out

This is mostly a suggestion based off of P5′s downfall in this aspect. I think that P3 and P4 did a good job at showing the characters hang out in other aspects, or hang out separately outside of the MC. P4 had a lot of good group hangouts, but not many scenes without the MC. P3 had the opposite where members kind of hung out together a bit, but also showed or mentioned them hanging out without the MC. However, P5 didn’t have much for the group hangouts and also I can’t really recall a single scene of the party members hanging out outside of the MC.

Along with all of the problems I mentioned earlier with the cardboard cut-out personalities, I feel that this contributed to P5′s group feeling a bit less cohesive. Obviously when they all hung out they acted like a real group of friends, but it’s hard to see it as legitimate when 95% of their hangouts are just meetings for the Phantom Thief stuff. The only times they hang out outside of the PT stuff is the TV station, the fireworks festival, helping Futaba + the beach trip, and the culture festival. Like I said, I can’t recall them hanging out together outside of being with the MC/PT business, although I could have missed some stray text message if one was mentioned.

In this aspect, P5 feels like a small step down from P3 and a huge step down from P4. I think some of the events in P4 are a bit unnecessarily long, but at least they go through the effort of showing that the group is also a real friend group, not just people trying to solve the murder. Strikers may be a step up from P5, but I haven’t played it yet so I can’t judge that.

Also bring back school trips to prior locations of Persona games. Imagine P5 group going to Inaba and it turns out this is the small country town that Joker came from? And they sprinkle in references to P4? *chefs kiss*.

8. Remove/Change Certain Tropes

(Spoilers for the babe hunts, stupid ass hot springs scenes, and Ryuji abuse after certain palace)

By that spoiler tag, you can probably tell that this is the category I’m most passionate about. I can deal with social links feeling a bit disconnected. I can deal with the MC being a self-insert. What I cant deal with anymore? These. Dumb. Ass. Scenes.

Let me explain (insert Sojiro voice here)

Every game has three main tropes. One, the babe hunt scenes. Two, the hot springs scenes. Three, one character being dunked on by everyone else. I’ll go through each, scream about my feelings about them, and why they need to change.

First, the babe hunt scenes. I don’t have much of a problem with this trope to be honest, I just think it could be done better in some games. I actually think the one in P3 was quite funny, because the group treated it like an “operation” which added a bit to humor. Truth be told, I was just a bit disappointed in P3P FeMC route when you didn’t have your own version of the “babe hunt” thing. I know Yukari and Mitsuru aren’t the types to go hunt for boys, but perhaps the MC could have suggested it as a fun idea. In P4, this scene happens in Okina and largely remains the same as the P3 formula, but I think it lacks just a bit of the humor that the P3 one had. Lastly, in P5 this scene happens during the beach trip but compared to the others it’s pretty...lackluster?

It shows a montage of Joker, Ryuji, and Yusuke talking to girls but no actual dialogue goes on. After talking to three or so, Yusuke disappears and this is when Joker and Ryuji meet the two “flamboyant” men again. This time, the men either chase them down or call after them (?) depending on if you’re playing Vanilla or Royal. I don’t like how they use these men in the first place, but on top of that it kind of takes the “babe hunt” out of “babe hunt” if you don’t actually...hunt for babes? Like no actual dialogue is spoken when trying to convince the girls, which was most of the fun in the other scenes. You don’t even have free reign to walk around at the beach, and the scene is formatted in a more cutscene type of way.  It just makes P5′s babe hunt fall flat in many ways, and overall I finished the scene with a strong “meh.” The only good things about this was watching Makoto and Ann defend themselves and Yusuke with the lobsters.

Now for the hot springs scenes....hoo boy.

Simply put, in my opinion, these scenes suck ass in almost all of the games. P3 is the least egregious in my opinion, for a couple reasons. First is that it shows that Junpei and Ryoji were kind of trying to peep on the girls, and Akihiko and MC were just dragged into it. They have some funny dialogue, and in FES and Portable they even included the option to try and evade the girls. I found the little evade minigame to be really fun, even though every time I can’t help but fail because I want to say “It was a cat!” I find it interesting that there is the option for the men to get off scott-free, and that their dialogue after the trip is over changes slightly because of this.

On the FeMC side, I also find it fun that you have the reverse of the minigame and actually seek out the boys. My only letdown with this entire scene is if the boys are caught. I get it, it’s supposed to be funny with Mitsuru executing them and such, but as a reasonable person with a brain it seems really dumb to me that Mitsuru would just punish all of them when it’s just Ryoji and Junpei’s fault? This is nothing against Mitsuru, but her actions just seem so...exaggerated for some reason? Like Mitsuru is usually smart, and even if she is embarrassed I don’t get why she would punish innocent party members. A huge disappointment for me was that the FeMC isn’t able to stop Mitsuru from doing this either. Not even a choice to try and encourage Mitsuru or discourage her (so both options would be available). You just kinda sit there and watch, even after Akihiko say “It was a misunderstanding!” or something. For me it was especially strange because MC was dating Akihiko at that point, so why wouldn’t I try to hear him out? Just struck me as kind of dumb.

If I thought that was dumb, P4 and P5 were out to really make me roll my eyes and sigh in disappointment. Unlike P3, which has most of the scene being pretty good besides the very end where Mitsuru punishes the boys, the P4 and P5 scenes are all bad. This is not the first time anyone has said it, and won’t be the last, but they aren’t funny scenes in the slightest.

In P4, it’s actually the girl’s fault that they’re in the hot springs when the boys walk in. They stayed over their allotted time and into the time when boys are supposed to be in there. So what do they do? Get flustered, yell at them, and throw buckets at the group. Oh, and they don’t listen to the boy’s protests at all. Really.

Who thought this was a good idea?? The girls even realize after that they were in the wrong, say they should apologize, but I don’t think they ever show a scene of them apologizing after. This whole scene, like the hot springs ones in general, are just exaggerated (ie. throwing masses of buckets) to be funny, but they really fail in my opinion. It just serves to make the player kinda angry (since they’re usually on the receiving end) and make the girls look wildly unrealistic and dumb. I have never really thought that needless physical abuse is funny, so these scenes are just the bane of my existence apparently.

There actually isn’t a hot springs scene in P5, but they did add one in Strikers.

If they wanted to still do these scenes, maybe they could switch from making it “just beat up the boys” into something else. For example, the girls could try to peep, or walk in on the boys. Equality y’all, sometimes girls can do those things too (but still don’t beat them up. Just don’t beat anyone up). If none of that happens, or maybe that’s how the scene ends, the rest of the scene could just be a chill, relaxing scene between those involved. Essentially, how the scenes go before the whole “lets beat up the boys” thing comes in.

Lastly, on basically the same vein as why I don’t like the hot springs scenes, I’m starting to get real sick of the “let’s shit on this one character” trope. In Persona 3, I don’t think it’s that bad because they kind of do it with Junpei but they also give him a lot of character development, and eventually the sort of hostile shitting on him turns into just gentle teasing.

For P4 I still don’t think it is too bad, because Yosuke is kind of the one being shit on but he also does the same to the other people in the group? I suppose the only thing that really sticks out to me is how Teddie abuses Yosuke’s wallet (making him buy/pay for a lot of stuff with his hard earned cash), but I also don’t like Teddie at all in the first place so I may be biased about him. Oh well, he still shouldn’t do those things and I don’t really find it funny but to each their own.

However...this problem walks and rocks the fucking runway in Persona 5. Namely, this happens with Ryuji. The most obvious aggressor in this is Morgana, because him and Ryuji butt heads so often, but the other thieves kind of do it as well. Obviously they don’t do this all the time, but it’s extremely frustrating when they do. Morgana getting into arguments with Ryuji at the drop of a hat get old very quick, and the other thieves poking a bit of fun about how dumb Ryuji can be is also not that riveting. Despite all of that, the scene that highlights all of this is the scene after Shido’s palace collapse.

You all knew this was coming, but I couldn’t resist talking about it. The scene is so tone deaf in so many ways that it takes away all of the emotional impact that they were trying to build. Even the first time I watched this scene, in which I didn’t think they would kill off Ryuji, I could still sympathize with the group being concerned about him. Then when he shows up they...just beat him up and leave him unconscious next to a pole while they walk away? Wow.

On all subsequent playthroughs I just skip this scene, but I truly cannot understand why that was the angle they went for. Were they trying to insert some humor right after an emotional scene? That can be done in certain cases, but....why??? It’s so unbelievable it’s almost laughable. It’s not even like the bath scene where the the girls think the guys are trying to peep on them. It’s simply because he survived which I assume is what they wanted!

“Oh no you made us thought you were dead (even though he didn’t because he couldn’t control any of this), we’re going to beat you up!” Now you just make the characters look like irrational idiots.

Seriously Atlus, stop doing this. In most cases it just serves to make the player kind of frustrated, and in this case it it literally takes all of the emotional weight out of the scene and makes me think worse of the entire female cast. Please. Stop.

Well that’s the end of that. I don’t think I said anything too revolutionary, although my opinions about the social links and characterization might get me some flak. I just want the characters to be more than one personality trait... This was a really long post again, so kudos to whoever made it to this point!

Next time, on Dragon Ball Z Casual’s pointless posts: something Persona related :)

[blackswaneuroparedux]

Patricia Highsmith: The problem of good art made by bad people

No writer would ever betray his secret life. It would be like standing naked in public.

- Patricia Highsmith, the novelist writing to a friend in 1940

Patricia Highsmith, who died in 1995 having written a series of psychological thrillers, including The Talented Mr Ripley and Strangers on a Train and the romance The Price of Salt, left two sets of diaries hidden in a linen closet in her home in Ticino, Switzerland.

In one she recorded details about her professional life: plot ideas, philosophical musings and thoughts on writing. In the other she documented her private reflections and memories, including a single sexual encounter with the writer Arthur Koestler (a “miserable, joyless episode”) and her efforts, through psychotherapy, to “get myself into a condition to be married”.

She had no more compassion for men than she did for women. In one entry Highsmith writes that “the American male does not know what to do with a girl once he has her. He is not really depressed or inhibited by his inherited or environmentally conceived Puritan restraints: he simply has no goal within the sexual situation”.

Highsmith’s diaries, which run to more than 8,000 pages, have been pored over by biographers, but have never before been made public, or in this case interwoven into a single narrative of the life of a complex woman who thought deeply about themes of good and evil, loneliness and intimacy.

It was in her diary that she described becoming sexually obsessed with a customer at Bloomingdale’s in New York, whom she later followed to her home, provoking observations about murder and love.

She had an obsession about detailing absolutely everything in her life, very much like Sylvia Plath. And she drew on the diaries for her novels, which explore the notion of obsession, guilt and murder, and reject rationality and logic for the darker elements of human personality.” Dubbed “the poet of apprehension“ by the novelist Graham Greene, who said she “created a world without moral endings … Nothing is certain when we have crossed this frontier”, the Texas-born Highsmith was deeply influenced by European existentialists such as Albert Camus and Søren Kierkegaard, and those influences are deeply felt in her diaries.

She was a lesbian who hated women, totally politically incorrect in lots of ways, and certainly not a poster girl for the feminist movement. She hated blacks, Jews, men, and women. A sort of equal opportunities hater then. In mitigation Highsmith was self aware of her own beliefs and it mortified her and was a source of constant anxiety. She herself was fighting many demons including her mother’s rejection, an attempted seduction by her father as a child, and being sexually abused by two travelling salesmen. She had a tough life.

But there is a question over how far Highsmith can now be assimilated into contemporary culture of ‘wokeness’ and ‘MeToo’.

There is no question in person she could be a monstrous, violent and quite unpleasant woman. Knowing about her life and views could for some make it difficult to read her works. But for all that I think the diaries’ publication could help to again reveal that, contrary to popular imagination, creativity is not necessarily rooted in our best instincts.

These same highly culturally charged debates raged around the controversial French writer Celine in France. In Germany Wagner continues to be a touchy issue. Or back again in France, the recent controversy at the Césars where many people walked out as child minor rapist Roman Polanski was honoured for his latest film.

Going further back Gaugin was a pedophile. Degas was an anti-Semite. Caravaggio killed a man. Where do you draw the line? When do you draw the line?

Some argue art cannot be good or evil. Only the artist can. What he/she presents as art is a different dimension of thinking and somehow not really representative of the artist. I’m not entirely convinced by that argument. If only because great art is never transmitted through an empty vessel but is actively germinated through the life experiences of the artist. But also more importantly most artists don’t separate themselves from their art as they are convinced their art comes from the deepest depths of their being.

We don’t have to be puritans to acknowledge that some henious actions deserve more consideration than historically allotted to a consideration of the artist and his/her works.

But those who are ‘woke’ liberal left activists arguably seem to be advocating a one size that fits all approach. There is no wriggle room for discourse correction or allowing nuance to inform the conversation. And I use the word ‘conversation’ deliberately because such things are nearly always being worked out in real time and also each one of us ascribe different values to different things e.g. Picasso cheats on his lovers and so I don’t like his art, whilst others would say, so what? Grow up. There is a serious slippery slope that if you eliminate the bad artist and writer from the canon and you might as well eliminate art and literature itself. And that’s where we might well end up.

I believe that adjusting personal behaviour seems much easier than enforcing an interpretative cultural lens on a shifting audience and telling them this is how you should enjoy art.

I personally believe it’s a matter of personal conscience and conviction. If you’ve really searched your heart, and found that a piece of art is just that important to you, as many people do without admitting it out loud, then it should be fine to engage with it. But the imperative now is to privately think about why it matters to you. If I can justify that to myself then yes, I will go ahead and ‘enjoy’ that piece of art regardless of how much of a shit the artist was or is.

To me it’s not a question of compartmentalising, of ignoring or suspending my disgust with an artist's personal behaviour so as to concentrate on the art. I'm watching and reading because I expect art to be about moral dangers in a way that is less didactic than essays are. I expect art to be troubling because I expect people to be troubling. I am prepared to like and dislike something in every work. I can also appreciate the aesthetic genius of a moral monster without feeling that I am becoming inured to monstrosity.

For this reason when I for example look at  Benvenuto Cellini, creator of Perseus With the Head of Medusa, was a murderer and a rapist. He killed at least two men and was accused by a model of sexually assaulting her. This does not stop me from looking with great amazement and curiosity at the naked and sexual Perseus With the Head of the Medusa. The knowledge of the immorality of the creator does not distract from my enjoyment of his creation; indeed I am made even more curious to know how beauty is perceived by a violently troubled man.

In the end for me, and I can only speak for myself, contrary to popular imagination, creativity is not necessarily rooted in our best instincts. Nietzsche said, “One must still have chaos in oneself to be able to give birth to a dancing star.” I like that.

A human creature born abnormally, inhumanly sensitive. To the artist, to paraphrase Pearl S. Buck, a touch is a blow, a sound is a noise, a misfortune is a tragedy, a joy is an ecstasy, a friend is a lover, a lover is a god, and failure is death. Add to this a cruel overpowering necessity to create - so that without the creating of music or poetry or books or buildings or something of meaning, his very breath is cut off from him. He must create, must pour out creation. By some strange, unknown, inward urgency he is not really alive unless he is creating. 

In Patricia Highsmith’s case it’s revealing she said once in a sly backhanded way, “My New Year’s Eve Toast: to all the devils, lusts, passions, greeds, envies, loves, hates, strange desires, enemies ghostly and real, the army of memories, with which I do battle — may they never give me peace.” A true great artist never know really knows peace or contentment for this is the price of creation. The intensity of personal turmoil is the fuel of their creativity.

The Greeks may have believed that they had “muses” whispering ideas in their ears. Or that the Romans believed they wrote with their “genius”. But I suspect the best artists are those that are in touch with and confront their humanity, at their best and at their worst.

[sanstropfremir]

it's kingdom time for real!!! the first episode is here and mnet finally uploaded the stages from like a month ago so i can actually watch them more than once to review.

happy to see them all actually performing. not the most interesting stages overall, but it was the 100sec one-take so i wasn’t expecting anything crazy. like the performance stages, this is about what i expected at this point in the show.

ranking under the cut, i have Opinions(tm) and they are not all pretty.

(anyone that’s seeing this for the first time, i’m a trained performance designer with over 30 credits and a decade of experience, yes i can talk about this with authority)

a few general notes:

this type of stage that mnet has built is called a traverse, or alley, stage. named exactly for the reason you think. it’s characterized by a narrow playing space with audience on opposite sides, and two entrances on either end. so mnet had a pretty typical setup. there are some advantages to this type of stage:

because of the narrow stage space and usually smaller audience capacity, the performer and audience are in much closer proximity

because of the shape of the space, blocking (choreography but for not-dance) can travel well and be very dynamic

it’s uncommon outside of midsize/small productions so there’s some novelty for the casual theatre goer

however! there are some pitfalls with this type of stage. the hardest type of stage to work with is (theatre) in the round. theatre in the round is characterized by being....in the round. that means the audience is placed 360 degrees around the playing space. which means that they can see everything; every entrance, every exit, every performer’s back, 360 degree sightlines means there is nowhere to hide. and in a medium that relies on concealment to create magic, it’s a tough stage to work with. not saying it doesn’t work. some of the most incredible shows i’ve been to have been theatre in the round, but when you go to those type of shows, as an audience member you understand that there will be some scenes where you only see the actors’ backs. there is no perfect seat in the round. the reverse is true as well, the actors can only act to those in front of them. and like i stated previously, on the production end it becomes difficult to hide things like props/set/costume changes that you might have been able to in another type of theatre. why am i talking about theatre in the round? because traverse works on exactly the same principle. even though the audience is only on two sides, the same issues still arise. directionality is key: a director has to be careful of how exactly the stage gets blocked.

why am i talking about stage formats? because the space always informs the performance, that’s why. i think mnet made a sort of smart choice to build a traverse stage. since the ‘audience’ is a video camera, that eliminates the need to play to the opposing seating banks, and opens up more staging opportunities. it’s a fancy looking stage that does what they need it to. 

now here’s my gripes. if you��re going to specifically orient a stage so that it is by nature directional, why are you broadcasting in a format where direction doesn’t matter? if the camera has no fixed position, then you’ve just skipped directly into in the round staging without taking into account the function of the space. it's a round peg in a square hole; yes it fits, but you can see the spaces where it doesn’t quite match up. for a very obvious example, any shot that is not staring directly down the barrel of the stage from left or right has audience in it. and not enough to be worthy of a reaction shots (because those are just cut in in post), but enough to just be there. why would you do that when you could just.....not? just go properly in the round and then you wouldn’t have that distraction. especially when the audience is wearing white. also, there are only so many ways you can stage on a traverse, you’re pretty much limited to directional points on a compass, because there are literal risers in the way. because of the way most groups are choreographed, the member layouts lean more towards having the members in a line than they do layering the members deep. this configuration is fine on a proscenium stage (which is what most stages are), and would even be fine on a traverse stage if you were playing to the risers. you could even do some interesting choreo alterations. but! because mnet has decided that the camera is perpendicular to the risers, that means that most of the formations are not optimized for the stage dimensions and are in fact the opposite dimensions. most of these groups are doing their longest blocking across the shortest area of stage, which is dumb. although it isn't much of a problem because the stage is still very large, but it's still a bizarre choice on behalf of mnet. why would you not arrange the stage so you have more clearance for the camera, the audience, and also the performers? i would have to check back over the rtk performances, but im pretty sure at one point they switch to an in the round stage. why are you not doing that from the start? this would also allow for more built setpieces. although it does remain to be seen if they do switch after this episode, since this particular challenge was a one-take with minimal props/set pieces. which segues to my next point: these groups barely took up the parameters of the challenge, or utilized them effectively! this is also mnet’s fault, mnet if you say that you’re gonna do a one-take, don't cut between seven other cameras!! show us the power of that single point of view! let the groups actually do some interesting blocking with the path of the camera! there’s so many interesting things they could have done, but no!! had to be boring!! i know this is technically an introductory stage, but i also don't care. these groups have (relatively) competent ADs and stylists, they can think outside the box.

ok now here’s my actual rankings:

1. btob

sorry babies, none of you can match them vocally. love you ateez but you sure fucked up picking them to go after you because they blew you out of the fucking water. and everyone else, but ateez cumulatively is the weakest vocally. more on that later. like the performance stage they showcased their strengths and the experience (and training) shows. good use of the directional stage having three vs one that came together in the middle. loved the white suit variations, im especially a sucker for a belted suit jacket. loved peniel's gigantic trench and massive earrings, very mid 90s, his stylist definitely took a lesson in how to accessorize very short hair. always love good use of fog. uniform colour theme, all elements were there to support the vocals. no complaints, chef’s kiss.

2. ikon

hey baby groups? see bobby having fun? do that more. i know you think performance face is sexy and serious but none of you know how to act and you all look dead inside on stage. the lights may be on but nobody’s home. anyways. excellent beginning formation, excellent ending formation, no complicated position changes that make the camera give you motion sickness. fun choreo that they are obviously having fun performing, which goes sooooo far in the success of a performance. only group so far to use silence as an effective device, and the arrangement was interesting and suited to the song+performance. i think it was smart of them not to deploy bobby right away, although it would have been funny to watch after whatever it was that stray kids was trying to do. again, like btob and also sf9, sticking to their strengths. costumes fun and fitting, indicative of both the colour of the group and of the song. nice detail in the monochrome and the black accent details.

3. sf9

taeyang is that bitch and they only way this would have been better is if he had actually grabbed the ties of those two other members (if you think i am going to remember anyone's names other than the people i already know you are wrong). love the confidence to waste a good chunk of your 90 seconds for walking and standing in formation. actual good use of one-take directional camera, even though they ruined it once they started dancing. choreo perfectly fine, lighting good complementary colour scheme, costumes nothing to write home about, surprisingly good projection design? wasn’t expecting that. im not the biggest fan white suit jackets over black shirts but ill give it a pass for the proper suit accessorizing.

4. ateez

i applaud your dedication to the pirate gimmick but boys you don't need that anymore, i promise. hongjoong's lil bloody cough was a fun gag that didn't draw too much attention but fit with the theme. came out of the gate strong with an actual clear narrative, which can be a challenge to do in 100 seconds, and the only group to have a narrative. also actual camera choreo! that was interesting! mnet stop fucking cutting to overhead shots! apparently im destined to always be beefing with the ateez stylists because what was the point of all that? very little variation in texture or pattern on matte all black just made any relevant details disappear. torch gimmick and end formation fun, and the arrangement had an obvious climax. weird and kinda fun projection design, but not helped by concert-style stage lighting. pick one or the other lighting designer, don't make them fight like that! props to them for actually having their mics on the whole time, even though they are probably the weakest group vocally. im also going to be beefing with the choreographer because they are always making seonghwa sing while doing ridiculous moves that make him go offkey. ateez has some of the stronger 4th gen vocals, but they're at a disadvantage because a) none of them have proper vocal training, and b) their main vocal is not actually a skilled singer and is destroying his voice.not a lot of vocals for them to showcase this stage and that was probably for the best. hanya (@changdyke) is in charge of vocals critique and will have more to say about this than me, even though i am also trained. im just here to talk about the production.

5. the boyz

im neutral to positive on tbz because i did really like their danger stage from rtk. this performance is just....fine. I don’t like the arrangement, but that's mostly personal opinion. but it doesn't have a conclusive end and the whole dissonance thing isn't really working for me in this instance. the choreo is quite flippy and tricking is not necessary for an interesting choreo. i did like the throwback/use of modern choreo, i think that's a strong choice for them and it's not something that many other groups are doing, so they should stick more to that than to tricking. the camera choreo is also not good. here’s where the clearance issues and fighting against the stage layout happen! stop making a handheld do a 180! are you trying to make us motion sick? to be fair, this is not the most egregious one, but at least ateez got it right by having a person lead the camera in a particular pattern. also, what even is the theme here? leatherclad boys in the forest? nobody give me any shit saying it's based off one of their music videos or whatever, that shouldn't matter. there should be a clear theme that can be easily identified without prior knowledge of the group, especially when this is an introductory stage and they are a relatively young group. none of the other groups have this issue. that being said, at least the costumes were interesting to look at, although thematically confusing. good use of accessories, texture, and bedazzling to make the black stand out against the stage. the hands in front of the camera were kind of fun but didnt really mean anything? again, back to the lack of clear concept. i did like them reaching out to pull that member forward, it would have been better if they had just left it at that.

6. stray kids

the more i watch this the more i hate it. im not even sorry about it anymore. starters, and i will admit this upfront: i do not like most 4th gen music, so the spiderman meme groups are already operating on a deficit in my point of view. and i particularly did not like this arrangement. same as with tbz, why did it not have a conclusive end? also overuse of sound effects. and stop saying your fucking band name! the only musician that’s allowed to do that is jason derulo and thats because hes a meme now. but twice in 100 seconds? no. and what was the point of that logo/crown reveal? im tired of crown reveals we have seen them so many times by now, we don't need to see it again. was it meant to be that they were carving it into the ground?? very unclear. there was an attempt with camera choreo, and i will admit that the pan up and then back down to the ‘wolf pack’ was probably the strongest moment in the whole performance. the lights were in their mouths, by the way. however, the rest of the choreo is all over the map, quite literally. as with tbz there’s a lot of members in the group and so in order for everyone to get their screen time they break down into smaller groups, which i don't disagree with on principle, but here.........the breakdowns are just tricking, which although eyecatching, does not a very compelling or cohesive choreo make. even the unison choreo is weird, obviously its stylized horror but it just looks awkward and strange. you can make awkward/unattractive choreo work (see taemin’s want, or even move, to some extent)***, but skz doesn't have an ounce of the charisma that taemin has so it just looks awkward. also, that rapid switch between opposite sides of the stage? nausea inducing. ateez was the one with the pirate concept but skz apparently trying to make us seasick. im not gonna say anything about that rap other than it was bad, why was that allowed on stage. the sparkthrower was fun but that's like the 14th gimmick in this 100 second stage and that’s too many gimmicks. costumes are truly nothing to write home about, extremely unclear relation to the theme. if you're gonna be wolves then at least have some fur accents or something. the makeup effects were a bit over the top and not necessary in the actual performance. a hairdresser needs to thin out felix’s hair because he looks like he's wearing one of those lego hair helmets. oh, i did like that one guy’s shirt with the collarbone cutout, but again: how is that relevant to the theme? cmon people!!!! design the whole experience!! im sure there’s more i could write but holy shit this is long and im tired and also i don't want to watch this stage anymore.

ok im done. jesus this is long. again, this is just the intro stage so i suspect that some of my complaints will become null next week, but we’ll have to see! well, what i actually want to see is changmin insulting children but i’m not holding out hope for that to happen. hopefully we see some more spectacle-y stages and i can really go in.

***this is not me saying that taemin has a bad choreo that he’s making the best of. want is purposefully choreographed that way in order to showcase taemin’s ability. same with move. the point of want is that it IS awkward and should not be seductive or appealing and yet it still is. almost like....it’s in the name of the song or something.....

[colorseeingchick]

The Inevitable Dystopia of My Hero Academia (WITHOUT manga spoilers)

As noted by your local political science anime lover.

(This is a summary/rambling about a political science paper I wrote on My Hero. This is only based on the anime. I’m not caught up on the manga)

Warnings: Vague reference to abuse (Endeavor), discussion of political theory, discourse.

A/N: It’s lengthy and all over the place. It also might be impossible to follow. So I’m sorry in advance lol.

THESE ARE JUST MY OPINIONS AND A FORM OF DISCOURSE. I’m open to discussing if you have thoughts! Political science is about understanding policy and structures, not taking a stance. Any comparisons to ‘modern society’ are in reference to 1st world/developed societies, as those are the governments that parallel the My Hero Academia government. 

The politics of My Hero Academia is... pretty morbid if you ask me. It’s not worse than the real world, sure, but maybe that’s why it’s all the scarier. Even with quirks and super powers, the impossible becoming possible, it isn’t enough to save them from the undesirable. Their society seems to have fallen into a cycle of suffering and oppression that has no end. 

Now, I know no one really gets excited about political theory (unless you’re like me, then please be my friend), but there are some concepts that you’ll need to understand in order to follow along with my argument. So bear with me. 

First, utopia. Utopia is probably a term you’ve heard casually, but the definition political theorists hold it to is simply- “a good place.” Often times it is depicted as a far away dreamland, only possible in the realm of fiction (and this makes sense given that My Hero is fictional). It is very important to understand that utopia is not necessarily perfect. It’s just better than average. There are a few standards that characterize utopia, one being the utopian focus on having very strict laws to repress the unstable nature of mankind [1]. I’ll come back to this. 

Next is dystopia. Dystopia as an idea was actually made in response to utopia. It’s the ‘not-utopia,’ and is lumped with ‘anti-utopia’ (this comment is in reference to the semiotic square, if you would like to develop a further look into it). The simplest way to understand dystopia is to know it’s ‘a not-good place.’ [2] But that’s surprisingly broad. Dystopias can be a failed utopia, or they could have developed on their own as a result of any number of reasons. You’ve probably seen all sorts of depictions of dystopia (climate dystopias, medical dystopias, technology-based dystopias, literally any YA novel from my childhood, you get the idea). Its key to note that unlike an apocalypse, where there is utter destruction and it ends with complete annihilation of humanity, there is hope* inherently written into it. 

*Hope here meaning there’s theoretically a way for the government to be changed/overthrown without death of the majority. 

Now that all that boring stuff is out of the way- let’s talk about My Hero Academia. 

I’d argue that, at first glance, Hero Society seems to be working towards utopia. When reading from Deku’s perspective, especially in the beginning, you would think that their society is close to becoming utopian. The impossible is possible, being a hero is a reality, and a symbol of peace tangibly and definitively exists. When you compare it to pre-quirk society, these changes would appear to be developments. As for the ‘in progress’ aspect, I think Hawks verbalizes it best when he says his goal is for heroes to have too much time on their hands. They aren’t there yet, but if that goal is achieved, it would be a mark of utopia. 

They’ve achieved some level of utopian standards by meeting the ‘strict laws to repress the unstable nature’ standard. Think about the concept of licensing quirks, quirk regulation, and the government institutions that regulate quirk society. Remember when Tomura cornered Deku at the shopping mall and mentioned something along the lines of, ‘all these people could wield their quirks at any moment they want, but choose not to? Instead they smile and laugh.’ 

He has a point. Why is that? From a political theorist point of view, it’s honestly very shocking. For centuries, theorists have argued about how to manage human nature. It’s a difficult task as is. Give everyone superpowers? That would have to be 10x as chaotic. But in the My Hero world, it’s not. It’s well organized. The government took action to regulate the physical instability of humanity which arose from quirks. What’s so impressive to me is that they managed to mitigate (not eliminate) the instability of human nature/behavior along with it.

But if you take a step back to look at My Hero Academia, slowing down and stepping out of Deku’s shoes, I don’t think the instinct is to classify it as a utopia in progress. Of course, its superpowered with quirks- adding to the realm of possibility. But crime of all sorts is superpowered, just as the justice systems/law enforcement in the country. 

When I made this realization, I understood I had kind of been drawn into the propaganda the society puts out. It’s a sort of cloak built up by the positive media around the heroes, the narrative being focused on young heroes and their great mentors, and the universal title of ‘villain’ being put on everyone that breaks the government’s laws (this really bothers me, and maybe I’ll discuss it another time). Things aren’t better. Crime rates have gone down I believe, but the anti-hero sentiments being harbored are more intense than in certain real world societies. Hero society hasn’t necessarily resolved any of the problems that our society would have. The balance is the same, but the possible actions people can take, or the behaviors that are exhibited, are scaled up on both sides of the law.

What’s worse is that- even if its not a universal experience, this society is also a dystopia for many people. The first hint of this society being less than perfect is when we hear from Stain and his pursuit of a ‘just society’ by eliminating fraudulent heroes. His ideals are surprisingly level-headed, and very rigorous in standard, even if it is based in questionable morals. But it’s easy to brush it off. However, its less deniable as you learn more about these characters. 

Shigaraki was abandoned and waited for heroes to save him, but they didn’t. Overhaul was also an orphan living on the streets. Eri was abandoned by her mother because of her quirk. Twice was villainized, when in reality he has mental health issues (dissociative identity disorder I believe). It broke my heart when Twice said “heroes only save good people.” Who decided they were bad people? Why weren’t they saved?

Also, can we talk about the quirkism? (Which I don’t know if that’s a real term within this fandom yet, it might be, but just to be on the same page, I mean quirk-based discrimination) You have people like Shinsou, who’s treated as villain even though he wants be a hero- solely because of his quirk. I believe Toga was also treated poorly because of the nature of her quirk as well (correct me if I’m wrong). And then you have Midoriya, who was harassed and bullied for not having a quirk at all. Clearly none of them have control over the way they were born, and yet they all had to deal with how society treats them because of the uncontrollable. (At this point I’m sure its clear there are a lot of parallels with the discourse around quirkism, racism, and sexism, which is a whole nother conversation).

Having good quirks also seems to get you a pass, or puts you outside the reach of the law. The only example I need for this is Endeavor and his children. Despite all the abuse he’s done that makes him a villain in my book, he stays the number 2 hero. That’s all I need to say. 

The suffering of all these individuals is a direct result of the failure of the government. And this isn’t a ‘government should have taken extra steps to help them.’ This is a situation where the government’s structure, including the sensationalized media and monopolization of quirk use, has actively attacked and oppressed people who otherwise would have been untargeted. 

This is a world of misery for them- the people who make up the underworld. We call them villains and criminals because they are- but I don’t think its fair to call all of them bad people. They definitely didn’t start out that way. They are the results of suffering. They are created by a society that solely aims to remove them from existence. This hero society is so unjust that its faults create its own villains. The villains they aim to stop came to be because of the ‘heroes’ in the first place. The irony there is painful, and I hate that it’s a sort of self fulfilling prophecy. 

The reason why I think it’s morbid is because there is no escape. Quirk society in its current state is undeniably a dystopia for many. But the issue is (and this was the crux of my argument in my paper) dystopia and utopia inevitably and consistently coinhabit space. What is utopia to one will be a dystopia to another. There is no way to get everyone to uniformly view society. 

What that means is, somebody will always be suffering in this society. At least, that’s the cycle that’s been set up. In the episode where Tamaki got shot with a quirk erasing bullet and Kirishima fought the gangster on quirk enhancing drugs, that gangster did say that this was ‘their time’ to rise. “It’ll be the age of those who live in the shadows.” They’re not looking for resolution. They’re looking for revenge. They want to flip the script and be the ones living in utopia while everyone else is subject to suffering. The concept of everyone living happily in harmony and true peace isn’t even in consideration. 

There seems to be no middle ground, no solution to the push and pull between the ‘heroes’ and ‘villains.’ The unfairness will continue to be passed around, and unless someone can break the cycle, attack the corruption of the system at its roots,

the problem is not going to go away. 

Sources!

[1] Claeys, Gregory, and Fatima Vieira. “The Concept of Utopia.” In The         Cambridge Companion to Utopian Literature. Cambridge: Cambridge University Press, 2013.

[2] Robinson , Kim Stanley. “Dystopias Now.” Commune, November 17, 2018.            https://communemag.com/dystopias-now/.

Copyright © 2020 Colorseeingchick. All rights reserved. 

[bloody-wonder]

U said u had lots to say on the topic of girls who become 'not like other girls' due to being ostracized by the more popular girls which they then try to distance themselves from, I'm curious what u had to say?

i have very mixed feelings about the whole “not like other girls” thing. nowadays people associate it exclusively with those outdated memes or distasteful ya tropes choosing to forget that these cringey online phenomena are the fallout of some harmful situations and expectations girls and young women still have to deal with irl. (sara z has an in-depth video essay on this topic which i highly recommend).

on paper, i very much agree that women should do whatever they want to, regardless of whether it is in accordance with the gender norms and expectations superimposed by the society, and that a person who’s against girls liking “girly things” is clearly in the wrong. but in day-to-day life it’s much more complicated than that. it’s true that we shouldn’t hate women for the choices they make but rather we should fight against the system that forces them to make some of those choices and then pits them against each other. but it’s also true that women, whose identity is, consciously or not, more in line with what the society expects women to be, often choose to ally themselves with the system instead of trying to fight it and risking losing the rewards (which often come in form of heteronormative “dream life” or some such). in the words of linda nochlin, the middle-class woman has a great deal more to lose than her chains. 

speaking of ya, it looks like after the wave of heroines who were praised by their problematic love interests for being “not like other girls” while also having no close female friends came the backlash in the form of what i call the “not like other girls” conflict - a trope that tries to rectify the situation with hating on “girly girls” but completely fails to acknowledge the root of the problem. among the books i’ve recently read it’s featured most prominently in a lady's guide to petticoats and piracy by mackenzi lee. 

(i’m going to explain with some mild spoilers so be warned)

the book is set in the 18th century so the main character felicity who is “not like other girls” and wants to become a doctor is completely miserable. bc of her gender the society in which she lives won’t let her follow her dreams. her best friend johanna who used to be “not like other girls” together with her when they were kids and dreamed of becoming an explorer now grew up to be very much “like other girls” and left felicity behind. the conflict between them escalates when johanna tells felicity her version of what happened: as she grew up she was still very much interested in exploring and being friends with felicity but she also became interested in traditionally “womanly things” and made friends with “other girls”, including the ones who had always mocked felicity, but she never left her behind - instead, it was felicity who started distancing herself to the point of ending their friendship. “why can’t i do both?”, asks johanna and in theory she’s completely right. the narrative certainly thinks she’s right as it makes the entire situation a step in felicity’s character development when she recognizes her internalized misogyny, apologizes, is forgiven and the focus of the story shifts to fighting the patriarchy with the means traditionally associated with femininity. what remains unexplored are felicity’s fears and reasons for distancing herself from johanna: while it’s not her friend’s fault that they live in a sexist society, the knowledge that when the push comes to shove she can easily blend in with it and leave felicity out in the cold doesn’t help their relationship either.

you might say, it’s not the 18th century anymore so the situation can’t be that grave. so let me end this with a personal example that bugs me a lot. i don’t wear make up, haven’t worn it since i was 14. now at 25 i honestly have no idea how to put it on, i’ve lost the skill completely and i don’t own any. in my daily life i don’t spare it a single thought, but in recent years i’ve been questioning more and more whether my academic and professional life would be more successful if my appearance was more “professional” - which for a woman means that she has to wear make up. maybe all those job interviews came to nothing at least partly bc i didn’t wear any. maybe it’s better to wear some next time, just to be sure. doesn’t sound like a big problem, right? except i don’t own any and tbh have no money to spare to buy it, i don’t know how to put it on and i have neither time nor desire to learn how. plus, i just fundamentally resent the idea that i have to do it just bc i am a woman. make up costs lots of money, putting it on and removing it is time-consuming, and when it’s on you can’t touch your face cause now it’s suddenly not a part of your body but a picture for other people to look at. given all of this, wearing make up shouldn’t be an obligation or a necessity and yet it is. i see many women both online and irl complain about it and i also see women say “it’s okay if you wear it for yourself or for fun”. but the problem is, we won’t make any progress with this until wearing make up isn’t expected of women anymore which won’t happen until we stop wearing it en masse, thereby eliminating the basis for this expectation - even those of us who like to wear it. or think that they like it. 

otherwise it’s just half of us stepping back into the ranks and blending in while the other half is left out in the cold.