#oh like when people criticize the dialogue in life is strange

[simptasia]

"nobody talks like that" is a statement that just doesn't work for a species of 8 billion jabbering insane apes

[steppingonyourshadow]

Selected excerpts from Xiao Zhan's Global People interview

Our interview with Xiao Zhan took place in the depths of the night. During the day, he had been busy with training camp for a new movie, and at night he attended a taping of a promotional program for his new show which ran until almost midnight. In the lounge which had been converted into our interview space hung the two outfits he wore today. Two pairs of white trainers sat on the ground. Once the equipment and the lights had been set up, there was almost no space to move.

After he finished the taping, Xiao Zhan changed as quickly as he could, fixed his hair and hurried to the lounge. Near the door, he stopped for just a moment, slowed his steps, came in. Greeted me coolly, sat quietly. Staff bustled around him, adjusting lighting, checking the mic. As he picked up and carefully read through the interview outline, there seemed to be a spotlight beaming down from above his head, separating him from the noise of the outside world, leaving only a man immersed in thought.

It seemed to be a habit of Xiao Zhan's to have some paper on hand. Acting coach Yang Xu, who has worked with him many times, once described him as "constantly with a script in hand". This comes partly from anxiety about the role, and also the respect he has for the character. As an actor with no professional training, Xiao Zhan still maintains a conscientious approach to performance.

This attitude, lurking beneath the surface, has been crucial to quietly helping him make the transformation from quantity to quality. In the past three years, Xiao Zhan starred in the play A Dream Like A Dream, with more than ten thousand characters of dialogue; there have been a steady stream of releases, ranging from costume to modern dramas, from fantasy to realist; when the TV series Where Dreams Began was released in June, audiences saw a more mature "actor Xiao Zhan".

"I think the way in which I'm most like Xiao Chunsheng is that if we decide on the right thing to do, we will persist with it all the way. In the show, Xiao Chunsheng had to make a lot of different choices as society changed around him, but the core of what he insisted on never changed, including how he is with his friends, family, and his life's work. He's kind of an obstinate person," Xiao Zhan told us.

"When people talk about you in the future, what do you hope they'll say?" We asked him.

"That show he was in recently was pretty good," Xiao Zhan says, smiling.

This is his intent, to be an actor who is known for his work. In recent years, Xiao Zhan has increasingly felt the special connection an actor has to the act of performance. At the end of the work day, back in his hotel room, he would often think back on the day with a strange sense of satisfaction.

"I'd feel really pleased, like oh, actually that scene was decent, all that hard work was worth it." Or he'd reflect, "that scene wasn't my best, if I could do it again I'd do better."

"Audiences tend to have a harsher, more critical view of non-professionally trained actors who attract a lot of attention like yourself. How do you view these comments?"

Three years ago, at an event to commemorate 110 years since the birth of the playwright Cao Yu, Xiao Zhan had a conversation with Cao Yu's daughter Wan Fang. Xiao Zhan asked her: "is truthfulness the most important thing in doing creative work?"

"With equanimity. Like the line from Where Dreams Begin, 'the more difficult road is the one heading up'. If their comments have merit, then I'll take them on board and make changes next time. For me, an actor speaks through their works, so everything should serve the work."

Wan Fang replied with a line from her play 'Winter's Journey': "There's no single path toward truth, truth is its own path."

Xiao Zhan carried this answer with him. He knew that this was also the attitude one should take to performing - there are no shortcuts on the way to a good performance; it can only be achieved through sincerity and persistence.

[bi-harrymort]

yesterday i listened to the order of the phoenix audiobook while doing some chores and i was stuck on a thought about dumbledore i've had for a while but couldn't really articulate...

when i was a kid i liked him - he reminded me of my grandpa.

when i was a teen i became more critical of him and started to appreciate him as a more grey-area character, rather than what he was (i imagine) intended to be - the good and wise, albeit flawed in some ways, mentor figure.

now each year with each re-read of the books i begin to feel more and more irritated whenever he enters a scene... and i couldn't put my finger on why i felt that way (i put the blame of my irritation on fanfiction - reading about different renditions and interpretations of characters influences how we see them, especially since most of the fanfics i read in the hp fandom are, in the least, dumbledore-critical, if not outright dumbledore bashing)

but yesterday a thought struck me, when i was listening to the chapter of harry's hearing at the ministry, and the thought was that dumbledore, in canon, truly seems extremely cold and emotionless...

(many people have already talked about it, but I guess I wanted to maybe touch on some stuff that is not talked about as often?)

albus dumbledore is always kind, pleasant, composed, and presented in a way that is supposed to give us an impression of a very wise, experienced by life and its sorrows, man.

but i think what happened was that his character ended up becoming the opposite of this image.

for example, let's take his first ever scene in the series:

he meets with mcgonagall, and as they wait for hagrid to arrive with harry, they talk...

"My dear Professor, surely a sensible person like yourself can call him by his name? All this 'You- Know-Who' nonsense - for eleven years I have been trying to persuade people to call him by his proper name: Voldemort." Professor McGonagall flinched, but Dumbledore, who was unsticking two lemon drops, seemed not to notice. "It all gets so confusing if we keep saying 'You-Know-Who.' I have never seen any reason to be frightened of saying Voldemort's name."

this is the first instance in which my teeth started to grind. of course, the dialogue serves as an intoduction: mcgonagall has to tell us - the audience - who and how significant dumbledore is; in the same scene showcasing voldemort's significance.

the powerful and frightening dark lord, and the powerful, benevolent opposing figure of the story.

but, at the same time, when done this way, it presents a very... strange character... for when we look at this scene through the lenses of the fictional world dumbledore is damn well aware why he was never afraid of voldemort, and should understand why everyone else is, right?

this line paints his modesty in a fake light... (not to mention a lack of empathy to understand why people may be afraid of voldemort) a way for him to show how unremarkable he is, while clearly knowing that he isn't, all to get the points for modesty as well.

it's one thing to be modest while being aware that you may be in some ways special, its another to be 'modest' without acknowledging it, in which case you're either really oblivious or not really honest. and given the story, i wouldn't say that dumbledore is presented as an oblivious character - quite the opposite actually, given how he always seems to know everything - more than any other character. so that would leave us with the option number two...

"I know you haven't, said Professor McGonagall, sounding half exasperated, half admiring. "But you're different. Everyone knows you're the only one You-Know- oh, all right, Voldemort, was frightened of." "You flatter me," said Dumbledore calmly. "Voldemort had powers I will never have." "Only because you're too - well - noble to use them." "It's lucky it's dark. I haven't blushed so much since Madam Pomfrey told me she liked my new earmuffs."

why am i rolling my eyes? oh dumbledore, you're so different and awesome and special and noble and good! excuse me i have to throw up.

this happens over and over and over again; save for one or two instances...

but even this i always lumped into a bit of a biased and irrational dislike of a character, and so i didn't think it a sufficient reason to ever bring it up. what did persuade me to write this post is the constant, constant calmness of albus dumbledore.

now, i don't mind passive, calm, composed or, in a similar way, depressed characters. it's all about who they are, what's their backstory, their role in the story, etc.

dumbledore's calmness coupled with all of those other aspects make him into someone very emotionless; emotionless that is veering into ruthlessness. and this trait, we are told and 'shown', is supposed to be the exact opposite of his percieved personality...

he constantly keeps vital information from other people (even if the information pertains to the matters of life-and-death); allows for others (especially children) to fight his battles; shows up only in very critical moments, when he would have had the power to actually prevent some of the events from happening; and is so calm and collected throughout all of the chaos that ensues that he comes off as if he didn't really care about anyone or anything...

he preaches about love and family, and he certainly believes in it to an extent, but his actions and reactions do not fully confirm the truthfulness of his words. he's more like a general of an army - he hates to see his soldiers die, but he's got to let it, he's the only one who knows about the horcruxes - he's the only one who knows how to defeat voldemort once and for all! so he's got to stay in control...

whilst also, in the same breath, preaching about how dangerous having such control is.

telling everyone how he rejects power, claiming he doesn't have it...

whilst being in the position of absolute control.

control that he gained through his knowledge. his intelligence. his fame. his standing in the wizarding world.

he may not be the minister, but the minister heavily relies on him for most of the story... to such an extent that some people don't respect the minister himself. instead they give this respect and power to dumbledore - other witches and wizards treat dumbledore in a way dumbledore claims to reject.

because power isn't only what you do and say. power comes from other people as well. hell, maybe even more so... people give individuals their power.

you may be the smartest and the strongest person in the world and never gain even an ounce of the power that the renowned and celebrated people of the world have.

most of dumbledore's flaws are part of the writing itself - it's a children's book with a child protagonist. he and his teen friends have to save the day...

so, like with voldemort, dumbledore ends up in the limbo between made claims and the 'reality' of the story.

voldemort is powerful, brilliant; a great wizard - whether they love or hate him, other characters always admit that he was great.

dumbledore is also powerful and brilliant; a good man - most characters will confirm it every once in a while, reminding us of this fact.

but that's the issue i guess... or maybe a blessing... the story is what it is, and so when we - the fans - wish to dig deeper, we'll all end up with a thousand different interpretations of the same character, all fuelled by our own, personal understanding of the text, our own personalities and life experiences and our own ways in which we end up interacting with the source material.

so we'll always create unique explanations. some centered solely on the fictional world's perspective, and some combining fiction with the reality of the written book: its genre and possible real-life influences.

the post was supposed to be shorter, but I couldn't leave some of this stuff out... in the middle of writing i considered taking more time before updating and doing more research (maybe even make it into a much bigger project and go through all of dumbledore's scenes in all of the books)... but i decided to table it for another time.

[lemonthepotato]

I Understand Goodbye Volcano High Now: A Short, Positive Review (Rambling)

When I first learned about this game, it was while watching a Dumbsville video on Life Is Strange 3, another game I enjoy. I have a peculiar interest in watching critiques of things I like. After watching his review, I found the concept and ending of this game to be humorously flawed. Intrigued, I decided to experience it firsthand. However, after only ten minutes, I found myself losing interest. I shared my thoughts on Discord, stating, and I quote:

“So I heard about this game called Goodbye Volcano High, and I opened a playthrough on YouTube to watch, got 10 minutes in and got bored. Read a review of it, and apparently it’s a story about a group of friends, emotional drama, blah blah blah, high school shit. And the ending, no matter your choices? THEY GET WIPED OUT BY AN ASTEROID. DID I MENTION ALL THE CHARACTERS ARE DINOSAURS. Oh that’s hilarious. I could get some ironic enjoyment if the dialogue didn’t feel so… stiff to listen to. I love it. Edit: Ok basically I’m 50/50 on this being either the best game or worst game ever. Imagine sitting through hours of choices about relationships and dynamics and then they get hit by a fucking asteroid. Edit: never mind this game is peak.”

So how did I change my mind only 40 minutes in? Let’s go on the journey. Who knows? Maybe YOU will change your mind.

Please note: I haven't personally played the game yet. I typically prefer to watch a playthrough before diving in, particularly for narrative-driven games like Life Is Strange or The Quarry. While it may seem unconventional, this approach allows me to provide insights on the story rather than technical aspects.

In fact, I will share the notes I took while watching.

At the 40-minute mark, I found the game to be peak during the tarot reading. The presence of foreshadowing indicated that the game had a deeper message to convey. I will admit though, the designs took some getting used to, the forward-facing Fang was a bit overwhelming. Perhaps the art team could have toned down the dinosaur features while maintaining their overall essence. It felt somewhat uncanny, (although I must admit it grew on me by the end.)

I appreciate the little moments in this game, like how Fang's small mishap with the MIDI controller caused a strong reaction. Pal, there’s a thing called “handle the situation with a thorough and careful cleaning rather than a light rub.” I love them, my little over dramatic iconic blorbo.

Massive kudos and praise to the talented artist responsible for the captivating visuals in this game. You’re a champ. Now, for the animation itself. Personally, I believe that animation is an incredibly challenging field, so I refrain from criticizing animators. The exceptional artwork compensates for any perceived shortcomings in animation, in my opinion. While the dinosaur aesthetic may not be my personal preference, I admire the creativity behind it. And you know, a criticism…

I often come across, is the criticism that Naomi's crush on Fang wasn't evident. However, personally, I believe there are several instances of foreshadowing that hint at their connection. Even if I were unaware of the plot twist, I might have still guessed it. It is amusing, though, that Fang is comfortable conversing with an unknown number.

Anyway, why do I cough and get wheezy when I eat?

Why are all the songs in this game so goood? They cut off suddenly sometimes, but still. Are they on Spotify? I’d love to listen to these. Honestly, I feel this games predictions isn’t too far off. If a meteor were to attack us, we would act non-chalant. Make memes. Older people wouldn’t care or comfort their younger kids. Everyone would pretend it’s okay.

While it may be, and probably just is coincidental, the presence of an intersex flag pattern on Trish's shirt in the F&F game has led me to a new headcanon about Trish. <3 Look, I just think it’s worth noting that intersex individuals often lack representation beyond being included as an "I" in acronyms. So even if it’s probably coincidence, I like it.

So it looks like this is the big reveal, with Naomi making the same dress the mysterious number showed Fang. And it seems like Reed is really down about the comet situation, and now it's all coming to a head. But the thing is, what can they even do? It's like no one wants to take action or even acknowledge it. I'm not an optimist, but there has to be something we as a species could do if an asteroid was heading towards Earth.

The tarot earlier was forgotten about, which is a shame, because I thought it was going to be explained. I forgot what it was so I can’t even google it. But yeah “death” isn’t good.

Perhaps I'm biased towards Fang, but saying "fuck off" doesn’t really sound that severe when Naomi was kinda being a bit of a dick. While Naomi had a valid point, she also seemed dismissive of others' aspirations. Personally, I might have responded more harshly in that situation, which is why I struggle with friendships haha… Additionally, I didn't fully agree with Trisha placing all the blame on Fang for not understanding her feelings. Fang can't read minds, but it's a complicated situation given their denial. But still- unlike Trisha, Naomi’s outburst seems… sudden? Less justifiable? Maybe I wasn’t reading in between the lines enough. At least everyone made up in the end. Coolio.

Wow, that ending. My interpretation is as follows. It’s better to be together than alone in times of hardship. Life is fleeting, and we could lose it any-day. We need to live for the moment, not for the future. We need to live our dreams, not just wait for them to happen. When destiny fucks you, you fuck it harder, essential.

Overall, a sincere 5/5 game. The problems are so little for me, and I say that as someone who criticises EVERYTHING. My only complaints is that MY ship wasn’t validated /j. Nah, I have very few.

Pry my ship from my cold dead hands, essentially.

Ranking:

Story: 4/5

Art: 5/5

Game Mechanics: Again, I only watched a walkthrough, so I can’t comment on that.

Pacing: 3/5.

Overall: 5/5.

I don’t normally do reviews. But well, this was an exception. I did use an AI to make my points more professional sounding, but most of what I wrote was from the heart, raw.

Why do people hate this game? It’s what I call the High Guardian Spice Effect. People get a bad first impression, so judge the final product too harshly. Granted, I think HGS isn’t as good as GVH, tbh. I thought HGS was okay. Good, even. Not great, flawed in many ways. But it was pretty average. But GVH? I think it’s a worse case. While HGS had a questionable trailer, GVH didn’t really have many red flags. People just didn’t like that it had anthropomorphic gay people in it, so judged it because of that.

I went in thinking I would hate this, but I loved it. I can’t wait to see what KO-OP has in store for the future.

Because I only watched a playthrough and haven’t played it for myself, I don’t know how much different dialogue options affect the story. I guess I’ll have to see for myself, one day. For now? I’m going to give my recommend/don’t recommend status. If you like story driven games, small interactions, slow-pacing (too slow for some, which I understand) and want a surprisingly wholesome apocalypse story? Check it out. If not? Understandable. Not every game is for everyone, and no game is without flaw. Even though I enjoyed GVH, I don’t regret watching that review I did. Didn’t I tell you? I love watching media I like getting criticised. It gives me a lot to think about. But I just think the story works for me. And while the story may have a “sad ending,” it’s the journey that matters. Can’t that be said for life itself? The meteor may have hit, but it’s everything in between that matters.

Although, yes, portraying it like your choices impact the ending may have not been the best decision. Then again, “nothing you do matters” is probably a bit hard to sell. Anyway, that’s all I have to say. I’m gonna go do my Duolingo lesson (2099 streak baby) Feel free to tell me I’m wrong though. Or right. I guess.

[vergess]

(reposted because??? tumblr ate or deleted the first post???)

So. Lots of pain meds at the moment, so this is a little bit nonsensical, but, I have been playing the newly released video game I was a teenage exocolonist (available on steam, not linked because tag visibility) while I am laid up in bed.

Lots of opinions, basically all positive. There’s a specific thing I want to talk about in more detail, but this post got too long so I will just link a future post on the gender politics of nature, nurture, and future as presented by the twins Dys and Tang.

So instead here’s my Most Recommendable Qualities (mostly free of spoilers):

Native linux compatibility:

you know how I am about that. I cannot believe I’ve become the very linux guy I so hated when I was working retail…

Upsettingly beautiful art

2D gaming is my first love but man the medium has come a long way since needing a flashlight to play pokemon. Sometimes I forget how far, and then games like this pop up with the gorgeous art and expressive characters, and I inevitably find myself wondering why the “”“"mainstream”“”“ video game market (in as much as such exists these days) focused so obsessively on photo realistic 3D when inevitably a well directed art style is what matters most.

The backgrounds and environments in the game are all extremely lush, with a gorgeous, colorful style that if I had become an art critic instead of a writing critic I would probably have better terminology to describe. Like, uh. Water colors or some shit. Stained glass. It’s all very luminous fuck dude I don’t know, the closest I’m going to get here is to write a poem and I’m not going to write a poem where the fuckign developers might see it. I need to be sober for that.

Characters:

I’m a character driven asshole, we all know this. It’s why I read so much fanfiction and play so much melodramatic fantasy and spend several hours of my life openly sobbing about a single fucking issue of Sandman. So, you’ll understand when I say, "people keep recommending me dating sims and I keep bouncing off of them because the characters never Do A Thing,” what my major criticism of a lot of Large Cast Of Dateable Character games is.

None of those issues arise here. I’ve played a few runs now, making a conscious decision on each to focus on a specific character. One. SIngular. Except, the thing is, you can’t do that. Not in the sense that the game won’t “let” you. You could certainly just dump all of your time into skills and one character. And the timeline of the game would change to reflect your isolationism.

Characters you don’t interact with during runs have their own “autonomous” storylines written, and each divergence your player character makes has its impacts meticulous tracked to create different character experiences every time, even as each character holds very tight to a narrow set of repeating traits. This only further emphasizes the fundamental strangeness of the player character, as the only one capable of being fundamentally different across timelines.

Also all the dateables are just, oh god, SO cute. And, by the time they are capable of fucking, very fuckable. Extremely attractive designs. Honestly everyone is super cute. The whole cast is magnificently designed. And that includes…

Monsters & World Building:

First of all, let’s get the important personal opinions out of the way. I think I would fuck the antagonist….uh….commander, whatever his title is. He looks like a fucked up centaur and I’m into that. There are also Adequate Amounts Of Tentacles. If you’ve known me long, you know that is a high bar, but the game clears it admirably and with diversity!

The alien fauna are all very FUCKING COOL. There’s a bit of throwaway dialogue from An Adult (your dad?) that talks about expecting the planet’s ecosystem to be ‘more alien’ than it is, and I respect the space program’s attempt a tpreparedness but for me, the whole uhhhhhh. Situation. With regards to the alien animals is PLENTY alien, and SO satisfying.

If you’ve ever been like, “god, I wish someone who wasn’t orson scott card would do all the cool shit they did in fucking speaker for the dead” then by GOD is this the game for you.

Accessibility:

The content warnings are extremely detailed. I reviewed them all, and having seen several of the ones I was most worried about, I feel they accurately described the situations without spoiling them. I did end up upsetting myself rather badly with one thing which happened, but it is hardly the developer’s fault that I misunderstood the context in which the “teenage pregnancy” CW would apply. I personally want to specify that (IN THE ROUTES I HAVE SO FAR PLAYED) the pregnancy is a very wanted, safe, and cherished.

The game players very well on controller, which is a must for me. There are a handful of UI elements that I have not yet been able to access by controller, but I think this is more a factor of my being bad at remembering buttons than the game’s design. If you have a mouse, that will solve the issue entirely. My GF speaks highly of the keyboard and mouse gameplay.

Turning off screen distortions and weather effects generally made the game very visually understandable for me, with large, clear iconography. If you have significant visual impairments, I don’t know if this is a good game to play. Picking up items on the ground can be tricky in some cases and there’s nothing for eg a high contrast or greyscale mode if you need that kind of thing.

Stability.

It’s easy to forget that near-launch properties are supposed to be complete games that function well. This game is very complete (VERY, INTRICATELY, COMPLETE) and very stable. With as complicated as the sets of cause-effect-timelines are, I expected it to be much easier to create minor paradoxes in dialogue.

So far, the only time events have seemed to happen slightly out of sequence due to relationship progression or what ever else, was when I made a conscious effort to be as obnoxious as possible at one point just to see if I could make it misbehave.

I haven’t been able to make it crash from within the game so far. I’m hardly a Q.A. tester anymore, but I do tend to be pretty aggressive to my games, so I feel confident in saying it’ll run steady for you if you get it.

Politics etc:

The queerness is all very excellent, super queer in very believable ways, especially given the cultural aspects of the worldbuilding. Characters behave queerly outside of just all being bi-for-the-player. The trans characters were all extremely appealing to me with strong characterization that included but did not obsess over their genders. There are at least 2 trans teens in the player character’s peer group and 2 trans adults of very different ages and character types, and there’s even a cute little intergenerational trans solidarity bit you can get sometimes. In addition, of course, to the ridiculously complete gender personalization.

You would not believe how many games forget that “bro” and “cowgirl” are gendered terms, but this one remembers.

The racial politics are, from my perspective, adequate to not interfere with my gameplay experience. The human characters do consistently refer to the environment and native animals in very colonialist terms but they’re literally colonizing the planet so…. The point is, there is not a native people being eradicated, though there are… territory wars(? I guess.) with both wild animals and antagonist peoples.

If you’re particularly sensitive to colonial narratives, handle with care, but I felt the writing in the routes I’ve seen so far handled most of the issues well. Plus I mean. THe title. Is “teenage exocolonist” like. I think the whole “colonialism is a major narrative theme” ituation should be made clear by that.

In terms of the human diversity it’s pleasingly broad. There are characters of all ages, builds, complexions, races, personality types. There’s a massive range of disabilities both physical and mental, as well as plenty of fun sci fi accomodations.

I mean just among the dateables I can remember top of the head, theres:

ambiguously asian twins who really said Autism Has Two Genders,

ambiguously brown fat girl with developmental disability,

ambiguously brown Gym Bro (derogatory) who is, and this is true, literally named 'ambiguously brown

ambiguously white farmboy who has clearly been eating his space wheaties and also helps invent space cannabis with your dad

unambiguously black girl who looks the autism twins dead in the eye and said 'no autism has one gender and is me’

unambiguously white tomboy who goes full samus

A dog (human)

Hatsune Miku (gender neutral)

Venom (twink)

There’s something here for everyone, all of these characters are super fascinating concepts honestly. I know I keep harping on that but it’s true so there.

Scenario writing:

It’s a bit difficult to separate the player character writing from the scenario writing for reasons that rapidly become clear in the game. Both are very good, though, so that’s fine. The writing is just really very good.

The variations on the timeline that you are able to uncover through repeated play are fascinatingly diverse even as certain events remain immutable, and the whole thing really plays with the concept of time travel and the other-self so beautifully. Really one of my very favourite explorations of the topic already, and I’ve only seen… IDK 4 endings along 2 routes? And there’s 29 endings???

It’s very good. The point is that it’s very good you should go play it.

It’s on steam. It’s app 1148760 on steam and it’s very good, it’s definitely worth more than what they’re charging. I mean have you seen what a $60 console game looks like these days, and then this is like. $25 and SO very much.

[biblicalhorror]

Finished the third Life is Strange game last night finally

Overall I'd say LIS2 is still my favorite game of the series so far, but there were a lot of things about this most recent installment that I really loved. (Spoilers ahead)

The first is the love interests. As much as I do love Chloe and Rachel for the complex characters they are, Steph and Ryan were so sweet and wholesome and really made me believe that Alex would be friends with them. I found Ryan to be a little bland at first, but he definitely grew on me as the game progressed.

I also really loved Alex herself. I thought she was a wonderful protagonist, much less infuriatingly passive than some of the other protagonists of these games have been. I really connected with her easily and I loved the way the game was able to use her empathy powers as an allegory for complex trauma and CPTSD. I definitely cried during the scene where she's reliving the childhood memory of her trying to mediate the constant fighting in her childhood home. I really feel like I understood her well.

The next was the very cool visual storytelling this game was able to do re: empath aura visions. The final confrontation scene with Jed was very cool with all of the changing lighting colors showing the emotions he's going through while Alex accuses him? Perfection. I loved it. Also, this partially just comes from better technology for game graphics, but the complex facial expressions they managed to incorporate into this game were really top notch. The characters all felt very real.

I also really liked the way dialogue was written in this game. One of the major flaws for LIS1 in my opinion was how most of the dialogue read like a bad 2013 Tumblr post and not, yknow, how people actually speak to each other. It seems like the writing team has really tried to improve that aspect of the script, and they've done very well.

Now, to criticisms. The first is that I was a bit disappointed with how fast and loose they seemed to play with the "rules" of Alex's power. In the first chapter, we see her be so affected by Mac's anger that she completely beats the shit out of him and even punches her own brother because she's feeling the same rage as Mac. Then, for the rest of the game, she tunes in quite a few times to the emotions of other characters, but we never really see her act out because of it again. With the amount of hints we get that her powers are why she was seen as a "troubled kid" in the foster system (and it seems to be lightly implied that she was sexually assaulted because of them?), it seems odd that that particular side effect wasn't explored more in-game.

I wouldn't say I disliked the overall plot of this game, but it felt somewhat lackluster compared to the heavy punches packed by the first few. Unlike the other games, the plot of True Colors doesn't really start until the end of Chapter 1, when Gabe is hit with a falling boulder and gets knocked off a cliff. It's a dramatic moment for sure, but it felt rather predictable in comparison to the high stakes situations you found yourself in during the previous games. The rest of the game has you figuring out a plot by a large mining company to cover up the negligent murders of seven miners from ~20 years ago, and the man behind it all is apparently your landlord/boss/local bartender. Oh, and also one of the miners that died was Alex and Gabe's absentee father. I guess.

Which brings me to my main gripe with this game. It felt as if they were trying to create a mostly mellow slice of life game that wants the player to become attached to this small mountain town, but they also knew that Life is Strange is, at its core, a drama/mystery game. It felt like they added in the bit about the father towards the end for little other reason than to add shock value and (I guess) emotional weight to the final reveal about the miners, which for me did nothing but take me out of the final chapter a bit. It didn't feel necessary, and it leads to a whole bunch of questions logistically speaking. So the father lost his job and abandoned his two kids in Oregon, then decided to go join a small mining operation in a tiny town on the western slope of the Colorado mountains. He dies tragically in a mining accident caused by a man who lies about said accident and becomes the town hero. Then, ten years later, Gabe just so happens to move to exactly the same small town several states away to get a fresh start and what, no one ever connected the dots? Not even the guy that killed his father? He never heard Gabe talking about his shitty home life and was like "hmm that name sounds familiar"? If this is such a tight knit town, how did no one seem to remember the Chen siblings' father at any point? Especially after Alex moved into town, you'd think someone would have perhaps remembered another man with that same last name who, oh I don't know, may have mentioned his two kids at some point in the years he lived and worked there? It made no sense and honestly we could have done without it. The reveal that Jed's pride is responsible for the death of seven innocent men is more than enough of a dramatic reveal without needing to somehow tie Alex to it personally. It just felt like lazy writing to me. Also, how the hell did Alex survive getting shot in the face and thrown down a mine shaft? How did she not even break any major bones? That thing was like 100 ft deep and she broke straight through several wooden boards on her way down, you're telling me she somehow didn't hit her head, or neck, or any limbs? I get that she's the protagonist so killing her off would be really hard to pull off, but you couldn't have made it a little more believable that she'd be able to escape it relatively unscathed? I'd maybe be willing to suspend my disbelief if Jed hadn't shot her in the head. I guess he just grazed her? But still. It was weird.

Overall, this game was super visually beautiful and the dialogue was very well written, so I was a bit disappointed when the overarching plot was a bit less exciting than other games. But I could have accepted that as at most minor flaw if they hadn't decided to throw in the missing dad plot twist at the very end. That really peeved me more than anything else.

7/10

[denimbex1986]

'This year, Andrew Scott and Greta Lee had roles where they had to build a strong connection with their co-stars Paul Mescal, and Teo Yoo and John Magaro, even if they did not have many dialogues. While in Past Lives, Greta played Nora, a Korean-American woman, who loves both her Korean first love and her American husband, in All of Us Strangers, Andrew played Adam, a lonely guy, whose life gets shaken up by his flirty neighbour and weird dreams about his dead parents. Both the films have garnered massive application from the audience, as well as critics.

Paul Mescal's experience working in All of Us Strangers

Previously, we got the chance to know about Paul Mescal’s experience in All of Us Strangers, where he talked about it with Natalie Portman on Variety’s Actors On Actors. While talking about the intimate scene in the film, Mescal shared, “Films like this are an indication of a distance that we’ve travelled, but ultimately there’s quite a ways to go. All I can talk about is my experience with filming those scenes. Andrew Scott’s character, Adam, who is in his mid-40s, has a difficult relationship to sex. My character serves as a safe landing space for him to re-explore his sexuality. I think sex in film, when it can be healing and sexy at the same time, that’s when it’s at its best.”

Andrew Scott's experience working in All of Us Strangers

This time, we got Andrew’s viewpoint about the sizzling scene. While talking about both their films, Lee jokingly shared that they (Andrew and Greta) could be the new Barbenheimer, “Yeah. We could do a double feature. We’re the new Barbenheimer. We need a good portmanteau. We would be ‘All of Us Past Strange Lives’. How about that?”

While talking about his chemistry with Paul, Andrew shared that he's very lovable. “He is a beaut. Whatever chemistry Paul and I might have in real life, actually, that’s neither here nor there because we have to create a kind of chemistry that’s completely different to me and Paul’s chemistry. There was sort of sexual chemistry and physical falling in love. It’s such a beautiful thing to do”, Scott shared.

Greta Lee's experience working in Past Lives

Next while talking about her romance scene in Past Lives, Greta shared that it was the very first time of her as an actor to inhabit falling in love. She added that falling in love in real life is not humiliating, but on screen, it was a little uncomfortable for her. “I mean, it’s so physical. Maybe it sounds hokey, but it’s a thing where some people describe falling in love like your internal makeup changes, that a person can do that”, Lee said.

Andrew Scott and Greta Lee share their experiences watching the films with audiences

Lastly, Andrew shared that he has watched All of Us Strangers with an audience for the first time, “I felt so exposed, seeing it in a proper big cinema. Not only have we exposed ourselves physically, but I felt like, ‘Oh, my God, they’re seeing something really vulnerable in me’.” And this reminded Greta that she had a similar situation when Past Lives was premiered at Sundance, and she almost thought that people were going to leave the hall at the end, but she was wrong. They were trying to reach and get tissues.

Truly, it's a magical feeling for the audience, as well as the actors when the films are enjoyed wholly.'

[theoriginalcarnivorousmuffin]

Okay but I would LOVE to here your heretical opinions on Padame if you ever want to share them or any of your other views on star wars prequel characters. Your character analysises are INCREDIBLE and really fun to read <3

Oh boy, are you sure about that? Well, the ask has been made so here, we, gooooooooooooooo!

Padme’s one of those strange characters who appears as one thing but in actuality is quite different. Because she appears as the first thing, and it’s something people really like, most people accept that at face value and if she’s not always consistent--well, she came from a series of screenplays written by George Lucas.

Padme comes across as a very noble, kind, and courageous character who is also quite politically savvy. At fourteen, against all odds, she saves her planet from invasion when the Senate did nothing, secured herself an ally in the chancellor (nevermind him being secretly Palpatine), and even after relinquishing her title as queen remains a major player in the senate for years and is seen as enough of a threat to warrant several assassination attempts (one so bad she has to be guarded by Jedi and sent home to Naboo for several weeks). 

And I’m not saying she’s not any of these things. Padme is very courageous, is one of those odd politicians who... believes she stands for what she believes in (more on this later), and has a remarkable political career.

However, she’s also romantic to the point of being completely and utterly delusional, self-centered, and frankly a little nuts.

(Yeah, you knew you were waiting for me to say something terrible, WEREN’T YOU?!) Right, so what’s wrong with Padme?

Well, if you look closely at a few of her choices, the ones that never seemed to make much sense, then you can look at her other choices and... Well, it all sort of comes together. 

That’s right, I’m talking about “Attack of the Clones” and “Revenge of the Sith”.

Attack of the Clones we have the very lackluster and strange romance of Anakin and Padme.

On Anakin’s end, his infatuation with Padme makes a lot of sense. She was part of the party that rescued him from slavery, she was very kind to him, and was the prettiest girl he’s ever seen in his life. Ten years later, always having harbored a crush on her memory and keeping it alive through whatever news he hears of her, she’s grown into a very beautiful woman and Anakin is by chance introduced back into her life. I get why Anakin falls head over heels for Padme, I’ll get more into this later and how their relationship has some major issues (aside from the obvious), but I understand why he marries this girl out of nowhere even when it could get him thrown out of the Jedi. (As an aside, since this is more of a Padme post, I think Anakin was spurred on in part also by the death of his mother and his massacre of the Tusken Raiders. Anakin’s life was flipped upside down in a very short amount of time, one of his great emotional ties is suddenly gone, and I think he has this internal crisis that culminates in him deciding to marry Padme. Without this, he and Padme may have become lovers, but I don’t think he’d marry her).

On Padme’s end... it’s a little less clear. Anakin has grown into an attractive young man, yes. Take out all of George Lucas’ dialogue, and maybe Padme finds Anakin very charming. However, Padme secretly marries a Jedi she’s known for three weeks. Now, I’d be a bit more forgiving of this, love is love and we can’t always think rationally, but there’s some other things.

Unlike Anakin, Padme hasn’t been spending the past ten years romanticizing her memory of Anakin Skywalker. When they met in Phantom Menace, Anakin was not only five years younger than her, he was nine-years-old. To fourteen-year-old Padme, Anakin was not then dating material and was instead this poor boy in slavery. Which means while Anakin has build up justifying this rapid romance, Padme really doesn’t. What this means is that her romance with Anakin reads a lot more like a romantic fantasy. Cute dashing bodyguard shows up, saves her life, through contrived circumstances they’re sent back to beautiful Naboo where they spend time together, only cute bodyguard is a Jedi and can’t marry, which makes their love excitingly taboo! 

Everything Padme does, before and after this point, lends itself to this overdeveloped sense of romance. Padme wants to be whisked away, wants to have this secret unsustainable marriage with a man who cannot be married, she’s in love with the idea of being in love. Given how little time she spends with Anakin, how little they really know of each other, I’d say she’s more in love with the idea of Anakin than Anakin Skywalker himself. And this isn’t a bad thing necessarily, or at least not a grievous flaw, however, that’s not all. 

Padme chooses to marry Anakin knowing he murdered an entire village of men, women, and children. She marries him almost immediately after the massacre of the Tusken Raiders. Note, she does not learn about this later and have to come to terms with it, she is right there. She is on Tatooine with him and sees him go to do it and then return. 

Padme doesn’t take it... particularly well, that said, she also seems to shove it under the carpet immediately. She, first, marries Anakin within days after this event. She second, never really has a “holy fuck, Anakin” conversation with him. And worst yet, she never confesses to anyone else. Padme is a hypocrite and willing to sacrifice everything she believes in, albeit I believe unwittingly, for her romantic fantasy.

She tells no one about what happened. An entire village was brutally massacred, those who are already poor and oppressed and have no voice, by a man who is supposed to be a protector of all people in the galaxy. I’m sorry, Anakin, but if Padme was who you think she is then she would have to tell the Jedi Order at the very least if not the Republic. Instead, there are no consequences, only Anakin’s descent into guilt and madness as three years pass with it festering in the back of his mind.  Padme does not stand for the poor, for the people, or for justice. She only does so when it does not conflict with her own interests, i.e. her actions regarding the invasion of Naboo. More, I do not believe Padme has the introspection to realize this about herself, she never realizes that not narking on Anakin was very very very bad. Three years pass and she lives the whirlwind romantic fantasy that she and Anakin both want. They’re secret lovers/spouses, meeting up at the oddest hours of the day and... This is three years of this ridiculous affair. Three years to come to terms with the fact that something must change. And then the kicker, Padme gets pregnant, and this is where the extra delusional comes in.

The child should have been a signal of the end. There can be no more secret now. Padme is having a child, presumably out of wedlock, and even if space is very very very different from our society I imagine this would be quite the scandal that could even get her thrown out of the senate. I believe Padme mentions as much to Anakin. More, Anakin is no longer a lover, he is now a father. What’s supposed to happen now? They raise this secret child, instructing them that Anakin is only a father in private, never in public?

Anakin and Padme briefly flirt with the idea of Anakin leaving the order. Anakin even wants to do so, but it... never happens. Now is the time it absolutely should happen. Yes, Anakin’s a big part of the war effort, but he could at least start talking to the Order and they could decide if it’d be a slow or fast exit. 

My theory, Padme’s too in love with the fantasy. Anakin leaving means he’s no longer a Jedi, it means he’ll come to Naboo, be unemployed and be around. Anakin visiting will no longer be this romantic, fraught with the danger of being found out, passionate, short lived event for Padme. It’ll become real life. He’ll be a real, ordinary man, she’ll be a real, ordinary, woman, and that spark of romance will be gone.

I don’t think Padme wants that. 

Which is why, even with the child on the way, we see Anakin and Padme continue to play out this ridiculous secret lovers fantasy. And then, of course, Anakin goes insane off screen.

Padme is told that, once again, Anakin has murdered dozens of children. Of course, this is a terrible thing to be told and she can’t process it. She needs to find Anakin and confront him, but people always criticize Lucas here and feel it’s out of character for Padme to have run to Anakin in sobbing hysterics with no plan of enacting vengence.

Frankly, I think it’s very in character. She did nothing about the Tuskens, remember? I think at the end of the day, the murder of the Jedi children means very little to her. What hurts Padme the most is that the fantasy of Anakin she married is not real. The Anakin she married would never murder the Jedi children, betray the Republic, or do any of what he’s done. And I think Padme only has that strong, iron, will when she knows the world she’s in. With the Trade Federation, her stance was obvious. Her people were being oppressed, butchered, and invaded. In this case, the world she knew no longer exists.

The Republic is gone, perhaps hasn’t existed in thirteen years, as it turns out the senator who had always been her biggest supporter was a Sith Lord. The Jedi are gone, children murdered by Anakin while those in the field are picked off by their own clone soldiers. Padme’s world has fallen apart, and I think that makes it much harder for her to be the girl we saw in Phantom Menace. In time, perhaps, she would have joined the rebellion but... I do think Padme might have also given into despair.

So, yeah, that’s Padme for you.

[stranger-who-writes-fiction]

Back at it again with my self-indulgent comic posts. This time! It’s Supergirl: Woman of Tomorrow #3, perhaps the most tonally-distinct entry yet, with shades of The Twilight Zone. 

Spoilers!

So, as mentioned, this issue is the most deliberate in terms of both its pacing and its tone, IMO.

What is that tone, you ask?

To quote Alex Danvers, from “Midvale”: Hello, darkness.

THE STORY:

Kara and Ruthye are still looking for Krem Clues in the alien town of Maypole.

(Which is actually just Small Town, USA, complete with vintage 50s aesthetics.)

But the locals are clearly hiding something! So Kara and Ruthye continue to investigate, and they eventually discover what it was that the residents of Maypole were so keen to keep hidden. 

Genocide, basically. 

As I said, this issue struck me as very Twilight Zone; a genre story involving the build-up to a dark twist, all set against the backdrop of an idyllic small town. (Think, like, “The Monsters are Due on Maple Street” but instead of focusing on the Red Scare, it’s classism and racism.)

The wealthier blue aliens kicked all of the purple aliens out of town, and when space pirates showed up to pillage and plunder, the blue aliens made a deal with them: the lives of the purple aliens in exchange for their safety.  

Which is where the episodic story connects to the larger mission; it was Krem who suggested the trade, and then joined up with the Brigands (space pirates) when he was freed by the blue aliens.

The issue ends with no tidy resolution to the terrible things Kara and Ruthye discovered, but they do have a lead on where to find Krem, now, as well as Barbond’s Brigands.

KARA-CTERIZATION:

Ironically, it’s here, in the darkest chapter yet, that we get the closest to what might be considered ‘classic’ Kara. 

Which I think comes down to that aforementioned deliberate pace--this issue is a little slower, a little quieter. It gives the characters some room to breathe.

That’s not to say Crusty Kara is gone. Oh no. She is still very much Crusty. XD 

But anyways. A list! Of Kara moments I loved!

I mentioned a few of these in a prior post when the preview pages came out: I like the moment where Kara blows down the guy’s house of cards, and I like that the action is echoed later in the issue when she grabs the mayor’s desk and tosses it aside. A nice visual representation of the escalation of Kara being, like. Done with these creeps. (Creeps is an understatement but you get the idea.)

Another one from the preview pages: Kara explains to Ruthye that her super hearing won’t necessarily help her detect a lie, especially if she’s dealing with an alien species she’s not familiar with.

It not only reveals her level of competence and understanding of her super powers, it also shows that, you know. She’s a thinker. She’s smart. 

Amazing! Showing, rather than telling us, that Kara is smart! Without mentioning the science guild at all wow hey wow.

(Sorry, pointed criticism of the SG show fandom.)

Anyways.

I dig the PJs! 

And Kara catching the bullet! Not only are the poses and character acting great, it’s also a neat bit of panel composition:

We start with Ruthye’s POV, and then move to the wide shot of the room. The panel where Kara actually catches the bullet is down and to the side of the wide shot panel--we move our eyes the way her body/arm would have to move to intercept the bullet. Physicality in static, 2D images!

Also, like. It’s a very tense moment, life-or-death, but. Ruthye’s wide-eyed surprise at the bullet in Kara’s hand? Kind of adorable. 

I was pretty much prepared for the page of Kara shielding Ruthye from the gunfire to be the highlight--it was one of the first pages King shared and I was like, ‘yeah, YEAH.’ But, shockingly? The TRUE highlight of the issue?

Where do I BEGIN?!?!

EVERYTHING. About this moment. Is lovely.

From Kara holding Ruthye above the bench to explaining the concept of a piggyback ride, to telling her:

“I’m going to hold my hands here, and these hands can turn coal into diamonds, so they’re not going to let go. I’m going to keep you safe.”

HNNNNNNNNNNNG.

Ruthye’s narration--about how Kara had avoided flying as she was concerned it would freak Ruthye out--just adds a whole additional layer of YES, GOOD, YES, and her line on that splash page is great: “You see, all that time, she was worried about me.”

HNNNNNNNNNNNG. AGAIN.

To say nothing of the STELLAR ARTWORK.

And SPEAKING of that stellar artwork, Evely and Lopes continue to knock it out of the park. Each issue is distinct and beautifully crafted, a true joy to look at.

Before I jump into more of the art, a few final notes of character stuff in general.

Ruthye is the one most affected by the experience in Maypole, as she can’t comprehend how a society of people that look so nice and gentle and peaceful could have been party to such a horrible act.

One of the big criticisms of the book thus far is that Supergirl is not the main character, and I guess I can agree with that observation. Typically, in Western media, the main character is the one who goes through the most change in the story. 

And, yeah. That’s Ruthye.

As I was reading the end, where Ruthye sits on the curb and Kara hugs her, I was imagining how the scene would’ve played, had King stuck with the original idea for the series: Kara as the one learning to be tough/experiencing all of this for the first time, and while I think that could certainly work...

I continue to appreciate that King literally flipped the script; that Kara, especially in this issue, is like, ‘I’ve seen this, I know this,’ as opposed to being the one going through a loss of innocence.

*Marge Simpson voice* I just think it’s neat!

Because Kara’s been a teen in DC comics for so long--ever since she was reintroduced to the main DCU continuity, actually--so this is all brand new territory, here. Having an older Kara who’s SEEN SOME STUFF.

(Alsoooooo, since Bendis made the destruction of Krypton not just inaction and climate disaster, but rather, genocide, and the subtext of a Kryptonian diaspora text, the waitress’ derogatory comment regarding the the destruction of Kryton, as well as Kara picking up the bad vibes the entire time, suggests not just a broad commentary on discrimination in all its forms, but specifically allegorical anti-Semitism. The purple aliens being forced out of their homes and into substandard living conditions, then the blue aliens--their neighbors and once-fellow residents--essentially allowing the space pirates to kill them, making them literal scapegoats, Kara discovering the remains of the purple aliens, and Ruthye’s horror at the ‘banality of evil’...yes. A case could be made, I think.) 

(Which would probably require a post unto itself and a lot more in-depth discussion, nuance, and cited sources.)

(Should mention that King has brought up that both he and Orlando--the other Supergirl writer he talked to--are Jewish, and for him personally, that shaped his views on Kara’s origin story.)

I guess my point is that this issue is perhaps not as out-of-left-field as some might think, and just because there isn’t as obvious an arc for Kara, doesn’t mean there isn’t some sharp character work at play. 

(I could be WAY OFF, of course, and I’m not suggesting it’s a clear 1:1 comparison. I’d actually really love to hear King talk about this issue in particular.)

Anyways.

Here’s the final page, which I think works, because as I mentioned before, there is no easy answer/quick wrap-up to the story of Maypole:

THE ART:

I mean. How many times can I just shout ‘ART! AAAARRRRRRRRRRRTTTT!’ before it gets old?

I dunno, but I guess we’re gonna FIND OUT.

There are some panels in this issue that I just. Like ‘em! From a purely artistic standpoint! Because they’re so good!

Like, I just really love the way Kara is drawn in that top panel. Her troubled, confused expression, the colors of the fading light, the HAIR. 

Evely draws the best hair. I know I’ve said this before. I don’t care. I will continue to say it, because it continues to be true.

The issue I find myself running up against when I make these posts is that I really don’t want to post whole pages, as that’s generally frowned upon (re: pirating etc.) but with something like this, you just can’t appreciate it in panel-by-panel snippets.

(Guided View on digital reading platforms is a BANE and a POX I say!)

Anyways.

LOVE the implied movement of the cape settling as Kara speeds in and stops. 

And, obviously, Kara flicking the bullet away is just. A+. 

And the EYES, man. LOPES’ COLORS ON THE EYES???!?! BEAUTIFUL.

Also, should note the lettering! The more rounded letters for the ‘WOOSH’ of Kara’s speed (and, earlier, the super breath) work nicely, and contrast with the angular, violent BLAMS of the gunshots. 

And, I gotta say, the editor is doing a really great job of not cluttering up the artwork with all the caption boxes. Which is no small task.

(I assume the editor is placing them, as editors usually handle word balloon/caption box placement, but I suppose it could be Evely? Sometimes the artist handles it. Either way, whoever’s taking care of all the text, EXCELLENT WORK! BRAVO!)

Okay I think that’s everything.

Ah, nope, wait.

MISC.

Just a funny observation, more than anything else: Superman: Red and Blue dropped this week, and King had a story in there, “The Special” (which was very good, btw.) Both Lois and the waitress swear a lot so I’m beginning to think that this is just how King writes dialogue for any adult character who isn’t Clark. XD

This is absolutely a personal preference but when Kara was like, “And my name IS Supergirl,” I was like nooooo. I know King is trying to simplify all of the conflicting origin stories and lore but I LIKE KARA DANVERS, SIR. XD

It’s almost assuredly a cash-grab/an attempt for DC to get all the money it can out of a book they don’t have much confidence in, but I like the cardstock covers! Very classy, much Strange Adventures.

(OH my gosh, can you imagine that issue 1 cover with spot gloss???? Basically the only way you could possibly improve on it.) 

Okay NOW I’m done. For real. XD NEXT TIME: Kara and Ruthye go after Krem and the Brigands!

[itsclydebitches]

RWBY Recaps: Volume 8 “Divide”

Hello, everyone, and welcome back! It feels good to be doing some normal RWBY-ing in this strange world of ours. First, some supplementary materials.

Number One: In response to any (valid) questions along the lines of, “Hey Clyde, it’s now been a full year since Volume 7 was airing and you still haven’t answered my ask about it. Or the ones about Volume 6… what’s up with that?” I’ve created what I hope is an informative video detailing the problem:

(I assure you, the Earth, Wind & Fire was a happy accident during the screen recording.)

Needless to say, there’s a lot and I’ve known for some time now that I will LITERALLY never get through all my asks. Which doesn’t mean I don’t want you to send future thoughts in! Just know that as we head into Volume 8 territory I’ll most likely prioritize those, as well as any Volume 7 asks that aren’t woefully out of date. But I do want everyone to know that I read all the asks I receive, appreciate them immensely, and think too much about hypothetical answers, even if I don’t have time to actually write them out 💜

Number Two: There’s a bingo board this year!

Jury’s out on whether I’ll remember to update it, but at the very least this serves as a decent glimpse into my — and others’ — expectations going into this volume.

Number Three: I’ve collected a list of things I’ve heard about Volume 8 from what seem to be reputable sources. I did this because RT is developing a tendency to talk up certain points and then fail to deliver, either because something was taken out of a volume/moved to another, or because RT apparently has radically different ideas about what including something means. So this might be handy to keep on file and ask ourselves two months from now, “Did RT actually deliver on what they promised?”

Emphasis on Ruby’s leadership and how Summer’s death has impacted her

Insight into Ren and Nora’s flaws

May Merigold will supposedly have a larger part

More information about The Long Memory (Ozpin’s cane)

Theme of the volume is that you can respect someone but that doesn’t necessarily mean you agree with them

Very short timeline (supposedly just two days)

Yang in particular is very suspicious and distrustful

I was also going to include a list of all the threads that need to be continued/wrapped up, but honestly that would have taken too large a chunk off my life. Let’s just throw out the highlights:

Are we really going to have Qrow gunning for Ironwood?

Clover is dead regardless. Press ‘F’ to pay respects

Oscar bb you got shot please acknowledge this

Ozpin bb you got done dirty please acknowledge this

Penny is a Maiden now. I feel like the fandom has been sleeping on this (myself included)

Queer baiting, queer baiting… you’re on thin ice at this point, RWBY. Just skate on over to the queer snack bar before you fall straight into the lake.  

Ren spill your deep dark secret already and it had better be something more than just ‘Oh no Nora might someday die :( ’

Salem is here so how the actual fuck is the cast surviving this?

Will Ironwood likewise survive his descent into antagonism? Yes or please yes no?

I think that’s all the biggies. I strive to keep lists like this in mind while analyzing, but honestly RWBY has a hundred moving parts that are abandoned or changed or simply retconned at the drop of a hat. So an attempt will be made.

Number Four (last one I promise!): Normal disclaimers and reminders for Recaps apply:

Please don’t fill up the already full inbox with flames. It’s still 2020. No one has time for that nonsense.

There will absolutely be typos and wonky parts because I try to get these out the same day an episode premieres. I have now been working on this for ten hours, nearly straight, and have no more energy for edits. Apologies in advance and RIP to my Saturdays.

I reserve the right to use stupid GIFs and memes at my discretion.

I strive to keep my focus on recapping/analyzing but salt tends to worm its way in… If you’re a die-hard RWBY fan with little patience for criticism, let alone (at times) snarky criticism, please proceed with caution.

No wait I lied, this is the last thing:

Okay, got that out of my system LET’S DO THIS!

We start not with the episode itself but rather Rooster Teeth’s (RT’s) strange non-promotion of it. If you follow my blog you may have caught the post where I pointed out that there was nothing on RT’s website to suggest that one of their most popular shows—if not the most popular show—was premiering today. Nothing on the main page. Nothing on the RWBY page either, not unless you count the Volume 8 poster background (easily mistaken for the Volume 7 poster) and the trailer buried all the way down past Episodes, past Merch, in the Bonus Features section along with videos like Live From Remnant and the volume intros. RT… the promotion of your feature show is not a bonus. This should be front and center! Honest to god, five minutes before the episode dropped I was checking the website for a Volume 8 section, a countdown, anything that would tell me the episode was imminent without relying on fans on tumblr to keep me in the loop. We got nada, zilch. I’m not sure whether that speaks more to RT’s iffy management of the series or simply the website’s horrible design—RIP losing RWBY on Youtube—but I was surprised when I saw the episode a few minutes after 11:00am. At that point I honestly expected to hear about a dely.

So that’s the mood I entered the premiere in, but truly? We start off strong. Things take a pretty severe nosedive later on, we’ll get to that, but I was impressed with our beginning and that probably has a lot to do with the fact that we start with our villains.

We open on a Cinderella character, Cinder, and thus I’m immediately pleased that we’re getting something about her backstory after all this time. Seven years! She appeared in episode one, folks! To say we’re overdue is an understatement. There isn’t a whole lot to go on, just a younger Cinder sadly scrubbing the floor, poised under a spotlight. What we learn, or potentially learn, is based far more in cultural knowledge than this scene. We know Cinderella’s story, which includes the abusive family, the longing for more, the eventual escape, and thus we’re able to read all of that in this image, despite the image itself not telling us any of this overtly. That means we could be wrong in our interpretation, but if we’re not it’s an easy shorthand in an already packed story.

What I’m really impressed with is the sound bridge between the scrubbing and her nails on the back of Neo’s chair. Fantastic way to confirm that this is Cinder as well as showcasing just how far she’s come. The sound of her labor has been replaced with the sound of her power and given that Cinder’s power is stolen, tied to a grimm arm, the property of a genocidal maniac… that’s messed up. It’s a Cinderella story gone wrong.

So yeah, Cinder tells Neo to head straight into the creepy, grimm infested blood cloud to see Salem and Neo is like, ‘Uh… no thank you?’ lol.

RT does a good job this episode with her expressions, ensuring we know exactly what she’s thinking despite an unwillingness/inability to speak.

Poor Neo might be in too deep, but I quite like the overall atmosphere of this opening. Say what we will about Salem’s awful characterization, at least she has style. This woman knows how to make an entrance and, piggybacking off of the Apathy, RT knows how to infuse horror elements into their fantasy. The red and purple coloring of the clouds, spiked whale teeth peeking through, bright orange in the background looking like explosions… that’s all 👌 Including the intro card.

The only thing I want to gripe about is this:

I’m sorry, why does the whale grimm have landing pads? Or something like it?? The whale otherwise works because it’s poised between the natural and the fantasy synthetic. It looks like a real grimm whale on the outside, but is sporting a throne room, a control panel, and other unnatural elements on the inside. It’s a visual indicator of Salem’s ability to control and change grimm. Now though, the additions are wrong, infringing on the line between organic and tech, the line between what helps the grimm individually (giving monkeys wings) and what just helps Salem. Every other aspect of the whale straddles that line wonderfully, adding to the creep factor, like a grimm version of the Uncanny Valley: it’s not quite a whale anymore… but landing pads? That looks ridiculous. Why does Salem even have that? How many ships are her people feasibly using? Why are there five?

Take it away, please.

Cinder waltzes in like this is a normal home visit, but Neo has an appropriate ‘What the actual fuck?’ face going on.

They approach Salem on her throne where Cinder immediately kneels, greeting her with, “My queen.” I mentioned during my trailer breakdown that I think Cinder is lying her ass off here, and I still think that based on a line we’ll get in a minute, but now at least we have a sense of how she can pull this off. A woman who started out as a (presumed) servant is going to know how to mimic subservience, even if her heart isn’t in it. Salem is very good at playing the girl who will still kneel and scrub the floor for you. She will scrub the floor, she’ll do everything you want, she’ll just be plotting her own rise to power while she does it.

There’s quite a bit of interesting cinematography in this episode, not all of it good, and I think one of the mistakes is here when we get a closeup on Salem’s mouth as she greets Cinder. A closeup like that should be reserved for more significant dialogue—“Rosebud”—and yet we get this shot again when Cinder tells Emerald to be quiet. It’s awkward and coupled with the numerous eye closeups we got in the trailer, I think RT is playing a little fast and loose with the camera. Each shot should add something to the scene, not distract from it. If you don’t have a reason for including a technique like that then leave it be.

Back to the actual dialogue though. We knew that Salem knew Cinder was alive and now it seems that she just expected her to come back? I’m slightly lost. It feels like we’re missing something here. Cinder goes off to secure the lamp, fails, nearly dies, wanders on her own for months, and then randomly shows back up on Salem’s whale doorstep, yet Salem isn’t angry at all? Did she have faith that Cinder would return when she has something to offer? Did she just not care about Cinder, considering her return an unnecessary but otherwise welcome surprise? That would make the least sense given that she holds the key to accessing Beacon’s relic… but that circles right back around to why Salem is seemingly indifferent to Cinder’s comings and goings. Surely she can’t actually believe that Cinder is loyal?

“So I trust you wouldn’t return to me empty handed,” she says. Yeah, trust means nothing in this show, Salem, didn’t you watch Volumes 6 and 7? Again, I simply don’t know. I suppose I’ll just chalk it up to confidence, that if Cinder did bail Salem knew she could track her down again. Deciphering her motivations and beliefs is a lost cause when the show continually gives us so little.

The important thing now is that Cinder does indeed have an offering and you can see that Salem is somewhat surprised at being handed the relic.

Cinder, of course, takes credit for the victory and we’re given another wonderful shot of Neo. ‘YOU took it?’

Oh, Neo. Best get out while you still can.

Tyrian appears having obviously made his way to Salem’s ship sometime between her arrival and now. The exchange is pretty standard for this group. He insults Cinder for failing and needing this victory to make amends, talks about how any win against Ironwood says more about his lack of intelligence than her skill, and Cinder… doesn’t have a whole lot of comebacks, actually. I’d say Tyrian won that verbal spar, enhanced by a better use of the camera when we get his tail looming menacingly towards Cinder and Neo.

He goes on to say that Watts was a “necessary sacrifice” so, uh… I’m just going to toss out the ask I answered yesterday. Based on our intro I’d say Watts is still significant to the volume—hacking Penny is my guess—but by the end? He could be in trouble.

(As a side note: I plan to analyze the intro next week. It’s just easier when it comes first.)

Tyrian also calls Neo “little one” which I just found absolutely hilarious. In an on brand creepy manner, that is. Not that Neo couldn’t kick his ass, but there’s something wonderfully chilling about having the serial killer use an endearment towards a potential victim, one that comments on her size while he’s looming.

In contrast, Cinder refers to Neo as a “valuable asset” and we get our third mood of the episode.

Who’s going to start a Neo reaction image collection?

It’s true enough on the surface—who wouldn’t want an ally who can turn into anyone else?—but we’re still bumping up against question of why Salem needs this. She’s immortal! She has an endless army! Magic! This scene works well with a villain who needs a skillset like Neo’s to succeed, but Salem doesn’t. RT is doing a great job writing a story thus far, just not the story we’ve previously been given. This isn’t the story they set up.

This will come back up when we reach the RWBYJNOR group. Just wait.

Before that though, the gang’s all here as Emerald, Mercury, and Hazel show up, all in new outfits.

I think I like everything except for the weird Xs on Emerald’s jacket—it’s way too distracting and frankly makes an otherwise good look ugly—and the fact that she’s showing her midriff in Atlas. Hazel doesn’t have any sleeves! Oh my god, why doesn’t anyone dress for the weather in this show?

Frankly, I found their reunion to be kind of lackluster. I mean, there was nothing wrong with it. Emerald does sound briefly excited, she does run, and it’s in character for Cinder to cut her off… it just didn’t resonate with me emotionally. I thought after two volumes of thinking she’s dead, then working through the knowledge that she’s alive, that I would feel Emerald’s shock and relief more, but I didn’t. And I’m not entirely sure why. I don’t want to level any accusations at the voice acting because frankly I know next to nothing about that skill (and from what I’ve seen it’s usually praised in the fandom), but I will say that throughout the premiere I was noticing it more than I ever have before. The lack of emotion here and some awkward deliveries later, like when Yang goes, “Ruby, there is no way Ironwood will cooperate with us” and I immediately thought, “Wow, that came out stilted.” These observations stick with me because, as said, voice acting usually isn’t on my radar. It’s not something I’ve studied or had practice analyzing. If you’d never told me that Ren or Qrow’s VA changed then after a year hiatus I literally wouldn’t notice… but there’s something about this episode that didn’t sit right. Anyone else get that sense, or was it just me?

Regardless, the arrival of our other three villains really doesn’t amount to much, though I’m happy for all the Emerald and Mercury fans who get to see them in new outfits. The focus is still on Cinder as she delivers a line indicative of her true motivations: “That power will be mine.” Yeah, she’s not loyal to Salem, she’s just power hungry. Of course, Salem immediately takes note of this and raises her hand, in another nice use of the foreground, reminding her that she hasn’t given that order.

Cinder is shocked, angry even, but quickly covers it up with her “Without you I am nothing” line. If I caught it right I think she also calls Salem “Ma’am”? Hilarious. Again, skilled at playing the servant.

Also, before I forget, it’s worth noting that almost everything from our trailer appeared in this episode. Yeah, there are a few details like Nora attacking some tech and the group on their bikes, but on the whole we’ve already seen the majority of our promo material and will likely get most of the rest next week. It makes me both interested and nervous for what another twelve episodes are going to hold.

Salem opens her whale, or opens a portal type view in it, something that gives us a long-distance look at Atlas. I don’t know what exactly is going on here, but it’s pretty so I’ll take it.

She also delivers the frankly badass line, “Just because you’re more valuable to me than a pawn does not make you a player.”

She waves them all away with perfect ‘You mean nothing to me’ attitude and we sadly leave our villains.

Sad not because I don’t love my farm boy, but because things are about to get a whole lot messier.

Oscar has made his way to a camp of civilian survivors… all of whom are just hanging out in the supposedly deadly cold. Yeah, there’s a single fire, but at least four of them aren’t anywhere near it. Three of them also aren’t wearing gloves. What was that survival rate again?

A nice if gruff dude gives Oscar soup—water?—while showing off his… badger claws? I don’t know what kind of faunus he’s supposed to be, but he feels like the sort of two second, minor character who could easily become a meme lol.

Oscar thanks him (my polite son!) and hands the bowl back after a single sip. Which is impressive because I would have assumed the guy was giving me the whole bowl and just taken it. Hell, I’ve done that even when I didn’t assume it’s all for me. A Starbucks barista once approached me with a tray and a plate of samples, I knew I was supposed to take just one, yet for some reason my hand went to take the whole goddamn plate. He had to tell me off, then I was trying to explain that I didn’t actually want or think I should have eight shots of cappuccino all to myself, I don’t even like coffee, he clearly didn’t believe me… it was awkward. So good job, Oscar. You’re less awkward than me (though that’s not saying much).

Now a question, Oscar. Darling. Brilliant boy who has been through too much: why the fuck aren’t you talking to Ozpin? This will be A Thing later when he presents a lack of time to talk as justification for keeping more secrets (we’ll get to that too…) yet here is time! You’re just sitting there for who knows how long, with plenty of privacy to hide a supposedly one-sided conversation so the Mantle citizens don’t get weirded out or suspicious. Talk to Ozpin. Our headmaster gets two lines in this episode, utterly inconsequential lines like his airship scene, lines that feel like they exist to say, “See? He’s still included in the story!” even though he absolutely is not. Two volumes of mostly silence, a perfect setup to start the reconciliation process, but we’re going to put it off again?

Instead Ruby randomly and conveniently appears. I want to know how she found him. Oscar isn’t wearing a tracker. He clearly didn’t call them because he’s surprised when Ruby shows up. He fell alllllllll the way back down to Mantle and then wandered to a random part of the slums. You’re telling me they flew over the entire city—after beginning this search thinking he was in Atlas—and somehow managed to spot him from up in the air? C’mon. I would have rather had a beginning where Oscar makes his way back to the group himself, giving him and Ozpin time to hash things out.

“Need a lift?” Ruby says, eliminating that potential. Sigh.

Oscar immediately starts beating himself up when he gets onboard, saying that he “was stupid to think the General would listen.” Nah, you were stupid to buy into Ruby’s nonsensical confidence and for telling Ironwood he’s as bad as Salem. Sorry, Oscar, but everyone is written badly these days. I will, however, say that I am THRILLED at the group’s reaction to his return. Ruby says that she’s “just glad you’re alright.” Nora has a wonderfully tender moment where she hugs him gently rather than her usual glomp.

That? That added a year to my life. Everyone else seems relieved that he’s okay too, so kudos there. After four years of Oscar being an outsider in the group, this is one of the few moments that feel like he’s 100% accepted. Really glad to see it.

Now let’s see if it sticks after they learn Ozpin is back...

They fly to the Happy Huntresses’ base and I again feel like I’ve missed something crucial. When did they team up? I mean, RWBYJNOR was working directly under Ironwood up until the last hour and Robyn ran off to fight Tyrian/Clover in the last couple episodes. When did she have time to explain her (briefly) changed allegiance and why would the Happy Huntresses trust the group without that? Did Robyn share that Blake and Yang went behind Ironwood’s back for her? Do the Huntresses instinctively trust them because they’re now wanted by the military? How did they even run into each other?

Again, I think we would have been better served to have an episode before all this. Let Oscar make his way back and let the group struggle with the magnitude of their situation on the airship, before they find new allies. Transferring directly to, “They have help and a secret base and a plan in the works!” makes me feel like I missed the real premiere last week. You know, the one where Salem unexpectedly arrived and we left the group like this.

This is where we’ve ended up though. The group is cozy in this hideout, getting info from Joanna, and my only other thought is, “Why is she giving all this exposition?”  

Shouldn’t it be May? I mean, we were told that she was going to play more of a role this volume, a promise that’s pretty important imo given her status as a (so far off screen) trans character, so why not put her in the role of mediator between the Happy Huntresses and RWBYJNR? Giving her that setup as a leader among her people as well as lots of lines would be meaningful. A trans character just existing and being a part of this fight! May could obviously still fill that role—I’m well aware that we’re only one episode in—but it just seems like a missed opportunity to me. Out of all the undeveloped Happy Huntresses, our premiere focuses on the one who has the least importance to the fandom.

As said, Joanna talks a fair bit but what it basically boils down to is trying to get everyone to the crater below Atlas. It’s apparently not safe, but it’s warm, which is what matters right now.

So… let me get this straight. You want to gather everyone into a not safe crater, by leading them through an army of grimm, so that they can wait there in case someone moves the Staff, thus dropping an entire city on top of their heads? That’s the plan? Which admittedly isn’t Joanna’s fault. This is another instance of RWBYJNOR having information that a leader does not and they should really consider speaking up about it. But of course they don’t.

Also, how long does everyone have in regards to the cold? Shouldn’t there be dead civilians by now? The time it would take to find the Happy Huntresses, team up with them, get settled in the base, and find Oscar says that things should be pretty grim right now (pardon the pun), yet every non-aura user in this city seems content to just hang out in the snow. Either the cold is deadly enough to justify moving everyone to the crater, or it’s mild enough to let everyone survive this long, not both.

After hugs are given everyone obviously wants to know what happened to Oscar. His response?

“It’s a… long story. I get the feeling there’s been a few of those tonight.”

That’s a check for the bingo card! We’re halfway through the first episode and we’ve already got another secret. Yes, this is a secret. Oscar actively chooses not to tell anyone that Ozpin is back—something Ozpin himself comments on—and then skillfully draws attention away from himself with “I get the feeling there’s been a few of those tonight.” Indeed, all eyes go to Penny. Oscar’s plight is forgotten, which is what he wanted. His justification?

Ozpin: “You’re not going to tell them?”

Oscar: “You and I aren’t done talking yet.”

Along with this look.

Oscar no. There’s so much wrong with this I don’t even know where to begin. Let’s create a list.

As said, you had plenty of time to talk to Ozpin and chose not to. Miss me with this excuse.

You are now doing to your friends exactly what you and your friends did to Ironwood, which in turn is what Ozpin did to you! I can’t believe we’ve got Oscar critically side-eyeing him when they are still—still—repeating the behavior they drove Ozpin away for.

What is there to even talk about now? Oscar didn’t punch himself/Ozpin (lol) but he did steal Jinn’s name from Ozpin in the first place. You got what you wanted, drove him away, and have been lying and keeping secrets ever since. The only thing they should be talking about involves apologizing. Any further criticism—which is what Oscar’s expression and curt reply suggests—is beyond hypocritical.

Seriously, what needs to be discussed? There’s no reason not to tell the group unless Oscar wants to talk about whether they should tell them. There’s no good ending here...

Don’t you think it would be nice to know that Ozpin is back and you’ve got super magic powers while making plans to save the entire world?

This is all especially stupid given Oscar’s “Salem wants to divide us” reminder to Ruby in a moment. Oscar, you are doing the most to divide the group right now. By not forgiving Ozpin. By refusing to work with him. By keeping him secret from everyone else.

This is bad, friends, I worry for what the rest of the volume will bring…

The story is done with Ozpin for now so I guess I will be too. The group continues filling Oscar in and we get some shots of the base, including a rather prominent poster of what I assume are two Happy Huntresses. Did they die in battle perhaps?

It’s a little strange.

Oscar: “Where’s Qrow?”

Me: “Likely still making bad decisions.”

No one knows so they just drop it. Which I kind of get, only so much you can do to find him if he’s not out on the streets like Oscar, but it still reads as kind of iffy that two nieces look down at the ground for a hot second and then move on with their plans, content to leave Qrow to whatever fate befell him. In a minute we’ll see Yang firmly take Ren’s side regarding helping the people they can in Mantle, which frankly comes out of nowhere for her. I think an easy motivation would have been Qrow. Ruby wants to save the world, Yang wants to find and save their uncle, and that just happens to align with Ren’s desire to save the civilians who need immediate grimm and cold help. Don’t get me wrong, I like that there’s finally some division between the sisters, I just wish it hadn’t come about so abruptly. Ren had setup for standing up to Ruby. Yang did not.

But I’m getting a little ahead of myself. Joanna lists the grimm horde and no heat as the major threats to everyone. The group agrees.

Me: What about Salem?

Joanna says that this is all doubly dangerous because there’s “no more military protection.”

Me: Oh, so now you want the military?

This is all so disjointed. Even more-so when Joanna mentions that Ironwood has stopped all evacuations to Atlas, likely due to the “hard light shields” that are the only thing standing between Salem and the city. Thing is, the show never makes this connection, I just did it myself based on this scene and the one that comes later. The show presents Joanna’s line as a pure condemnation. Ironwood won’t let more evacuees in because… he’s just evil, I guess. Yet there is a justification here, namely that continuing the evacuations even while he’s stuck without Penny leaves him wide open to a Salem attack, the death of everyone currently safe, but that argument is never presented to the viewer. I don’t need people to agree with Ironwood’s perspective, I just wish that perspective was offered as an option. The show is very good about acting like RWBYJNOR’s opinion is the only justified opinion, or simply the only opinion at all.

After everything is laid out Weiss goes, “We’re never going to sleep again, I just know it.”

I could make a crack about the lack of continuity and how the group should be collapsing right now… but that was a funny line. It can stay.

What is far more of a problem is the fact that no one is talking about Salem. Okay, that’s a lie. They do talk about her, but in a roundabout way like her presence isn’t impacting every decision they make. That’s the real issue. They’re acting as if Salem isn’t here right now, like she’s off far away, maybe approaching slowly, and they’re arguing over how best to prep the world for her eventual attack. There’s no emotion here—let alone action—to reflect that the series’ Big Bad has arrived and is poised to murder them all. Literally what is this? Ruby is yelling about warning the world and, ignoring the continued question of why that’s a good thing when the world can do nothing to stop Salem and knowledge of her continually drives people to horrible acts, she has yet to acknowledge that… she’s the world? Ruby is the world in this conflict. She, Mantle, and Atlas. Salem is here for you all. Right now. You are, this instant, in the situation you want to warn others about, so why don’t you try to do something about it? Or at least acknowledge it. Ruby wants to warn the neighborhood about a potential fire while her house is actively ablaze, and the fire could have totally killed her by now but decided not to for… reasons.

“Ruby’s right,” Nora says. They have to tell the world so “they can prepare.” How? How are they supposed to prepare for this? The story cannot continue ignoring Salem’s immortality.

“Ruby’s right,” is all Blake says and I’m starting to thinks that’s why her character exists now, to agree with Ruby. It’s great that she’s getting a little distance from Yang, but man.

As Ruby asks whether Pietro can get Amity up and running despite it not being finished (called it) we start an incredibly odd sequence of flashforwards to their individual missions. I’ve seen a lot of praise for this already and though I agree that, in theory, it’s a good way to save time, I found the actual execution to be jarring. Upon thinking back through our timeline, it became clear they were flashforwards, but while watching I thought they might be flashbacks (especially since that’s more common).

Some of the shots, like Nora’s, just look awkward when you’ve got the exact expression and pose transplanted from one scene to another, like she’s a cardboard cutout behind a green screen. To say nothing of how the flashforwards ruin any suspense (I use that word loosely) in the conversation itself. If the question is, “Will they decide to go to the military compound?” then that question is answered when we see Ruby scoping out the compound, not when the group actually decides on the course of action.

It just made an already muddled scene worse for me, so I hope this trend doesn’t continue.

And of course, Amity can be used despite all the info last volume claiming that it wasn’t finished. Pietro suddenly acts like it is finished and the only thing standing in their way is Ironwood providing access. If that were the case, he would have used Amity weeks or days ago like he wanted to! When was it finished? Not after Watts commented on how incomplete it was. When did they get back the resources they needed from Robyn? It’s as ridiculous and retcon-y as I thought it would be.

Yang points out that Ironwood will never listen to them and Ruby counters that “he doesn’t have to.” They’ll just take the access from him. Because why wouldn’t they in a series where they’ve already stolen two airships? Stealing from the super evil military that Joanna wishes were helping them right now is just the group’s go-to plan nowadays.

Pietro isn’t sold on this plan though. He lists at least three obstacles they’d need to get through “and then… oh boy, I might need to think about this some more.” “And just to clarify,” Oscar says, “This is the easy option?” Um...no it’s not? We also know there’s an access point in Ironwood’s office so… why not go there instead? They really think the Academy is less guarded than the military base? There’s a potential justification here along the lines of, “After Neo and Cinder broke into his office Ironwood will have the place on high alert,” but unless I missed it the group doesn’t assume anything like that. They just listen to Pietro point out all the ways they can’t get into the military base and jump straight to that being the best option. It feels like a transparent way to create conflict for the group. We’ll just have them taking the most dangerous route despite an easy route being offered alongside it. Why bother mentioning his office at all? Just have the access in the military base. Boom, done.

It’s that conflict and the fact that Ruby tends to hear “You can’t” and digs in her heels. You can’t go to Atlas. I’ll just steal a ship then. You can’t defeat Salem. Watch me. You can’t break into this base. Guess what I’m doing! She’s dangerous in her fairy tale, meta-driven insistence that everything will turn out her way because she wants it to.

Speaking of, we finally—FINALLY—get someone challenging Ruby. Sort of. Not actually but it’s the closest we’ve ever gotten:

Yang: “Ruby, when we came here we said we’d follow your lead… but things haven’t exactly worked out.”

Now, there are two things to take away from this moment. The first is how utterly shocked Ruby and the others are. I mean, take a look at these expressions.

Ruby straight up can’t believe what she’s hearing. Weiss put her hand to her mouth like this is the most dramatic thing to ever happen to her. Oscar looks down in a ‘Yeah, I agree but please don’t look at me and make me admit that’ way. And Nora looks indifferent in the screenshot but animated she goes sort of stern, likely pissed that Yang would dare say that given her own agreement with Ruby. This not only reiterates that Yang’s challenge came out of nowhere—seriously, how did we move from following Ruby no matter what to this? Last volume she asked a single question along the lines of, ‘You sure?’ and when Ruby said ‘Yes’ Yang was entirely on board—but also demonstrates that no one has EVER said no to her before. Ruby is amazed that someone would challenge her. The act of challenging Ruby is, in and of itself, shocking. This group has gotten so used to following Ruby blindly that the teensiest little pushback is greeted with this.

Because it is teensy. This is the second takeaway: Yang barely challenges her and that challenge leads nowhere. She doesn’t accuse Ruby of anything, she doesn’t question her continued authority, she just broadly implies that things could be better. We followed you, now things are bad, take from that what you will. It’s incredibly mild as far as criticism goes, making the shock all the more, well, shocking, but it also amounts to—wait for it—nothing! Because Yang didn’t truly challenge Ruby’s leadership. She’s still in charge, she’s still calling the shots, and they’re still listening to her. We might have gotten some change if this division had been allowed to play out, but instead Jaune comes in with a, “Let’s go for both!” solution. It let’s both groups get what they want which, in turn, releases them from the need to grapple with whether they’ll listen to Ruby when she’s advocating for something they don’t agree with. We have now lost the chance to see whether, when push comes to shove, Ren and Yang will cave to Ruby’s will or stick by their own beliefs.

Don’t get me wrong, it’s more conflict than we’ve gotten in years, but that doesn’t mean it’s particularly compelling conflict. It’s good by RWBY’s standards, which doesn’t necessarily make it good. The actual issues at hand—Ruby’s dangerous arrogance, the group’s loyalty, her choices up until now—are just swept under the rug. For all the visuals we get insisting that there’s this great divide in the group… there’s really not. Not in any way that matters.

Also, Ruby is an idiot. Okay, that was mean, but she really is in this scene. She’s actually not an idiot overall because she was written as wonderfully intelligent in the early volumes, but now? Lately? She makes me want to bang my head against a wall.

“But that’s how Salem got this far,” she cries. “By dividing us!”

Ruby… oh my god, Ruby. No one should have to explain to you that dividing people means turning them against each other, not literally dividing your team to complete separate tasks. This girl honestly thought that because there was this teensy disagreement and that half the team would complete Plan A while she and the other half completed Plan B, both of which notably work towards the goal of, “Protect people from Salem,” that this was somehow what Salem wanted. That is was dangerous. Honestly, it’s a scary look at her view of leadership too: If everyone doesn’t 100% agree with me and do what I say, that’s an objectively bad thing that the grimm queen wants, right? Does Ruby think that unification means following a single person (her) without question or variation? That would explain a lot...

The fact that Oscar needs to explain the difference to her is not good. It really doesn’t say great things about this version of Ruby. Though he was comparing Ironwood to Salem last volume, so really they should all be wearing dunce hats.

Penny offers to take the relic directly to Salem in exchange for her leaving the kingdom alone. I honestly didn’t expect that. If anyone took that risk I would have put my money on Ozpin (but of course, during all this talk of the women he knows best, he’s kept quiet). Oscar is again the voice of wisdom, pointing out that they have no reassurance that Salem will keep her word. At least Penny is thinking about Salem as a threat though, so kudos for that. When this plan is shot down she volunteers to get Ruby past the military security instead and, uh, she’s a little intense about it.

I’m not entirely sure what is going on with Penny. She disagreed with Winter but then seemed to come around to her point of view, enough to help anyway. They had another (stupid) disagreement about the value of individual lives, so that helps to explain why she’s teaming up with RWBYJNOR (if you ignore that Ironwood is also trying to save individual lives...). Did watching Fria die shake her up? Is it being the Winter Maiden that’s not sitting right? Does Penny have lingering feelings about the framing that haven’t shown up until now? Her status as a ‘real girl’? We’ve got a lot of reasons that could definitely explain this sudden need to fight, but we’re not told which—if any of these—is the driving force.  

We’re then given a lot of little details. Someone points out that if Salem gets the staff and “create[s] anything else” then Atlas will fall (so yeah, let’s move the people underneath it). We still don’t know what exactly the Staff does because “creation” is kind of broad and “powering a city to float” doesn’t seem to sit within that category at all. Pietro gives Yang the keys to his lab so they can get the bikes. We see the group dividing in the flashforwards, something I do like, especially since the show has gone out of its way to break up most of the usual duos. Nora in particular is pissed at Ren for his choice.

“Oh, I’m saving Mantle because I actually believe we can do this.”

#yikes. Well, I did say I wanted a conflict other than ‘Oh no, one of us might die’ and it looks like I got it. But Nora, the only reason you can do this is because the plot is in your corner: none of you are collapsing from two major fights, you didn’t lose your aura so the cold isn’t a danger, the military is barely a threat all of a sudden, Salem is helpfully hanging out in her whale instead of killing you, and the story decided that Amity can function so long as you all are the ones who get to use it. That’s why you can do this. Ren, who follows in-world logic and doesn’t want to risk a whole kingdom’s worth of lives on a pipe dream, thinks differently, oddly enough.

As they leave though Penny gets a call from Ironwood. I know precisely what the fandom is going to say here: “This evil man is just trying to use Penny to open the vault!” Of course he is. He needs it open to save everyone he can, Penny included. Plus the concept of “using” her is a double-edged sword. What do we think the group is doing right now? Using her to get past the security. Penny’s power is a tool any way you slice it. Granted, Penny volunteers to help the group, but notably here Ruby speaks for her. Penny seems torn and Ruby takes the scroll away with, “She’s not going anywhere until you change your mind about Mantle.”

Sorry, Ruby, but coming from you that sounds less like a reassurance for Penny and more like just an order for Ironwood. Remember Harriet? We’ll stop attacking you provided you do what we want. Ruby has yet to learn about compromises, let alone acknowledge that she might be wrong. How about you let Penny decide where she goes, especially since by all logic she should have a lot of loyalty to Ironwood. She knew him before she ever met you. She’s worked with him since she was rebuild post-Volume 3. Despite what Penny has said, if the story would just let her think about his actions for a hot second—making her the protector of Mantle, sticking up for her after the framing, sending her to the party, teaming her up with Ruby, etc.—she might realize that the ‘He doesn’t want me to have friends’ and ‘He just treats me like a tool’ assumptions are just that, unfounded assumptions. But no, Ruby speaks for them both because Ironwood is evil now.

“If she makes it through our defenses,” Ironwood says, “everything that follows will be on your hands.”

That’s true! Kind of like how it’s own Qrow’s hands that Clover died. When you insist on making a bad situation worse you hold responsibility when the shit hits the fan. You know though that Salem won’t get through their defenses now, somehow, so that there’s no chance RWBYJNOR will be blamed for it. Or, by that point Ironwood will be so crazed that anything coming out of his mouth is dismissed, no matter how accurate it might be.

We then transfer to the Ace Ops who are, despite what the fandom theorized for many months, clearly upset about Clover. Also pissed. Which they have every right to be. Their friend and leader was killed. Imagine for a moment that Ruby had been murdered by Tyrian with an allies’ help. Exactly what do you think the group would do? Swallow it quietly and get over it? Ha.

I’ve already seen some speculation that Clover survived due to details like showing us the bandage and his room being listed as for a “Patient,” but he looks pretty dead to me.

He got gutted through the chest and left out in the snow for who knows how long. We saw him slip away. Qrow screamed over his dead body. He’s not breathing now. If RWBY suddenly claims he survived this, I’m calling BS.

Most of the other visuals we get here were already dropped in the trailer. Winter is pretty injured from her encounter with Cinder, likely permanently based on her new outfit. Ironwood had to replace his arm—and I am calling BS on that “Losing his arm is reflective of him losing his humanity” commentary from RT. Please go read up on a couple decades worth of ableism in media and then get back to me.

We get Ironwood’s line about the light shields and, notably, a whole lot of empathy. Regardless of what he might want Penny for, he still called her with compassion. He’s watching the Ace Ops mourn their friend. He’s talking about protecting his kingdom. The first thing he says to Winter is, “Thank you, Winter. I don’t know what I would do without you.” Ironwood has a heart! It’s always on display, which makes this scene utterly ridiculous.

I literally don’t know how to respond to this. The gunshot made me jump, both because it’s a gunshot and because, again, what the fuck? I know I said that next volume RT might just have Ironwood descend into full villainy, shooting whoever he pleases now that he’s shot Oscar, but I didn’t actually expect them to do it. Because he never should have shot Oscar in the first place! I wanted the story to let Oscar grapple with it a bit and then quietly backtrack, acknowledging it as the mistake it was. The concept that Ironwood, empathetic Ironwood, rational Ironwood, always thinks before he acts Ironwood, let’s kids yell at him Ironwood, tried to team up with Robyn Ironwood, did everything Ruby wanted Ironwood, won’t kill Watts after he destroyed his arm Ironwood would shoot this guy just to shut him up is absurd. It was absurd then, it’s absurd now.

That being said, there’s a possibility he didn’t actually shoot the council member, but rather just (“just”) gave a warning shot down the hallway. I say this because the reactions to this are pretty tame. Everyone looks startled, yeah, but after the initial shot there’s nothing that I would expect if there was now a guy bleeding out on the floor. The council woman doesn’t scream. Winter doesn’t seem overly shocked. No one is running to try and help him. Basically, if Ironwood had just killed a political figure in front of six witnesses, entirely unprovoked, I would expect a bit more of a reaction than this. This feels far more like a, “Damn he’s not joking around, letting off warning shots to get people to leave him alone” not “WOW, our general just killed someone in cold blood!”

What I really hate though—beyond just assassinating his character—is how many fans think my friends and I are delusional for calling it character assassination at all. I hopped onto the RWBY tag for five minutes this morning and was bombarded with posts about how Ironwood needs to be murdered horrifically, anyone who likes him is sick, the Ironwood stans are as bad as Adam stans, you’re an idiot if you want him redeemed… because apparently the concept of a story writing a character badly doesn’t compute. I’m not here to argue that Ironwood didn’t do these awful things (regardless of whether he actually killed the guy or not). I’m not here to argue that they’re not awful. I’m just here to say that we never should have gotten these scenes in the first place, or if we were going to get them, we deserved an actual descent into murder at the drop of a hat territory. I’ve already explained extensively on this blog how early Ironwood was not accurate foreshadowing for this, and Volume 7 certainly wasn’t setup, but it looks like the majority of fans aren’t interested in examining whether any of this adds up. Which makes my job, as someone trying to examine this series somewhat objectively—in as much as that’s possible for any single viewer—as well as simply enjoy it as a show, really hard. It’s bad enough when a story keeps taking the characters you love and villainizing them, and doing that badly, but then when you turn to the community and see them rallying around the idea that you’re awful for being dissatisfied—you’re the bootlicker, you’re the blind stan, you can’t see what’s ‘really’ going on here… that sucks. For those of you happy and satisfied with Ironwood’s arc, that’s great! I’ve also seen a lot of posts hyping up the complexity of his character now. There’s nothing wrong with enjoying what we’ve been given and I’d never want to imply that just because it’s not what I wanted it’s somehow wrong. I’m honestly thrilled that after a year of worry so many people have adored our premiere, including this scene. I just wish that I could say RWBY had given me something I didn’t want in a persuasive manner and that the fandom as a whole was a bit more welcoming of differing criticisms.

Not that I didn’t already know the RWBY fandom had its flaws, but still lol.

That’s basically it for our premiere. Nice note to end on, huh? Our final scene is of Salem using the lamp to set her bloodhound grimm on the city. Why doesn’t she just go herself? What was she planning to do here in Atlas in the first place, considering that getting the relic was a surprise? Who knows. Little about this holds together. But we do end with another awesome shot, so small favors.

It’s always strange concluding a recap, but even more-so when it’s a premiere, during a historical moment in the U.S., amidst all the nonsense that is 2020. So for now I’ll just conclude with three quick things:

The updated bingo board will be listed at the end of each recap, provided I don’t forget about it lol. Today I’m checking off tone (not nearly enough freaking out about Salem), the team keeping secrets (Oscar), and major plot point dropped (Amity is suddenly finished). I could also probably check off the cold not killing civilians and getting Amity up and running, but we’ll see if any changes with those.

I’m including my Ko-Fi link at the end of recaps now. Not with any expectations. Not with anything resembling pressure. I thought long and hard over whether to include it at all—let alone mention it here—because I love doing these and never want anyone to feel like it comes with strings attached. But life is a little harder and weirder than it was last year, so I figure it can’t hurt. Feel free to pass on by and I won’t be bringing it up past this note.

Far more importantly: thank you for reading! :D

(Bonus 4. Editing this was an absolute nightmare — damn you, tumblr!  — so I apologize if anything is super wonky when I finally post.)

See you next week! 💜

[Ko-Fi]

[whumpinggrounds]

My Friend Jude

jamie is still learning and isabella is learning a few things with her :)

tagging @killtheprotagonist and @shapeshiftersandfire

CW: female whumpee, pet whump, but nothing actually happens bc jamie is a sweetie :)

“So, um, what do you want for dinner?” Jamie’s rattling around the kitchen, looking in cabinets and drawers to see what’s there. “Are you hungry yet? What, um. What did you have for lunch?”

“I didn’t eat lunch, Jamie.”

There’s a slowing, and then a complete stop to Jamie’s rummaging. She turns to face Isabella, looking deeply concerned. “You, um, didn’t eat? Because…I mean…we had breakfast at eight. It’s, um, it’s two now.”

Isabella offers her a bland smile. “I don’t have permission from my owner to eat without her.”

Hearing that, Jamie’s eyebrows draw together, and Isabella sees what anger looks like on this tentative, awkward woman. Drawing back, Isabella tries to steel herself for some kind of punishment, but Jamie just shakes her head, and as quickly as it appeared, the anger is gone. “Sorry I-sorry. That’s, um…huh. Okay. Just, um, as long as I’m with you, you have permission to eat whenever you’re hungry, okay?”

Uncertainly, Isabella nods. Whenever she’s hungry? That doesn’t seem right. But Jamie is in charge of her for now, so she just nods again. “Okay, Jamie.”

“So, um, do you have anything in particular you’d like? For dinner? I, um, I’m going to make you a snack and then we’re going to probably eat pretty early, because you’re definitely hungry.”

Swallowing, Isabella searches her head for an appropriate response. “Whatever…whatever you would like would be lovely, thank you.” She squeezes her eyes shut even as she says it, because that canned response does nothing but irritate Mara, though her owner usually tries to hide her frustration.

From Jamie there’s silence, and Isabella risks a peek at the redhead. Far from angry, she just looks like she’s thinking. “I…okay. Okay. I’m going to, um. Try something here.” Jamie sighs, turning fully to face Isabella and putting both hands flat on the counter, as if to steady herself. “I, um…I don’t know if Mara’s ever told you this, but I used to…I used to have a friend. We did, I guess. Mara and me. We had the same friend. Her name was…” Jamie clears her throat awkwardly. “Her name was Ju…”

Isabella winces without meaning to, and Jamie nods. “Yep, so, um, I think you know who I’m talking about.”

It was hard enough to have this conversation with Mara. Isabella doesn’t, truly doesn’t, want to have it with a new stranger, but she clears her throat to make it clear who and what she is. “My name is Isabella, and I am a Box Babe belonging to Mara Langford, designated combination Domestic-Platonic, Product Number 067-”

“N-no.” Jamie hesitates as she says it, but there’s force behind the word. “I’m…I’m sorry. I know…” Jamie sucks in a deep breath, as if new air will give her strength. “I know you’re not her. You’re Isabella.” Jamie tries for a smile, and Isabella returns one, tiny and nervous. “I just…if you don’t mind, I can cook something she used to like. Because you do remind me of her, a little. She was, um, she was a vegetarian, you know? I can…can make something vegetarian…if, um, if you…”

Isabella may not know Jamie, but she knows what rambling sounds like, and she can see the discomfort in Jamie’s eyes as she stumbles along. “That sounds good,” she agrees, and Jamie relaxes so visibly it’s almost comical.

“Oh. Good.” She smiles at Isabella, real and warm and relieved, and Isabella can’t help smiling back.

Isabella moves to join Jamie in the kitchen, but the redhead is washing her hands and getting out the cutting board herself. “I…I can do that,” Isabella offers uncertainly, but Jamie just smiles at her.

“I’ve got it.”

So Jamie will be holding a knife. Isabella wants to back away, but Jamie hasn’t dismissed her. Steeling herself, Isabella holds her place near the kitchen, every nerve tense and ready. When Jamie speaks, her quiet voice is enough to make Isabella want to jump. “Do you want to, um, tell me about your day?”

Brow wrinkling, Isabella examines Jamie hesitantly. “All I do is clean,” she explains. “And do some stretches, sometimes. Exercises. It wouldn’t be very interesting to talk about.”

Mouth turning down, Jamie focuses on the vegetables she’s chopping, and Isabella wonders if she’s angry. She wonders if Jamie’s thinking about using the knife for something besides making dinner. “Well, did anything different happen today?”

She doesn’t sound angry, but she doesn’t sound happy, either. Still – Isabella can’t lie to her. “No,” she answers honestly, eyes still on the knife.

“Don’t…don’t you get bored?”

Isabella’s eyes come up to meet Jamie’s. The question seems genuine, and Jamie’s face is open in the asking, but Isabella’s not about to criticize her owner to a stranger. “I’m very happy here.” Isabella’s smiling as she says it, even, but Jamie doesn’t look convinced.

“That’s…not really an answer.”

The smile starts to slip from Isabella’s face. She has the uncomfortable, heart-racing feeling that Jamie is trying to catch her out, and she doesn’t know what exactly to say that will get her out of trouble. She does get bored, she does, but that would sound like complaining. Should she go with the simple stupid pet route? Would that be lying?

The distress must show on her face because Jamie sets the knife down carefully. “Sorry – I’m sorry. Let’s, uh, let’s talk about something else.”

“Thank you, Jamie.”

“A’course.” Jamie gives her this crooked little half-smile, and Isabella smiles back, still tentative, careful. “It’s okay – my day wasn’t very interesting, either.”

The convention is to ask Jamie, now, what she does. Isabella can’t help finding it strange, this playing at conversation with a pet. Mara tried it for a time, but she’s mostly given up now, has slipped into guiding the conversation and letting Isabella ask her questions. Still, if a pretend dialogue is what Jamie wants, Isabella can try to oblige. “What did you do?”

“I, uh, I’m a caregiver, if you know what that is.”

Isabella just shakes her head.

“I help out people who can’t do things on their own. If they use mobility aids or something like that, older people…there’s stuff they can’t do by themselves.” Jamie shrugs. “Like I said. It’s not that interesting either.”

Maybe that’s why Jamie’s making dinner instead of having Isabella do it. Maybe she’s just so used to helping people that she doesn’t realize Isabella isn’t a person. “That sounds important.”

Jamie rewards her with another smile. “I…yeah, I guess it is. I don’t know. I like my new clients, so that’s nice.”

“Why…” Isabella marvels at her own bravery but reminds herself that this seems to be what Jamie wants. “Why do you have new clients?”

Now Jamie sets the knife in the sink, and Isabella wonders if she’s keeping it close, in case she needs it again, for something besides little piles of peppers and carrots, like, for instance, Isabella. When Jamie speaks, her voice is quiet, but it still startles the boxgirl, whose eyes are fixed firmly on the knife gleaming in the sink. “I, uh, just moved here. From a few…a few hours away. So. New clients.”

“Oh. Do you like it here?”

“Yeah, I think so.” Jamie shrugs again, shoulders hanging awkwardly even after she’s done, hunched up by her shoulders. If Isabella didn’t know better, she’d think that Jamie was almost…afraid. As if Isabella could do something to her. “It’s spring now, so I like that it’s brighter out, but I don’t think that has anything to do with the city. You’ve lived here longer – do you like it here?”

“I’m sorry; I couldn’t say. I don’t leave the apartment.”

She doesn’t. Isabella’s life begins and ends at the gray metal door that lets her owner into the hallway and keeps Isabella safe inside. Mara’s at work all the time, and when she’s not at work, she doesn’t want to be seen with a pet. For a lot of reasons, she tells Isabella, but that doesn’t stop her boxgirl wondering if it’s because of the scar on her chest.

Maybe Jamie agrees, because she’s frowning. “I’m…sorry. Do, um, do you want to?”

“I want what Mara wants,” Isabella answers simply, correctly. Jamie nods, still frowning.

“Well…uh…how’s…um…the weather?”

Isabella watches Jamie wince at her own awkwardness and feels a tiny spark of amusement, dangerous as that is. “Pretty good.” Other times, Isabella might wonder if that response is too informal, but she has a sense it might put Jamie at ease. “There was a bit of snow this winter. A lot of rain.”

“Which do you like more?”

It’s a harmless preference to have, Isabella is almost sure, so she thinks about it. “I think…I think rain?” she almost asks it, looking nervously to Jamie, who encourages her with a smile. “They’re both pretty, but I don’t like…I don’t like watching the snow get ruined. It makes me…um…sad.”

That’s…that’s a lot, even for trying to have a conversation, even for trying to put her tentative new pet-sitter at ease. Almost as soon as she’s done speaking, her muscles lock up, her eyes drop. Isabella’s nervous, though she doesn’t know exactly why.

Jamie sighs. “Yeah, that’s true. Snow is pretty, but slush is sad.”

“Yeah,” Isabella agrees quietly.

“Do you…do you like hot or cold weather better?”

“I…I…”

“Oh, and” – Jamie speaks up so suddenly Isabella flinches, just a little – “oh, sorry, if, um, if I’m asking something that you can’t answer…or don’t want to answer…you don’t have to, you know?” Her voice and face seem so earnest. “You don’t have to do anything you don’t want to do.”

“I’m happy to do whatever my owner wants me to,” Isabella reminds Jamie softly, and the redhead bites her lip.

“O…okay. But what if…maybe you could just, um, let me know, if there’s something that makes you uncomfortable.”

Nodding slowly, Isabella wonders how the hell she’s supposed to navigate that. As she puzzles it over, Jamie lets out a little self-conscious laugh. “I’m…I’m sorry I’m being so awkward.”

“O-oh.” Taken aback all over again, Isabella wonders how to approach this. “You’re…not, I’m sorry if I gave you that impression-”

“No, no, really, I, um, get a little nervous around new people.”

“I’m not a person,” Isabella reminds her softly, and Jamie winces.

“Oh, um…” Jamie bites her lip. “I don’t…feel that way.”

Isabella has no idea how to answer that. She and Jamie gaze at each other across the table, and Jamie is the first to look away. “Sorry,” she says quietly. “Sorry. I…I’m not…used to this.”

There’s movement in front of Jamie’s sweatshirt, and when Isabella drops her eyes, she sees that Jamie’s wringing her hands. If she’s faking her anxiousness, her awkwardness, Isabella decides, then the pet is meant to fall for it. The act is just too convincing, so…so Isabella will have to assume that it’s real.

“That’s okay.” It’s weird, weird, weird, reassuring an owner, but Jamie’s so unsure, so eager, it makes Isabella feel just a little safer. What does Mara say when Isabella’s anxious? “I…I don’t mind.”

And Jamie smiles, and Isabella feels a warmth, a relief. Is this how she’s supposed to interact with people? The talking, the warm feeling when someone smiles at her? The only person she ever sees is Mara, and this isn’t like Mara – her owner is quick, decisive, sure of herself. Jamie is anything but. It’s harder, this talking back and forth, and not what Isabella was trained for. But it doesn’t yet feel quite wrong.

Taking a deep breath, Jamie nods. “Thanks. Thank you.” Isabella just nods. “What, um…is there anything you’d like to do tonight? After dinner, I mean.”

Isabella could explain, once more, that she doesn’t have preferences, that that’s her owner’s job. Even Mara doesn’t like that, though, and Jamie has already confessed that she doesn’t know what she’s doing, so Isabella tries something else. “Usually, I clean up dinner and Mara finishes work from the day. Sometimes we watch a movie or a TV show.”

“Okay, well…well I don’t really have any work to do when I get home, so do you want to watch something? Is there anything you like?”

“I’m sorry, Jamie, I don’t know the titles.”

“Right…” Jamie seems at a loss, and Isabella wonders how much she’s going to have to teach this sitter after all.

Taking a deep breath, she tries to nudge the redhead in the right direction. “What do you usually do in the evenings?”

“Um, read, mostly.” Jamie shrugs. “Do you…do you read?”

Biting her lip, Isabella shakes her head. “I’ve been…encouraged not to,” she answers softly.

The look on Jamie’s face is strained again, stricken. “I’m…I’m sorry. I could…read to you? If you want?”

Her cheeks are pink – Jamie’s cheeks are pink, as if she’s embarrassed, making this offer to Isabella, to a pet. Now Isabella has to bite her lip to keep from smiling – Jamie’s strange, she decides, but…but kind. Perhaps it’s too early to say. Perhaps she’s making a mistake, failing some kind of test. Seeing the nervous hopeful look in Jamie’s eyes, Isabella doesn’t think so.

“That sounds nice,” she agrees, and Jamie’s cheeks go even pinker.

“Okay! Um, good. We can do that…then. After dinner?”

“After dinner,” Isabella agrees.

And after dinner Jamie does read to her. They sit on the couch – Isabella normally, hands folded in her lap; and Jamie crunched up in the corner, knees to her chest. Jamie’s bookmark is somewhere in the middle of the book, but she starts reading from the beginning, and Isabella isn’t sure if she should thank her for that.

She likes this, Isabella decides. It takes a while for her to relax, to lean back against the couch and tip her head back and listen. For a while, she looks at Jamie, and once more, that makes the redhead blush.

It’s a nice story. Jamie reads for a while, what feels like a long while, and when she needs water for her throat, she gets up herself, without even asking Isabella.

It’s strange, unaccountably strange, being with an owner, even a temporary one, that is so constantly looking for Isabella’s approval. That night, Isabella will turn it over and over in her head, trying to understand what’s going on. It must be, she finally decides, that like Mara, Jamie is making the mistake of treating Isabella like a person. It had taken several days for Mara to start losing the habit of asking for Isabella’s permission and approval and opinion on everything. Pretty soon Jamie will too.

Somewhere deep, deep in the secret heart of herself, a small, defiant part of Isabella hopes she doesn’t.

[thedeaditeslayer]

Greg Nicotero Talks ‘Creepshow’ Season Two, His ‘Evil Dead’ Love Letter And Exploring More Iconic Horror IPs.

This interview with Greg Nictorero covers the season premiere episode that is a homage to Evil Dead. Recommended reading below!

The first season of Creepshow was a monster hit for AMC’s horror streamer, Shudder.

Becoming the most-watched program in the platform’s history, it smashed several records in terms of viewership, total minutes streamed, and new subscriber sign-ups. The show’s second season is about to drop, and a third has already been confirmed.

I caught up with horror legend and Creepshow’s showrunner, Greg Nicotero, to discuss the show’s killer formula for success, paying tribute to iconic multimillion-dollar franchises and what stands in the way of a new Creepshow movie.

Simon Thompson: How does making season two compare to your experience on the first season?

Greg Nicotero: Well, we got the green light to do Creepshow while I was shooting The Walking Dead, so we had to develop the stories, get the scripts written, prep in six weeks, so the entirety of season one was done between January and April. It was fast and furious. I’ve been in The Walking Dead world for ten years, so I was like, ‘How hard can it be? You build a bunch of sets, get some cameras, you get a bunch of great actors and a good script, and you shoot it.’ Man, I had no idea what I was letting myself in for. You’re creating an entirely new universe, all new sets, all new cast and crew every three and a half days. I felt like it was grabbing the horns of a bucking bull and just holding on for dear life. We made it through by sheer will. I had to deliver something that stayed true to the spirit of George A. Romero and Creepshow. If I screwed it up, I wasn’t going to get another chance. So, I don’t know if I had any fun on season one.

Thompson: Season one of Creepshow was a massive success for Shudder in so many ways, from viewership to subscriptions as well as critically. Did you soak that in?

Nicotero: I didn’t read many reviews because I didn’t want my heart to be broken. I’m a sensitive guy. I would probably find the one sh***y one and just be devastated. However, one thing that people saw across the board was that I had a passion for the material and put my heart into it. That gave me a lot of confidence to go into season two, stand up straight, grab those horns and control the show and fight for the stories I wanted to tell. I also wanted to have fun with it. I feel like season two has got that heart and passion, but it’s fun and pays tribute to everything important to me and my upbringing, from building monster models and watching TV horror hosts to the loving nod to Sam Raimi. These stories all meant something to me. I feel like I’ve matured 100 years between season one and season two.

Thompson: That’s the Public Television of the Dead story in the first episode of season two. It blew my mind a little bit.

Nicotero: That makes me so happy to hear that. I worked so closely with Sam on Evil Dead II and Army of Darkness. When I read the script, I loved that it was a nod, but it became something else when we got into making it. There’s a  bit where Ted Raimi starts to float on the Appraisers Road Trip set; I put that in, and the camera work with the evil force going down the hallway; they weren’t in the script. I was like, ‘If I’m going to do this, I’m going to go all the f***ing way.’ I even adjusted some of the dialogue, like when Ted Raimi talks about the book being in his family for years and gathering dust in the fruit cellar. Any opportunity I had to buy into the fact that maybe the Necronomicon is a real thing and that Sam and his brothers went off and made this movie with his book, I took it.  Sam was shooting the Dr. Strange movie, but I reached out to him right before shooting it. Without a doubt, it’s probably the most respectful send-up of the Evil Dead universe. Every one of the actors was like, ‘F**k, man, I love Evil Dead II. This is so much fun.’ It was always intended to be a love letter to Sam and Evil Dead. Creepshow is all about paying tribute, little love letters, to the likes of EC Comics, Stephen King, George A. Romero, and so many other things. We got to change the Necronomicon just a little bit. We still wanted it to feel like the original, but we also don’t want anyone to feel like we’d infringed copyright. Even the appraiser’s name, Goodman Tapert, is a tribute. David M. Goodman was the transportation coordinator on Evil Dead, and Rob Tapert was the producer. If only I could have got Bruce Campbell down there, steal him out of retirement, to do something on Creepshow, that would have been awesome.

Thompson: You got a great cast together for the first season, and you have raised the bar.

Nicotero: I feel fortunate that we were able to get the caliber of talent we did. Kevin Dillon, Justin Long, D’Arcy Carden, C. Thomas Howell, Ali Larter, the list of great people who jumped on board for season two goes on. Every one of them did a great job. They all showed up, were prepared, and knew their lines, and they were excited to be back to work. It’s always funny when you bring actors into your world. They show up, work for three days, and leave. And I remember in season one, I went through my phone, and I convinced Adrienne Barbeau and Giancarlo Esposito to do it because they all knew me, and I had worked with them on different projects. When they walked onto the set, they saw how fast we were moving and how immersive it was, and they had a really good time. Many actors find a tremendous amount of freedom in immersing themselves in a role that will take up their life for just three or four days.

Thompson: Going back to you paying homage to Evil Dead in an episode this season, would you like to do that with more iconic horror IPs or pick up on previous Creepshow stories?

Nicotero: The freedom is the greatest part about it. We talked about potentially revisiting stories from the first Creepshow movie, but that is convoluted in terms of the rights. You can’t clear it. There are stories that I guarantee you, especially after you see season two and season three, that we would love to revisit and pay tribute to those genres that we love. If I had a way to intertwine a Jason Voorhees story, a Michael Myers story, or a Freddy Krueger story without having the people that own the rights to those franchises jumping up and down and screaming, I would do it in a minute. For me, it’s really fun to be able to take a story and look at it from a different vantage point like we did with Evil Dead. So often now, the world is about taking material you think you know everything about and giving it to you from a different perspective. I think Wicked was probably the first piece of material that did that. It took The Wizard of Oz, a story that everybody knows and loves, and looked at it from the witch’s perspective. I read the screenplay before there was a show because I think the writers wanted it to be a movie first. I remember reading it and thinking, ‘Oh my God, it changes how we do look at everything related to The Wizard of Oz.’ The idea that we can take the horror genre and tell it from a perspective that gives us a completely new take is exciting and allows people to pay tribute to the original material and put a new spin on it. It gives fans something exciting that they can’t get from the original material.

Thompson: It was great to hear that there will be a third season but what’s the latest on a potential new Creepshow feature film?

Nicotero: I would love that. We’ve talked about it. When you do a show like this, you do it for the amount of money that we do it for, it becomes successful, and people want more, to get someone to turn around and give you more money to do a movie, they’re like, ‘Why would we do that when we’ve got a great show right here?’ I would love to do a Creepshow movie and expand the world with bigger stories and a little bit more money. I’m sure that down the road, that will become a reality, but right now, part of the beauty of Creepshow is that it gives you these bite-sized meals, these little appetizers. With today’s short attention span, you can watch 20 minutes and then go back later and watch another 20 minutes. I think that is very much in tune with how today’s society devours content. The beauty of Creepshow is that every story is so different, and every theme is so different that you’re getting an entirely new experience with each story.

The second season of Creepshow lands on Shudder on Thursday, April 1, 2021.

[sobdasha]

i’ve been rereading a lot of my favorite stuff for months now

since I'm lacking in spoons for library trips

And when I was cottoning on to the fact that I have, in fact, been autistic all along, one of the things I realized is that the connecting thread between the kinds of stories and kinds of characters that I like is in fact that they display autistic or autistic-adjacent traits. I had realized this, come up with a lot of examples. I knew this.

Haha yeah as I'm actually rereading the things the evidence is damning that I did not come even close to understanding the full depth of it.

~ Taucris Ithesta is Autistic and Other Adjacent Things re: Leckie's Novels ~

Actually let's start with The Raven Tower because you can't actually argue with me about autistic Siat.

Siat actively avoids eye contact, is """shy""", speaks too softly, has an excellent grasp of humor, likes rocks as a special interest, likes to collect rocks, likes to sort rocks, likes to line up rocks, has one (1) bff to conduct social interactions for her, notices patterns, is good at learning, and is considered disabled by society's standards.

Ughhhhh all that talk about rocks makes me sad all over again that I pitched my rock collection when I moved out (I saved the best fossils, though).

(ETA: I have since bought more rocks because polished gemstones with carvings on them make for great stims, I am very pleased with me)

Okay so now that that's been established, let's talk about Strength and Patience of the Hill.

Because this rock gets me. Originally I figured it was probably, y'know, like with Ancillary Justice Leckie's given me an ace-aro main character and I can identify with that as an ace-aro. But unlike Breq, who very much loves people and wants to take care of them and found family etc, Strength and Patience of the Hill doesn't give much of a shit about people. With some exceptions of people that are it's people, how dare you mess with them, Strength and Patience of the Hill will kick your ass. Although even then I'm not sure Strength and Patience is all that great at taking care of people. Also Strength and Patience of the Hill is very much absorbed in its own selfishness, very much consumed with his own internal world, and I am also a jerk like that so it was very relatable.

(Yes I am using multiple pronouns because one of my many favorite parts of the book signing was watching everyone scramble over pronouns for a rock because "It never came up so I never figured it out" and I'm pretty sure Strength and Patience doesn't even use pronouns because why would you need a gendered pronoun to refer to yourself??? You don't even need a name to refer to yourself, actually I'm pretty sure Strength and Patience doesn't actually consider itself to have a name.)

So it made sense that this rock just really gets me. I know it's bad when the majority of representation for ace-aro characters is stereotypical robots or rocks or aliens (oooh or sentient space rocks wait wAIT now that I've said that I've just realized the Myriad is the definition of a Crystal Gem, pffft) or whatever but honestly I don't care because I just really identify with the robots??? So I really liked it, YMMV.

(It's probably also bad if the trend for autistically-coded characters is just stereotypical robots or rocks or aliens or whatever too but like honestly a big autistic #mood is feeling like you are a robot or an alien or whatever so maybe that's why I'm not offended???)

My point being that Strength and Patience of the Hill displays a lot of autistic traits and is therefore very relatable, in this Ted Talk I will.

Strength and Patience of the Hill processes things slowly. She will come up with the perfect retort and tell you 5 years later with absolutely no context.

It loves daydreaming, staring at things, noticing patterns, and enjoying quiet and solitude. It loves thinking about why things are the way they are. Look I have fantasized about what if I could exist as just a pair of eyeballs and a mind floating around in space, observing things, thinking things, and not having to actually interact with the world, and I'm pretty sure this rock is living that life. (Until y'know it gets told life doesn't work like that.)

Despite his slow processing speed, and taking a while to learn language, Strength and Patience of the Hill is good at learning things, and I feel like it's the kind of sort-of-sideways, context-based accumulation of knowledge that I learn through as well.

Strength and Patience of the Hill has one (1) friend, and through the Myriad it benefits from the fact that the Myriad has an actual social circle, without having to put forth any effort of maintaining friends on its own, which is 100% the way to do it.

Strength and Patience of the Hill tends to attract the other "quirky" kids--that is, my impression is that the people who become his priests tend to be those people who look at the world a little differently, those people on the fringes. Trans people, autistic people, people with other disabilities.

Strength and Patience of the Hill trying to explain the state of affairs in Vastai to Eolo: "Okay so my first memory I can recall is…" No, okay, no, I know, it's just literally how the narrative has to be told, I'm not criticizing, but that doesn't make it any less reminiscent of "autistic person trying to explain a simple thing but starts in with 10 pages of context first to ensure the over-explanation makes sense" (haha that's why I consistently got stuck training endless new hires, I'm literally so bad at it that I'm the best in the department and I hate life).

Difficulty understanding other's feelings/points of view/circumstances (I know it's because he's a rock and a god but that doesn't make it any less relatable), hmmm what else…

Oh right, a typical interaction with Strength and Patience of the Hill:

Person: (gives offering) Strength and Patience: (offering is accepted because the transaction literally occurred, no need to respond) Person: "(asks petition)" Strength and Patience: ... Strength and Patience: wait Strength and Patience: what Strength and Patience: wait was I supposed to do something else Strength and Patience: did you ask something of me? Strength and Patience: I don't understand what you asked????? Strength and Patience: it's been an entire year now it's too awkward Strength and Patience: i'm sure it's. Fine. Strength and Patience: It's fine. (rinse and repeat)

Like I said, this rock gets me.

(Haha I was reading through my notes from the book signing and I found "Strength + Patience doesn't give a shit about balance, Strength + Patience is just selfish, which it manifests as apathy, which is why this rock gets me. All of my best interpersonal traits also spring from not giving a fuck and waiting ppl to go away faster lol" and why is that, oh because ~I'm~ ~autistic~ pfffft)

I started this post a while ago and this was as far as I got and I don't remember if I had more??? Time to talk about Taucris probably!!!

(I'm skipping Ancillary Justice etc for now because I do want to make a post about that but like there's just. So much. In those books. It's masking all the way down. So it can be its own post. One day.)

Because I waited so long I forgot what I was going to write so I'll just grab the book and flip through and comment as I see things.

To start off with: Taucris and adulthood. I've seen other people pick up primarily on the gender aspect of it--that Taucris waited until almost 25 to take her adult name because she she never figured out what her gender was (non- uhhhhhh what's the word for binary when it's three and not two? Non-tri-something Taucris in a society with 3 options but all 3 options are gendered? I'll go with that.) What really resonated for me was that Taucris waited until almost 25 to take her adult name because she never felt like an adult. And I get that ~everyone feels that way~ but I feel like it's Different for Taucris in the same way it's Different for me. Anyway I feel like no matter which aspect you choose, it's probably an autistic vibe.

Also Taucris seems to have a bit of a flat affect? She seems very serious (both in body language and in speech), and kind of intense sometimes when she talks, and Ingray notes how Taucris usually doesn't smile (she smiles with Ingray because Ingray makes her comfortable) and has always been """shy""".

Also Taucris...talks strangely? I am not sure exactly how to explain it. It's not written badly or anything, it's...you know how sometimes you suddenly sit back and look at dialogue and go no one speaks like this and it throws you out of the story because you dropped your suspension of disbelief? Taucris kind of gives me that feeling, and only Taucris. Almost like her speech is a little bit stilted? Awkward? She's very serious and matter of fact and says things like "You've always been so kind to me" with a straight face. But it doesn't feel like a """bad writing""" (quotation marks for subjectivity) thing. But I notice it every time I read her dialogue… I think it's just that Taucris is autistic and awkward and that's how she speaks. Also I think she's adorable.

Police work is Taucris' special interest. So much so that that's the entire reason she became an adult, so she could engage in her special interest better. She's ~weird~ for her single-minded interest and her interest in a job below her ~status~ and she doesn't care, she set her heart on this anyway, volunteering and interning so on.

Oh that was something else I was going to talk about--Taucris mentions feeling like she doesn't have her shit together, not like Ingray (who also doesn't feel she has her shit together. Kind of like "no one really feels like an adult). But Taucris seems quite calm and capable in Planetary Security. I don't know if this is just masking, but...I really hope that she does feel that way in her job. That because it's her special interest, that helps balance out the stress of being alive and simultaneously employed full-time. That because she's been volunteering and interning here so long, she's been familiar with the office and it wasn't a stressful transition. That she acts confident because she feels competent and respected. Taucris may look calm and cool and collected on the outside and be screaming on the inside but I hope she actually feels pretty good on the inside too.

I would also like to say that I like Taucris' nother. Despite what Danach implies, I get the picture from Taucris that e is supportive of Taucris' personality and interests even when e doesn't get it. E indulged her interest in police work, e didn't understand why Taucris wasn't taking an adult name but tried to be patient about it...so I assume that also means that e was understanding of all of Taucris quirks and stims and particularities. E's been a good support system while Taucris' peers have not.

(Except for Ingray, Taucris' one (1) friend.)

I like Taucris' relationship with Deputy Chief Veret too--the way Taucris quietly manages breakfast so e doesn't have to think about it or be put out (this is The Love Language to me, not being inconvenienced, and I feel that this is part of my personality because my personality is autistic, so). I don't know why specifically Taucris does this, but all the reasons I could come up with feel very wholesome. Taucris respects Veret as her boss and as a person. Taucris is empathetic and thoughtful (she doesn't like Danach but she tries to consider and understand where he's coming from; Taucris isn't Hatli but she considers Veret's fasting etc to be valid rather than a choice of superstition). Taucris' situation is different but she knows that it doesn't feel good to be treated as weird, to be sneered at because you don't act the way people expect you to. Taucris, being autistic, maybe has a lot of experience with "perfectly good foods" she won't eat. Taucris strikes me as someone who observes quietly, and considers carefully, and maybe takes a long time to make up her mind but when she moves it's deliberately and not carelessly. Which is, to me, a masking trait.

In the quantum version of this post I was going to write everything so polished and lay out my points so nicely but clearly that didn't happen and I don't know where to end this and I'm sure I didn't even explain things that well so I'll just say, I feel it was very autistic of Taucris in the last chapter to just be like "well IDK what you want from me and rather than expending massive effort trying to suss it out and guessing wrong I'll just be direct: I know you can't talk about what happened so I won't ask you about what happened unless you want me to ask you about what happened in which case you should say so and I will ask but I think maybe you just need to watch a movie with me instead."

[a-room-of-my-own]

By Julian Vigo

Hans Christian Andersen’s The Emperor's New Clothes tells the tale of a ruler who is unconcerned with the reigning of his kingdom—he did not care much about attending the theatre nor making any public appearances unless, of course, he was able to flaunt his latest clothes. That is until one day when two swindlers came to town and tricked the emperor successfully convincing him that they were weavers who could spin him the most beautiful cloth he had ever before seen in his life. These swindlers claimed, “Not only were the colours and the patterns of their material extraordinarily beautiful, but the cloth had the strange quality of being invisible to anyone who was unfit for his office or unforgivably stupid.” It was perfect, of course, for the emperor whose intelligence would not only allow him to see quite perfectly the beauty of the cloth before him but which would also allow him to choose his councillors wisely as he would discard any of them who were unable to perceive the magnificent beauty before their eyes. 

The emperor then bought these fraudsters the most expensive materials of silk and gold and a loom with which to make the clothes. The swindlers kept the materials for themselves and pretended to make the garments from the empty loom. First, the emperor sent his faithful prime minister to check up on the “weavers” who doubted his eyesight as he found an empty loom. He thought to himself, “Am I stupid?” wondering if he was fit for his office. In a choice between his trust of his eyesight or his desire to keep his position, the prime minister quickly came around stating, “It is beautiful. It is very lovely...What patterns! What colours! I shall tell the emperor that I am greatly pleased.” And each of the councillors the emperor sent thereafter had a similar reaction—at first doubting their sanity and then realising that if they did not concede the beauty of the cloth being spun that they risked losing their position. Soon, all those close to the emperor had announced their sighting of a magnificent cloth that in fact was non-existent.

When it finally came time for the emperor to view the completed cloth, the fraudsters and everyone around the emperor informed him how beautiful the cloth was. The prime minister exclaims, “Isn't it magnifique?” However, the emperor had a similar crisis to that of all those he had sent before to check up on the cloth: he saw nothing. He thought to himself, “I can't see a thing! Why this is a disaster! Am I stupid? Am I unfit to be emperor? Oh, it is too horrible!” However, like his officials who realised that their credibility and good-judgment lay in the balance, the emperor capitulates to his officials’ claims and announced the glorious artistry of a cloth that did not, in fact, exist at all. “It is lovely,” exclaims the emperor. After paying the thieves handsomely for their good work, the emperor decides to have the cloth cut and sewn and, in celebration of his new clothes, he has a parade. As he marches down the streets in sheer nudity, everyone in the kingdom is awed by the beauty of his clothes and shares in his delight and belief of the lie. That is until a young child sees that the emperor isn’t wearing any clothes at all and the rest of the kingdom slowly begins to realise the same.

This well-known fairy tale serves as an allegory for political ideology that a government can impose upon its citizens, that a well-funded interest group can as well—that of false consciousness. In his essay,The Power of the Powerless (1978), Václav Havel explores what he calls the post-totalitarian regime in Czechoslovakia wherein he reveals an ideology of false consciousness that is strikingly similar to the political consciousness of Andersen’s fairy tale. Havel uses the analogy of a greengrocer who displays in his storefront window the party slogan which reads “Workers of the World, Unite!” Just as the emperor's clothes are a production of artistic sleight of hand and cunning trickery, for Havel so too is the party literature, the slogan of the green grocer. The manoeuvre of an invisible cloth or a state-mandated slogan in both cases becomes the vehicle through which ideology surfaces and inscribes itself upon the masses whereby, as Havel writes, the citizens “confirm the system, fulfil the system, make the system, are the system.”

Havel’s essay is quite critical of political ideology calling it an “almost secularised religion” which maintains its force by offering the wandering masses a “home” that immediately grants the believer a life full of new meaning:

Ideology is a specious way of relating to the world. It offers human beings the illusion of an identity, of dignity, and of morality while making it easier for them to part with them. As the repository of something suprapersonal and objective, it enables people to deceive their conscience and conceal their true position and their inglorious modus vivendi, both from the world and from themselves. It is a very pragmatic but, at the same time, an apparently dignified way of legitimising what is above, below, and on either side. 

Havel goes on to assert that ideology feeds a systemic drive that creates a “world of appearances trying to pass for reality” where the post-totalitarian system “touches people at every step, but it does so with its ideological gloves on.” 

Havel’s essay is not only a damning summation of the ideological rituals common within Czechoslovakia, Poland and other Communist regimes of the era, but it eerily portrays much of what is happening in the west today fifty years later. With samizdat, a form of dissident activity across the former Eastern bloc nations long ago retired, we have laid witness in recent years to its unofficial rebirth among many critics of gender ideology. For those who have pushed back against the onslaught of gender ideology that has permeated the neoliberal left over the past twenty years, many critics of this era’s embrace of identity politics who refuse to be silenced have either taken to social media or they have published blog posts under assumed names. Due to the mounting authoritarianism from the left on this subject whereby individuals have faced losing income, being fired from their positions entirely, or being socially and politically ostracised, the protest to the official narratives of gender ideology has been emanating from unofficial spaces. 

Twitter and Facebook have been the two primary social media spaces where feminists and trans ideologues alike have created secret groups in an attempt to strategise, dialogue, and establish actions. It would be an understatement to state that the wave has not only turned in the favour of these feminists, but COVID-19 has assisted the many who previously doubted the importance of material reality, to understand the difference between identity as feeling and the somatic reality of male versus female, a virus versus a unicorn. I have been in many of the gender-critical groups that are composed of only women, only radical feminists, only leftists, and myriad other variations on a theme. Where women and men from the left have joined forces to fight what they perceive as an ideological backwater of men’s rights activism, this fourth wave of feminism has teeth and it is speaking clearly to what resoundingly appears to be a religious ideology of gender.

Now that the NHS and the BBC have radically transformed their websites in recent weeks to update the information on gender dysphoria to include mentioning childhood desistance and ROGD (rapid-onset gender dysphoria), there is now a mass wiping of servers of these and other institutions of all references to Mermaids, a UK-based lobby group and NGO that has long identified its constituency as “transgender children” and their parents. And Mermaids is no outlier in the industry that seeks the expansion of childhood medical “gender transition” as it has consistently encouraged policy changes within the British government and its agencies to effect the quickest possible transition times of the highest number of children with the fewest safeguards in place. In 2018, Mermaids received £500,000 in lottery funding to this end.

So how is it that in less than two years, Mermaids has gone from being the star charity ostensibly championing the rights of children to now being silently removed from the BBC and NHS websites in their information and support sections as all the claims that puberty blockers such as Lupron are “reversible” have also disappeared? More importantly, why is it now commonplace in recent weeks that the media and public figures as well as private and public institutions have in stealth removed mention of Mermaids and the cheerleading of “childhood transition” from their accounts or servers as if a damnatio memoriae rivalling China’s removal of Zhao Ziyang from most every public record available in China?

Last year British actor, Jameela Jamil, participated in a video in support of both sic “trans kids” and Mermaids. Yet, in the same time frame that the NHS and BBC servers were wiped clean of any reference to Mermaids with data amended that exaggerated suicide information or that omitted childhood desistance, Jamil has curiously wiped clean her many Twitter posts referring to Mermaids. While Jamil claims she deleted her history to “become a more activism focused account that I can lend to other activists and charities,” many activists have answered Jamil on Twitter noting the non-coincidence of her and British comedian Josie Long having both dumped their Twitter feed within hours of one another, to include the many tweets in support of both Mermaids and the lifetime medicalisation of mostly gay and lesbian children’s bodies. 

On the other side of this debate, you have trans activists like Katy Montgomerie who are soliciting screenshots of gender-critical people who have “bought this latest Mermaids conspiracy theory” as he calls it. One of the tweets sent to Montgomerie as “proof” of wrong-think was that of fellow-writer, Suzanne Moore, who tweeted this past week: “I see all you celebs deleting your tweets that supported the charity Mermaids? Wonder why you are doing that.” Now that Montgomerie is invested in collecting evidence of women’s words on social media (as if their clearly visible tweets were not enough), the pushback to gender-critical voices has become patently absurd, especially since feminists have been pointing out the sexism and homophobia inherent within transgender ideology for years. Next up, Montgomerie or another trans-identified male will claim that gender critics are right-wing, religious bigots because they questioned the sexism and homophobia of Mermaids which in turn made it impossible for them to question the sexism and homophobia of Mermaids. This is pretty much the cycle these online debates take in the vein of “on the wrong side of history” debates that pervade social media.

Content aside, what should trouble us all is that media of public and private institutions and individuals on social media is being scrubbed of history. As Havel’s essay shows us that the greengrocer’s shop slogan is divorced from what the slogan actually says, the true meaning of the social act of proclaiming allegiance to an ideology is quite clear and comprehensible because the code is so familiar: 

The greengrocer declares his loyalty (and he can do no other if his declaration is to be accepted) in the only way the regime is capable of hearing; that is, by accepting the prescribed ritual, by accepting appearances as reality, by accepting the given rules of the game. In doing so, however, he has himself become a player in the game, thus making it possible for the game to go on, for it to exist in the first place.

Today, here we are in the midst of a tide-turning moment where transgender ideology is being rejected en masse by gay and straight people, men and women alike. Meanwhile, the public institutions which have for years codified the social signs, sponsored the "gender identity" training, crafted the woke lessons transmitted by the BBC and the NHS permeating all arenas of media and public health, in addition to the cast of Harry Potter chiming in with their endless support for “trans people” through Twitter and other media outlets, and we have been handed the perfect storm exemplifying exactly how we got here in the first place. Of course, political ideology is a powerful tool when it leaves no oxygen in the room for anything else. Such an authoritarian narrative creates the subterfuge to the very ideology all these bodies and individuals espouse. 

For those like British journalist Owen Jones who declared in 2015 that all critics of transgender ideology were on “the wrong side of history,” we must be more circumspect in how we approach ideologues who ought to be covering the news instead of participating in it. While gender has wider implications beyond its very narrow media representation, the political backwater of how the media influences public policy, politics and even law is unparalleled today. We need to learn from Havel’s historical example of what happens when we allow ourselves to become the greengrocer who unthinkingly parrots slogans that have neither any base in reason nor any resonance within our society. The repression of artists, poets, thinkers and politicians in the former Eastern bloc countries has been well documented. So too have the attempts to purge antagonistic articulations about gender from the “party line” been noted in recent years across various anglophone countries.

Now that the gender narrative is falling apart quickly, many of its proponents are running for cover skipping over to the very side they previously denounced as “wrong.” Of course, these individuals will happily prefer their slogans be forgotten, to have their tweets removed and their websites altered from public record. “All traces of totalitarian influence, dissidents confirm, define, adopt, and integrate the methods of totalitarianism within their own structure building their 'truth' on its negation,” Havel reminds us.

Let’s now remind these political actors of the dangers that occur when espousing ideological hogwash as human rights. More importantly, let us now learn from this lesson of this dangerous era of public tyranny and return to the drawing board to continue that discussion about historical materialism and its significance today

[roodllle]

Year in Review - Animal Crossing New Horizons

I started writing this review/criticism in May of 2020 but decided to update it as the year went along and post it on the anniversary of NH’s release. I would like to preface that this is mostly going to be full of questions of criticisms, I love this game. I have not been able to put it down since I got it on March 20th. My first AC game was NL and then I played HHD. I was ecstatic when they announced NH at E3 2019 and kept trying to find other games to fit in my AC shaped hole in my heart but I wasn’t able to fill it till this game came out. I feel like the pace of the game is great with how you build up to unlocking terraforming and 5 stars, and I feel like the updates are well timed especially with how crazy 2020 was for everybody. That being said there were some things that irked me. 

Some of the points I will bring up came from other people/commenters I have seen on here, Discord, Reddit, and Twitter that I also agree with. Some other points are from Youtubers such as ShayMay and ChuyPlays. And others are from me. 

With that out of the way, let’s get on with the review. Warning, I guess, don’t expect this to be an essay, this is just a patchwork quilt made up of thoughts.

Terraforming

I wish cliffs/tiers had a smaller level? Like how we’re able to make stepping stones for our rivers if we don’t want to put a bridge down/use our vaulting pole. I just wish there was a cliff alternative. 

Another cliff alternative would be if we could put bridges between cliffs. I think we’ve all been there where we see this picture 

          thought ‘we can do that!!” then realized it was photoshopped

When we go into terraforming, I wish a grid showed up on our island. It would make it much easier to avoid hitting the wrong square when I’m trying to change a river. 

Having us be able to “close” a waterfall from a lower level but not create a new on at the same spot. 

Also the fact we can add a 4th tier but can’t put anything on it is just strange to me. I know we have to have a limit to how high we can go, but at least let me put nature stuff, such as trees/flowers/bushes, on top of it instead of just a flat piece of land. 

Houses

Why no ceiling items? Find it odd they added a bunch of stuff in HHD and didn’t add that to the new mainline game

There’s no reason I can think of to why we can’t access our storage when we’re crafting inside our house. 

Buildings

Dodo Airlines

The Dodo Islands right now are very boring and barely use them. I have enough money and materials to not go farming and save up all my NMTs for when I go villager hunting, which has also become a rarity. I think it would be a good idea to make some islands seasoned themed. Have them be all rare, but have an island where it’s fall and has maple leaves falling, a cherry blossom one, one with snowflakes. I wouldn’t recommend they make Holiday themed ones, but having seasonal ones would be nice.

When I mess up a dodo code or accidentally hit ‘make a bridge’ instead of incline, etc. why do I have to restart the ENTIRE conversation instead of the characters just being “oh? did you mean “x” or “would you like to retype it?” like is it that hard??  

Resident Services

As much as I love Isabelle this game has made me very indifferent towards her. I think they gave her a role that didn’t need to exist. They could have either let us roam around without any warnings to who was roaming around our island, in the campsite, or any weather updates. Just have us rely on our villagers, the TV, and our eyeballs. OR they could have given us a social media like app and/or a weather app. Instead, they gave us Isabelle that only announces something once a month.

Nook’s Cranny

This might just be me but can they add a little DIY area in the store? Maybe just make to where you can only customize things?? This is more out of convenience than an actual problem  

Speaking of customization, since you can make medicine but also buy can we do the same for the custom kits and bait. Like make it where we can buy bait and also make our own custom kits? I just think it’s weird that they give us either/or for medicine but not for the other 2 that I honestly use way more than medicine.

Why do the Able Sisters get to have all of the colors of an item in their shop but Nook’s Cranny can’t? And why can’t we just be able to customize all items that have multiple looks/colors? Example, why can’t I just be able to change the wood type for the antique set instead of having to buy each one? I get that the furniture catalog is already small, but that’s not my fault. They’ve decided to not add past furniture sets into NH. 

Able Sisters

Let us multi select clothes instead of it just being how much we can wear. idc if it’ll just put those clothes in our personal storage and then we’ll have to run home and put it in that storage, I just hate having to walk back in and out every time I want a dress in multi colors. ALSO tell us if we already bought it, like a little storage icon or something

Why can’t we hang any article of clothing on the back wall, why do we have to either make it or have the OG qr designer come to our island? 

Why can’t we have the transparent option when designing clothes? I think it would make many designer’s lives easier instead of having to make 8 versions of the same outfit.

NPCs

I have played this game almost every day since it came out, minus 2 days. I have also been able to make friends on discord that help with trading/cataloging/etc. I have all of Saharah’s, Kicks’, Label’s, and Redd’s items. I have all of the fish/bug models I want and have no desire to “catch them all”. I haven’t talked to Wisp in months because I have most of the items and his idea of “expensive” is 10k bells. The only NPC I actively look forward to is Celeste because even though I now have all of her DIYs, she still gives out star fragments, regular large or horoscope, when I talk to her. 

What I’m wondering is if they’re planning on doing anything else with these characters. Before I speak further I’m going to weed out characters that I am actually fine with. CJ and Flick will always be there if I want a bug/fish model, I understand that Saharah/Kicks/Redd have a ton of stuff to get and w/o the help of my discord friends, I probably wouldn’t have gotten everything till late 2021. 

So that leaves Label and Wisp. I understand Wisp is there for beginners, but now that I’m at a point where I am a bell millionaire and have most of the Nook’s items cataloged, there is no reason for me to talk to him. I wish Nintendo had put in a system where depending on the person who Wisp is talking to, it determines how much money you have in your bank account/looks at your catalog, Wisp’s item’s worth goes up.

As for Label...I never saw her as viable. I also thought the tickets were dumb and you don’t even have to talk to her to have her items show up in the shop the next day. I think it would be great if when you bought all of her items, she decided to join the Able’s sisters in their shop like in NL and then have Gracie show up in her place for the weekly NPC. 

Where is Blanca? Or Brewster? Or Shrunk, Katrina, Gracie, or Kapp’n and his family? I understand we will probably never see characters like Harriet or Pete because they have been replaced by a new system, but what is the excuse for these other characters? I’m hoping they show up in year 2 of NH but...we’ll see.

Villagers

I think having your first villagers living in basic homes is a good idea but one that quickly gets annoying. I found Sherb while villager hunting for the 1st time and have had him ever since, but his house is stuck at basic lazy setup. Instead of me going back and forth on whether or not i should trust somebody enough to hold Sherb, get somebody else out, then get him to move back to my island, You can have it to where you let them leave, then just wait till he comes to the campsite to visit and reinvite him. You get his actual house and he still remembers you. This could also go for you accidentally letting somebody go or letting somebody go then regretting it. Also it’d be fun to see some old villagers again.

I was curious and looked back on past games to see how many new villagers were released each game and NH has been the least amount. NL released 112 new villagers in total while NH has released 8. I’m hoping they might release more down the line but, hella disappointing imo. Along with the Sanrio update and adding those characters to the game, I am more hopeful that they’ll be adding new characters!

Having an “event” of sorts where you visit a villager’s house and they’re looking inside their closet. They look at you in surprise when you walk in and sheepishly explain that they were going through their clothes/items. They then decide to ask you for help since they can’t decide what to get rid of/what to keep and think you have a good eye for that sort of thing. Basically, a way to get rid of any clothes/items your villager somehow received bc I guess Isabelle scolding them isn’t enough.

A big problem I feel like everybody has is the villager dialogue. Yes they added sub personality types for each personality but they are not perfectly cut in half, ex. are the Sisterly types where there are 4 B types and 20 A types, like?? How I have “fixed” this problem is by having one of each personality type on my island so I always have different conversations with my villagers, but I understand not a lot of people do that. Some people just want normal/peppy types on their island bc they’re cute as hell, I get it. I know it would be...difficult to come up with unique dialogue for all 399 villagers, including Sanrio, but....you could at least for the “gimmicky” villagers. Some examples of these villagers are Ribbot and Sprocket, Lucky and Ankha, the super hero squad, and Kabuki. 

Quality Life stuff

Why cant we sit AND wish on stars? And I don’t mean the sit emote; why can’t I sit on a bench and wish on stars?

It sucks when I’m about to hit my rocks or just do a lot of dig work and then my shovel breaks in the middle of it. To show the tool is about to break, cracks should start to form on the handle and get deeper/longer as you keep using it, starting when you have 5 uses left. You can also add an auditory element by making the tool sound like its struggling when you are using it. Net/Shovel/Axe/Fishing Pole can have cracks show up on the handle, Slingshot can have crack show up at the bottom of the 2 spokes while having 1 at the top of the handle. And the watering can have cracks at the base of the can.

If our inventory is full when I dig up a flower, why can’t I replace it with another flower to bury? And if I can dig up an item at an diagonal item, I should be able to bury it again at the same angle.

Other

Having more...liveliness?? on the island, idk how else to say it. Example is whenever you travel by plane there's a chemtrail in the sky afterwards, maybe just seeing other planes go by throughout the day. Maybe you can get a hint Redd or Gulliver will be visiting you tomorrow if you see their boats beyond the horizon, Redd’s just crusin’ and the Gulls’ boats looking messed up. On a week where you don't have a new camper, maybe have an old villager visit. That leads me too

I wish villager’s doors could count as “exterior decorating” and we can just put any ornamental on there instead having to hope that your villager will put the wreath on their own door. 

Conclusion

If you read this whole thing holy shit, thanks!! Go treat yourself on my part lol If you disagreed with me or whatever feel free to chat with me about it! 

[vergess]

So. Lots of pain meds at the moment, so this is a little bit nonsensical, but, I have been playing the newly released video game I was a teenage exocolonist (available on steam, not linked because tag visibility) while I am laid up in bed.

Lots of opinions, basically all positive. There's a specific thing I want to talk about in more detail, but this post got too long so I will just link a future post on the gender politics of nature, nurture, and future as presented by the twins Dys and Tang.

So instead here's my Most Recommendable Qualities (mostly free of spoilers):

Native linux compatibility:

you know how I am about that. I cannot believe I've become the very linux guy I so hated when I was working retail...

Upsettingly beautiful art

2D gaming is my first love but man the medium has come a long way since needing a flashlight to play pokemon. Sometimes I forget how far, and then games like this pop up with the gorgeous art and expressive characters, and I inevitably find myself wondering why the """"mainstream"""" video game market (in as much as such exists these days) focused so obsessively on photo realistic 3D when inevitably a well directed art style is what matters most.

The backgrounds and environments in the game are all extremely lush, with a gorgeous, colorful style that if I had become an art critic instead of a writing critic I would probably have better terminology to describe. Like, uh. Water colors or some shit. Stained glass. It's all very luminous fuck dude I don't know, the closest I'm going to get here is to write a poem and I'm not going to write a poem where the fuckign developers might see it. I need to be sober for that.

Characters:

I'm a character driven asshole, we all know this. It's why I read so much fanfiction and play so much melodramatic fantasy and spend several hours of my life openly sobbing about a single fucking issue of Sandman. So, you'll understand when I say, "people keep recommending me dating sims and I keep bouncing off of them because the characters never Do A Thing," what my major criticism of a lot of Large Cast Of Dateable Character games is.

None of those issues arise here. I've played a few runs now, making a conscious decision on each to focus on a specific character. One. SIngular. Except, the thing is, you can't do that. Not in the sense that the game won't "let" you. You could certainly just dump all of your time into skills and one character. And the timeline of the game would change to reflect your isolationism.

Characters you don't interact with during runs have their own "autonomous" storylines written, and each divergence your player character makes has its impacts meticulous tracked to create different character experiences every time, even as each character holds very tight to a narrow set of repeating traits. This only further emphasizes the fundamental strangeness of the player character, as the only one capable of being fundamentally different across timelines.

Also all the dateables are just, oh god, SO cute. And, by the time they are capable of fucking, very fuckable. Extremely attractive designs. Honestly everyone is super cute. The whole cast is magnificently designed. And that includes...

Monsters:

First of all, let's get the important personal opinions out of the way. I think I would fuck the antagonist....uh....commander, whatever his title is. He looks like a fucked up centaur and I'm into that. There are also Adequate Amounts Of Tentacles. If you've known me long, you know that is a high bar, but the game clears it admirably and with diversity!

The alien fauna are all very FUCKING COOL. There's a bit of throwaway dialogue from An Adult (your dad?) that talks about expecting the planet's ecosystem to be 'more alien' than it is, and I respect the space program's attempt a tpreparedness but for me, the whole uhhhhhh. Situation. With regards to the alien animals is PLENTY alien, and SO satisfying.

If you've ever been like, "god, I wish someone who wasn't orson scott card would do all the cool shit they did in fucking speaker for the dead" then by GOD is this the game for you.

Accessibility:

The content warnings are extremely detailed. I reviewed them all, and having seen several of the ones I was most worried about, I feel they accurately described the situations without spoiling them. I did end up upsetting myself rather badly with one thing which happened, but it is hardly the developer's fault that I misunderstood the context in which the "teenage pregnancy" CW would apply. I personally want to specify that (IN THE ROUTES I HAVE SO FAR PLAYED) the pregnancy is a very wanted, safe, and cherished.

The game players very well on controller, which is a must for me. There are a handful of UI elements that I have not yet been able to access by controller, but I think this is more a factor of my being bad at remembering buttons than the game's design. If you have a mouse, that will solve the issue entirely. My GF speaks highly of the keyboard and mouse gameplay.

Turning off screen distortions and weather effects generally made the game very visually understandable for me, with large, clear iconography. If you have significant visual impairments, I don't know if this is a good game to play. Picking up items on the ground can be tricky in some cases and there's nothing for eg a high contrast or greyscale mode if you need that kind of thing.

Good stability.

It's easy to forget that near-launch properties are supposed to be complete games that function well. This game is very complete (VERY, INTRICATELY, COMPLETE) and very stable. With as complicated as the sets of cause-effect-timelines are, I expected it to be much easier to create minor paradoxes in dialogue.

So far, the only time events have seemed to happen slightly out of sequence due to relationship progression or what ever else, was when I made a conscious effort to be as obnoxious as possible at one point just to see if I could make it misbehave.

I haven't been able to make it crash from within the game so far. I'm hardly a Q.A. tester anymore, but I do tend to be pretty aggressive to my games, so I feel confident in saying it'll run steady for you if you get it.

Politics etc:

The queerness is all very excellent, super queer in very believable ways, especially given the cultural aspects of the worldbuilding. Characters behave queerly outside of just all being bi-for-the-player. The trans characters were all extremely appealing to me with strong characterization that included but did not obsess over their genders. There are at least 2 trans teens in the player character's peer group and 2 trans adults of very different ages and character types, and there's even a cute little intergenerational trans solidarity bit you can get sometimes. In addition, of course, to the ridiculously complete gender personalization.

You would not believe how many games forget that "bro" and "cowgirl" are gendered terms, but this one remembers.

The racial politics are, from my perspective, adequate to not interfere with my gameplay experience. The human characters do consistently refer to the environment and native animals in very colonialist terms but they're literally colonizing the planet so.... The point is, there is not a native people being eradicated, though there are... territory wars(? I guess.) with both wild animals and antagonist peoples.

If you're particularly sensitive to colonial narratives, handle with care, but I felt the writing in the routes I've seen so far handled most of the issues well. Plus I mean. THe title. Is "teenage exocolonist" like. I think the whole "colonialism is a major narrative theme" ituation should be made clear bythat.

In terms of the human diversity it's pleasingly broad. There are characters of all ages, builds, complexions, races, personality types. There's a massive range of disabilities both physical and mental, as well as plenty of fun sci fi accomodations.

I mean just among the dateables I can remember top of the head, theres:

ambiguously asian twins who really said Autism Has Two Genders,

ambiguously brown fat girl with developmental disability,

ambiguously brown Gym Bro (derogatory) who is, and this is true, literally named 'ambiguously brown

ambiguously white farmboy who has clearly been eating his space wheaties and also helps invent space cannabis with your dad

unambiguously black girl who looks the autism twins dead in the eye and said 'no autism has one gender and is me'

unambiguously white tomboy who goes full samus

Venom but he's a twink now

There's something here for everyone, all of these characters are super fascinating concepts honestly. I know I keep harping on that but it's true so there.

Scenario writing:

It's a bit difficult to separate the player character writing from the scenario writing for reasons that rapidly become clear in the game. Both are very good, though, so that's fine. The writing is just really very good.

The variations on the timeline that you are able to uncover through repeated play are fascinatingly diverse even as certain events remain immutable, and the whole thing really plays with the concept of time travel and the other-self so beautifully. Really one of my very favourite explorations of the topic already, and I've only seen... IDK 4 endings along 2 routes? And there's 29 endings???

It's very good. The point is that it's very good you should go play it.

It's on steam. It's app 1148760 on steam and it's very good, it's definitely worth more than what they're charging. I mean have you seen what a $60 console game looks like these days, and then this is like. $25 and SO very much.