Exposing SVSSS Fanon: 25/∞
VIOLENCE AS COURTSHIP IS A PART OF DEMON CULTURE
Rating: CANON
A nearly universal trope, especially in Moshang fics, is the fact that courtship is performed through violence in demon culture, and that the misunderstandings between the pair are because of cultural differences. The fact that demons mistreat the targets of their affection is canon, however, it is important for fans to note that this sort of characterization and worldbuilding is rooted in racial and ethnic stereotypes.
This is one of the most-requested topics I've ever written on this blog, and I took a long time to think about how best to approach the subject in a way that both keeps to the intention of this blog (referencing canon & providing quotes) as well as raising awareness to the very real problematic aspects of what is a well-loved and often-used trope in fanon that I don't think most western fans are aware of.
First, the canon analysis:
“If you hold unique feelings for a certain person, how can you make them understand your intentions?” Luo Binghe asked.
Obviously, no one dared to tear down Luo Binghe’s facade and expose him directly, but this question was really very…unsuited to the demonic approach. After a long moment, not a single person had answered.
In fact, the answer was so simple that any normal human could have given it to you. If you liked someone, you should just tell them. Unfortunately, there was not a single “normal” person on the scene—and aside from Shang Qinghua, there also were no “humans” either.
Mobei-Jun thought about it. With the paths his mind was given to take, there was no telling how he had interpreted “unique” feelings. “Beat them up three times a day?”
(7 Seas, Ch. 26)
Most of the fandom remembers this passage, and some may think that this is where the interpretation of violence as courtship comes from-- however, that is not the case. This passage might actually not refer to courtship at all-- while that is one possible interpretation, Mobei-jun could also be interpreting "unique feelings" to mean something different than "romantic feelings," since Luo Binghe didn't specify romance directly.
The "violent demonic courtship" idea actually originates much earlier in the novel, just after the invasion of Qiong Ding Peak:
In truth, Shen Qingqiu didn’t intend to tease; he thought himself very straightforward. The one who’d tampered with Luo Binghe’s dream realm was Sha Hualing. Though she did have some harmful intentions, her underlying motive was obvious. Naturally, she was driven by a young girl’s secret yearning for love.
Otherwise, she would have directed her aggressions toward others, not specifically Luo Binghe. Demons were compelled to viciously bully the person they liked. Only if the object of their affections failed to die would the demon accept them. If their target died, that meant they were useless and not worth nursing any lingering affections for.
(7 Seas, Ch. 3)
This, in fact, has somewhat more serious connotations than the way I have often seen it interpreted in fanworks-- it is not merely beating up a potential partner, but pushing them to their limits, nearly driving them to death, and it is certainly implied that it is not uncommon for the object of a demon's affections to actually die.
Now that the canonical basis of the idea has been established, let us move on to the second, and arguably more important part of this post: the racism.
I would like to add a disclaimer here-- I am going to discuss this in hopes of raising more awareness in the fandom, but I am not North/West/Central Asian myself, so I will only mention things in brief and somewhat generally-- if anyone who belongs to the affected cultures would like to make corrections, or more detailed explanations, or any other additions to this post on this topic, I greatly welcome that, as I feel it is an important issue that should be addressed.
In Chinese fiction, particularly fantasy genres like xianxia/xuanhuan/xiuzhen, but also in historical and wuxia fiction, there is a pervasive, prevalent tendency for authors to use racial and ethnic stereotypes against Central, Northern, and Western Asian cultures such as Mongolian & Arab cultures in their worldbuilding regarding the North, while stereotypes against Southeast Asian cultures are used in worldbuilding regarding the South. These stereotypes are most typically applied to villains and villainous groups, and are so widespread as to be ubiquitous within the genre. MXTX has used these tropes before-- notably with the Banyue people in TGCF, with adaptations of both TGCF and MDZS including design stereotypes, such as CQL's portrayal of the Qinghe Nie (combining their tendency toward violence and 'unnatural' cultivation method, with design traits typically associated with Northern/Central Asian cultures).
It is worth noting, though, that most authors do not intentionally use these traits as racist stereotypes in their worldbuilding, especially when regarding a non-human species-- in the same way that western fantasy authors use goblin and orc characters and tropes without realizing or acknowledging their racist origins and connotiations, these stereotypes have simply become genre tropes without that direct connection to their origins. Nonetheless, it is still worth noting-- and worth trying not to fall into the trap of leaning into stereotypical traits in fanworks' character portrayals.
Stereotypes include but are not limited to barbaric and brutish cultural traits, association with animals/having animal features, dark or corrupt magical/spiritual practices, certain types of braided hairstyles & other fashion choices, and originating from the far north or south.
Some of the prejudice and stereotyping of Northern Asian cultures likely originates from the fact that in the past, China was invaded and subjugated by peoples from the north (under Mongolian rule during the Yuan dynasty, and under Manchurian rule during the Qing dynasty) as well as having many conflicts with these peoples throughout history. In fact, the Qing dynasty only ended in the early 1900s, so some of this oppression is still in recent memory-- nonetheless, people belonging to ethnic minorities in China are still affected by this negative stereotyping today, so regardless of the origin, racism is still racism and should be addressed, and China today is a majority Han Chinese nation-- even if Han Chinese are considered a minority and affected by systemic racism in other places in the world.
Additionally, many tropes specifically applied to the southern demons, but also used for demon culture as a whole, are tied to stereotypical portrayals of Southeast Asian culture, which is rooted in a long history of Imperial China's invasion and oppression.
All of those stereotypes listed above apply to SVSSS' demon culture. Even in Mobei-jun's name-- 漠北 meaning "northern desert," which is the real-world name for a region in the north of the Gobi desert in Mongolia.
Therefore, it is important to remember that though violence-as-courtship in demon culture is canonical within SVSSS' setting, it nonetheless originates from harmful racial and ethnic stereotypes. It would be a good idea for fans to keep this in mind when creating their fanworks, and to treat the topic with sensitivity-- but I will leave any direct suggestions on how to handle this to those who are actually part of the affected groups.
--
(thanks to @flidgetjerome for additional notes regarding SEAsian stereotyping and author intent!)
Also, to be absolutely clear: I am not saying that svsss’ demons are specifically coded as any real ethnic group— it’s only that in many ways the portrayal is similar to the common portrayal of various ethnic groups in cmedia. I don’t believe they are specifically meant to parallel a real life group, unlike for example TGCF’s Banyue— but it’s worth questioning why these traits, why these characters.
485 notes
·
View notes
Elden Ring Sigils and Color Theory
Elden Ring magic sigils sorted by color. Long post about their lore, meanings of certain colors and what it can reveal about the story of Elden Ring under the cut.
In this post, I will be going over why it is important to have a good understanding of color and meanings associated with color in the context of lore. In a game, color is used by developers for more than just drawing the world, it’s about creating visual language, a bridge between writers and players. There are countless articles about usage of colors in videogames, but in this post I will try to reverse-engineer the process and find out the meaning behind visual symbolism and combine it with game’s equivalent of heraldic symbols - magic sigils.
In Elden Ring magic sigils have been used to represent origin of sorceries and power sources of incantations, usually they give us hints what kind of deity is worshipped by people or who created the spell. They are an invaluable source of information on history on the Lands Between. I’ve been already playing with idea of color sorting when I did the same thing with remembrances, but sigils revealed even more secrets about story and lore. How about origin of life on the Lands Between? Origin of the outer gods? But let’s not rush.
The first category, Blue Sorcery as I called it, already shows how color sorting method is supported by the game itself. With a help of descriptions we can place the sigils in the chronological order and track the change in design over the course of story such as replacement of flowing weapon in the sigil of Eternal Cities to Carian sword. Their sigils are incredibly similar to each other, solidifying connection between Nox and Carian royal family; both factions are associated with silver, sorcery, artifical life, moons and stars.
This talisman represents the lost black moon. The moon of Nokstella was the guide of countless stars (Memory Stone)
The young astrologer gazed at the night sky as she walked. She had always chased the stars every step of her journey. Then she met the full moon—and, in time, the astrologer became a queen (Stargaizer Heirloom)
Moons played a central role in Nox and Carian culture, the circle is a base shape for both crests, however, while Raya Lucaria sigil shares similar elements with Eternal Cities and Carian emblems (glintstone sorcerers are the descendants of astrologers, a fact that the Carians remain aware of, - Preceptor's Long Gown), this part was drastically redused in size and moved on top; the central place is taken by the star and framed by a pair of cuckoos. The hue of sigil is also significantly different from cold blue tones of Nox and Carians emblems, the warm greenish tint is close to the color of primeval current spells, which were banished once Rennala became rector of the Academy.
These scholars, who sought to master Carian sorcery, instead learned to see the moon as equal to the stars. This robe, in the hue of the full moon, signifies their heresy (Lazuli Robe)
(Cuckoo Greatshield) Boasting high magic damage negation, this shield is used to hunt down mages. "Our enemy is none other than Caria itself."
So far I’m not going to delve deeper in the roots of the conflict between Carian royal family and Academy of Raya Lucaria, it’s a mere demonstration of a method and how it works. But in next paragraphs I will use it as evidence for a few theories about worldbuilding.
(thanks for clarification about Malenia’s Crest, I rewatched fight on youtube and, yes, it’s a normal Raya Lucaria sigil)
Golden incantations is the biggest group on the list, in a way I can say that history of the Lands Between is a history of gold. Here we can see a symbolical depiction of the Erdtree, the central piece of the game both in a metaphorical and literal sense; we can track how portrayl of the Erdtree changed during Marika’s age until it was replaced altogether by the abstract emblem of the Golden Order Fundamentalism. I have a lot of to say about this group and currently working on post with a more detailed investigation, so far I will touch only basics: such as origin of life gold.
Gold in Elden Ring is more than than shine metal or a color, it’s prima materia of the Greater Will, a force of unknown origin (it’s never called 神 god or an 外なる神 outer god anywhere in EN or JP script and before jumping to conclusion wait until I’m going to observe confirmed outer gods) which is responsible for the creation of Elden Ring. From the description of Elden Stars, the most ancient incantation in this category, and Elden Remembrance we can figure out keywords associated with the Greater Will:
It is said that long ago, the Greater Will sent a golden star bearing a beast into the Lands Between, which would later become the Elden Ring/It was the vassal beast of the Greater Will and living incarnation of the concept of Order (I’d like to point that it’s “Order”, not “The Golden Order”).
(I believe we still can see remnants of the golden star in a form of meteorite ore in Divine Towers and Sealed Tunnel near Erdtree)
In other words, the Greater Will is about gold, Order and everything Elden. However, a common mistake is to tie the Greater Will to the Golden Order, despite the name the latter is not representative of it, even more so... original gold from the golden star wasn’t yellow.
From dialogue with Sellen we can learn that stars are containing amber, but golden stars are kind of special:
Golden amber contains the remnants of ancient life, and houses its vitality (Sellen)
And Hyetta’s speech supports futher that the Greater Will is responsible for creation of life in one way or another:
…すべては、大きなひとつから、分かたれた 分かたれ、産まれ、心を持った
けれどそれは、大いなる意志の過ちだった だから、戻さなくてはならない
All that there was divided from the One Great. Divided, born and given heart. But it was a mistake of the Greater Will (Hyetta)
So, Miyazaki pretty much unitied theories about meteorites being consensually considered to be involved in the origin of life and primordial soup:
Meteorites could have been responsible for delivering the basis of life's genetic code. Analyses of three meteorites suggest that nucleobases, the crucial components of DNA, could have formed in space and then fallen to Earth to provide the raw material for the origin of life itself
For nearly nine decades, science's favorite explanation for the origin of life has been the “primordial soup”. This is the idea that life began from a series of chemical reactions in a warm pond on Earth's surface, triggered by an external energy source such as lightning strike or ultraviolet (UV) ligh
Now if we check descriptions of Crucible Aspects and Crucible Knights items we can find out that original gold had rent tint.
Holds the power of the crucible of life, the primordial form of the Erdtree. Strengthens Aspects of the Crucible incantations (Crucible aspects incantations)
This sword is imbued with an ancient holy essence. Its red tint exemplifies the nature of primordial gold, said to be close in nature to life itself (Ordovis Greatsword, the name itself is a reference to Ordovician Period, part of the Paleozoic era, a rich variety of marine life flourished in the vast seas and the first primitive plants began to appear on land)
Ancient Erdtree/Crucible emblem is slightly reddish too, however, the modern gold is more pure and yellow, the gold of the Golden Order. The sigil changed the color too and lost the root part just like the Elden Ring itself if we compare modern depiction with Farum Azula mural:
The Golden Order was created by confining Destined Death. Thus, this new Order will be one of Death restored
But a gold is a gold, even though it’s different, but as Turtle Pope said heresy is not native to this world and everything can be cojoined:
The worship of the ancient dragons does not conflict with belief in the Erdtree. After all, this seal, and lighting itself, are both imbued with gold
Yes, the Greater Will governs everything what is golden.
And yet, the young Miquella abandoned fundamentalism, for it could do nothing to treat Malenia's accursed rot. This was the beginning of unalloyed gold
I can already hear the raise of pitchforks from certain kind of Miquella fans, so let’s talk about outer gods and what exactly they are.
With a surprising exception of emblem from the Scepter of the All-Knowing (Gideon, I have a few questions for you) all sigils in Red Group are assigned to the deities: outer/ancient god of Rot, outer god Formless Mother, Rykard’s immortal serpent and Fell God, who is bit tricky, it’s ambitious if 古い火の悪神 “ancient” is applied to the god or fire. The only confirmed outer gods, who didn’t made it here is an outer god of Deathbirds and Frienzied Flame. Considering theory that removal of the Destined Death from Elden Ring drained color from the god-slaying Black Flame and eclipsed sun of outer god of Deathbirds, I can suggest that original color of their sigils was red too.
Long story short: sigil of the outer gods and other unwelcomed deities are represented by red color and they are all related to the death, Formless Mother is about bleed, fell flame is burning, rot is decay, etc.
However, as stated in the description of Ordovis Greatsword, primordial gold of the Crucible had a red tint that was lost when Marika estabilished Golden Order by sealing away red Rune of Death; and this knowledge eventually leads to conclusion that...
Outer gods aren’t aliens. What a surprise.
They are natural powers that were screwed by the removal of Destined Death, when they got outed from the Golden Order. They are red tint of the primordial gold.
Once the concept of Death was banished from the Lands Between the elements and effects linked to it - death, decay, combustion, bleed became outer to the newly estabilished Order. There is a clear thematic difference between celestial Greater Will, who isn’t even presented on the Lands Between, and actual outer gods, who can be sealed or banished, more over there are no outer god of water, sunshine or happiness, they are all linked to the side-effects of death. When death was excluded from the Order, they were affected as well.
The thing is that gold in Elden Ring is a magical substance and changes the tint depends on the currently running Order, which is shown in the endings when Golden Tree (黄金樹 that’s how Erdtree is called in JP) acquires different hue. It’s another overlooked element of visual storytelling.
This Golden Order is something that the Elden Ring may have once represented, but not directly. It’s more about how you apply those rules and how you enforce them on the physical world and what effects they have on it, - Miyazaki in interview to gamesradar
(Golden Order isn’t direct representation of the Greater Will/Elden Ring as it was said by Miyazaki himself, it’s only one temporary set of rules)
Elden Ring consists of runes and even newly discovered mending runes (concepts) can be added to the system (regression is the pull of meaning; that all things yearn eternally to converge) ot removed and the gold will respond to it by changing the color and reshaping reality according to the Order (causality is the pull between meanings; it is the connections that form the relationships of all things). Elden Ring - Rune of Death = yellow gold and banishment of ancient gods, who were associated with death, Elden Ring+mending rune of a choice=see example aboive.
For futher evidence that gold changes metaphysical properties and in the current state (Golden Order) preserves things from not only from dying, but decomposing too, I want to bring a few descriptions:
Fresh beast blood, glinting with gold. Material used for crafting items. Found by hunting carnivorous beasts.This glimmering blood never rots or decays ( Beast Blood)
Someone's excrement. It has a golden tinge. Material used for crafting items. Gold-tinged excrement is a highly stable substance; it doesn't dry out, nor does it lose its customary warmth or scent. For better or for worse, it remains as it is (Golden Dung; I can’t believe I’m using description of literal sh/t to prove my point)
However, from what we know only Rune of Death was sealed, and while outer gods’ influence was seriously weakened, it still existed. This is why Miquella abandoned Golden Order and was working on development of his own gold, even more pure and untainted, before he got mohgged:
Unalloyed Gold Needle: An intricately crafted needle of unalloyed gold. A ritual implement crafted to ward away the meddling of outer gods, it is thought capable of forestalling the incurable rotting sickness.
Now let me clarify: community’s favorite boogieman “influence of the evil alien outer gods/the Greater Will” isn’t a thing in a sense that there is a group of invaders from the outer space trying to enslave the Lands Between. Even thought 外なる神 is used in Japanese media culture for lovecraftian beings, we should remember that history is fabricated by the Golden Order in Marika’s favor; "outer gods” are alien to the current Order”. Same goes for the influence of the Greater Will, it was never about mind-control or whatever was projected onto it, the influence of the Greater Will is simply how Order and gold are changing course of the nature.
Last thing I want to add is that influence of the outer gods isn’t always about destructive powers (Order of Rot is about decay and rebirth), but I’ll leave it for a dedicated post.
In Mixed Group I put sigils with unique or unknown colors.
In my first draft Dragon Communion was placed in the Red Group for the intense hue of sigil, but upon futher research I decided to move it here. The power of Dragon Communion incantations doesn’t stem from any patron god or the assigned star (unless I missed something); they are scaling from arcane, an inner force of the caster.
Violet is an interesting choice for Gravity sigil because this color, albeit with the less intence hue, is used for sleep status and associated items.
I like how yellow color of Frenzied Flame is similar to the gold of the Greater Will, carrying the theme of duality, yet the shape of the sigil is distorted and assymetrical. In fact, designs of the ancient sigils usually is far less complex than intricate shapes of newer ones (with a few exceptions). Just to be clear, even though influence of the Flame of Frenzy can be cleared by Miquella’s needle, the game never calls it an outer god. It’s a matter of semantics, but I guess that unlike crew from the Red Group it was never booted from the Order since Chaos and Order can’t naturally coexist, but there are a lot ot of to speculate about, considering drastic changes in Frenzied Flame quest and lore.
Golden star in the centre of Bestial sigil reminds of Cinquedea dagger (Short sword given to high ranking clergymen of Farum Azula. The design celebrates a beast's five fingers, symbolic of the intelligence once granted upon their kind), which shows beast’s arm holding golden slab.
So, Death spells. I believe that both Black Flame incantations and Death Sorcery of Deathbird outer god were affected by confining of Destined Death.
The black flame could once slay gods. But when Maliketh sealed Destined Death, the true power of the black flame was lost
Storied sword and treasure of Castle Sol that depicts an eclipsed sun drained of color.The eclipsed sun, drained of color, is the protective star of soulless demigods. It aids the mausoleum knights by keeping Destined Death at bay. Mausoleum Knight Armor: The wing-shaped ornaments on its back evoke the Deathbird
And, as I’ve been already pointing in a different post, death of Godwyn brought back forgotten death sorcery that almost ceased from existance during age of immortality, but was rediscovered
Death in the Lands Between is incredibly complex subject and deserves a series of posts, even though I believe there should be DLC because so far all lore related to it seems to be incomprehensible.
Unmarkered sorceries don’t have background sigil, but they all share something in common. They originated from the Mountaintops of Giants:
Zamor Ice Storm: Ice sorcery of the Town of Zamor.Strike the ground with the staff to create a freezing tornado. Charging enhances potency. Cloaked in icy tempests, the knights of Zamor have challenged the Fire Giants since ancient times.
Briars of Sin : An aberrant sorcery, discovered along with red glintstone by those exiled to the north for their crimes.The Academy reviles this sorcery, which draws its power from faith
Founding Rain of Stars: The eldest primeval sorcery, said to have been discovered by an ancient astrologer. A sorcery of legendary status.The glimpse of the primeval current that the astrologer saw became real, and the stars' amber rained down on this land. Sword of Night and Flame: Astrologers, who preceded the sorcerers, established themselves in mountaintops that nearly touched the sky, and considered the Fire Giants their neighbors.
Another interesting details to consider is that they are all in some ways are unwelcomed or straight up heretical. It reminds me of relationships between Golden Order and remnanats of the Crucible. Aberrant sorcery is a mark of sin, primeval current was banished and cold sorcery is veiled in occult mystery:
The snowy crone taught the young Ranni to fear the dark moon as she imparted her cold sorcery.
I guess Ranni’s secret mentor is called snowy crone for a reason.
That’s being said, everything I wrote is a subject to change as DLC may reveal more details or I will reconsider some parts under futher research. But overall I think it was an interesting experiment.
読んでくれてありがと
5K notes
·
View notes
Honestly the rhetoric of “Japan isn’t a perfect place” is so hollow at this point because of how obvious Japan’s societal problems are. Yes, Japan does have low birth rates, yes Japan has a harsh and unforgiving work culture, yes Japan does not have a society that reaches out to or discusses mental health of its population, creating a drive towards the growing hikikomori culture where you just stay inside your house all day and ROT. And finally, yeah many Japanese people do not like immigrants, immigration, or foreigners. This is a mix of European tourists being inconsiderate of their culture (it’s getting so bad tourists are getting banned from some districts of Japan for repeatedly taking pictures of geishas even though there are signs with visual clues of stick figures taking pictures of a geisha with a BIG CIRCLE WITH A SLASH THROUGH IT and this also applies to even simple stuff like ignoring the painted rows for getting on trains in a filed line, and a lot of little cultural divisions that you gotta learn before stepping into Asia’s biggest cultural exporter.
Of course, it’s not just the tourists, Japan also hates immigrants mostly because of the continuous cloud of Japanese nationalism that remains in the nation even after the war, which at best preserves landmarks and iconography of old imperial Japan (the naval flag hasn’t changed since 1868, even though the rising sun flag is now associated by Americans, many Chinese mainlanders, and Southeast Asians as a flag of oppression and war crimes since WWII, unless your Thailand, because Japan let Thailand keep their king and even join the Axis powers as an independent state) and at worst racism against Koreans and Chinese people that denies the terror at unit 731 and the massacre of Nanking.
Finally a lot of societal pros and cons of Japan come from 2 things:
1. America is Japan’e sugar daddy, it raised the country from rubble after WWII and created an economic miracle that modernized it so fast that by the 1980s it was developmentally ahead of countries like Italy and France.
2. Japan is dominated by one party since WWII and it only lost that majority for about 4 years after the economic crisis in 2008. It was Shinzo Abe that got the party’s grip on Japan, and economic state, back in the groove.
So Japan is a complex society with many people, a long history, complex politics (did you know Japan is one of the only countries in the global north to have a communist party represented in its parliament?) and it has problems, very human, and some of it does stem from the free-market Conservative politics of the country, and some of it was practices and cultural norms translated to the modern day.
The issue is the phrase “Japan ain’t a paradise ya know” does not address any of this, it more or less just attacks a superficial belief that people who like anime and complain about “wokeness” in western media like anime because anime generally does not explore or address social movements or political philosophy that deals with LGBTQ rights, racism, economic inequality, social justice, or political theory compared to modern american media which has integrated many more openly queer main characters and usually fights a villain who is a megalomaniac aristocrat who wants to get rid of some “other” to return society to “the good old days” and take power as this “great man” which must do what the unwashed masses could not stand up to. The assumption is since anime, and generally in genres like slice of life and shonen (and even beyond the scope of anime, tokusatsu) does not cover topic of modern political and social climate, it’s because Japan doesn’t have to deal with these issues, and is to the anime viewer, a harmonious, enriched, and bountiful society where there’s no crime, no poverty, and everyone is proud to be Japanese and accepts their place in society no matter how trivial their job or position in their community is.
The thing is: NO
Many popular anime and cartoons in Japan can cover modern social issues or political philosophy, it’s just that not all of it is going to get so popular that it gets dubbed or shipped to translation publishers like Crunchyroll or Viz media. The other thing is some Japanese media can cover older or more personal struggles in their works, it can get popular, and that’s alright! Not every piece of media that avoids talking about modern issues is anti-woke! Sometimes a fine story is a fun break from reality, a way to ease your stress from a day at work.
I think when people say “Japan isn’t a paradise you think it is” I think they’re saying that Japan has active movements that fight for more modern political causes like LGBTQ rights and economic reform, and that inevitably, they will win. Some courts in Japan are already considering same-sex marriage to be a right. That’s great.
The thing is, what the nu-fan is also saying is that the pressure of the American audience, and the growing progressive movement in Japan will reform the production and distribution of Japanese media that will introduce a new wave of authors, writers, and even animators who will be more woke than any previous generation of Japanese artists that preceded them.
And when Japan’s media landscape goes woke, where will you turn to to “escape the nu-fans” South Korea?
As if there’ll be 2 Koreas within the next decade.
🇰🇵🇰🇵🇰🇵
Then there's Western companies that are trying to ask JP creators to change, edit, and censor their works in order to fit the standards for Western audiences. If they don't try to persuade them, they do it in more subtle ways through localization without their knowledge. And they will take that advantage that the creator will be fine with it because most don't understand English or Western culture. Sites like Pixiv that is limiting US and UK NSFW content because they don't wish to change the rules for other countries for a site that was exclusively made for Japan.
It's why people are starting to accept AI translations as a new way to translate anime/manga/video games over localizers like Crunchyroll.
I also think there is a difference in addressing Japanese's political and society issues over policing their media and having to alter it in order to make a quick buck. It's just as bad as Disney removing one gay reference since it isn't part of the big plot to get dem Chinese bux. At least stuff like Apex Legends is having some balls to not LGBT+ shit for Saudi Arabia release without fear of losing money or being killed.
3 notes
·
View notes